"a sogg. lungh. norm." Feature fiction film
"La Nave, realizzato da Giovanni Paolucci, collaboratore tecnico Pietro Portalupi. Il difetto di questo film consiste nello scenario, nel non aver cioè gli autori trattato il tema in forma meno dispersiva, il protagonista, uomo disorientato ed inutile, senza uno scopo nella vita trova, col lavoro in una nave che alla fine viene varata e nell'atmosfera del fascismo, la sua strada. Un tema simile poteva essere trattato retoricamente o in modo più semplice e persuasivo; gli autori si sono attenuti alla via di mezzo, riuscendo talora in buone sequenze, talora in sequenze dall'azione dispersiva. Migliore è la prima parte, quando Paolucci descrive il rapporto dell'uomo col mare, e prima, la sua solitudine; la fotografia è in queste scene piuttosto notevole."
"The Ship (La Nave), directed by Giovanni Paolucci, technical collaborator Pietro Portalupi. The defect of this film is in the scenario and in its authors not treating the subject in a less unorganized way. The protagonist, a disoriented and useless man, without a purpose in life, finds his way by working on a ship that is eventually launched and in the atmosphere of fascism. Such a theme could have been treated rhetorically or in a simpler and more persuasive way; the authors stuck to the middle ground, succeeding sometimes in good sequences, sometimes in sequences with dispersive action. The first is the best part, when Paolucci describes the man's relationship with the sea, and before that, his loneliness; the photography is quite remarkable in these scenes."
—Il ventuno 28 (Review of the G.U.F. of Venice), May 1935, p. 17-18
"'Mystery in the Forest' came from Khoji Tsukamoto in Japan; a series of bird pictures of beauty and interest, with shots of heron chicks emerging from the shell outstanding" American Cinematographer, April, 1938, 173.
"Documentary. The flora and fauna in a forest in Japan. Winter landscapes and snow clearing (snow shovelled into large open baskets carried on the backs of women); swans flying over water; spring flowers with shots of Mount Fuji. A man using his fingers as a pan pipe to attract birds. The juichi (a kind of cuckoo), the nests with eggs of the grand thrush, greenfinch and the warbler. Chicks of the blue robin and snakes. A titmouse that has built her nest in a tomb. Greenhorn chicks; nests of night herons and the chicks; owls" (EAFA Database).
"dis. animazione a soggetto"/animation
"doc. a fantasia"/avant-garde documentary
"a soggetto"/fiction
"Nuvola - Nuvola soggetto e regia di P. M. Pasinetti e Roberto Zerboni, fotografia di Francesco Cerchio, interpretato da due bambini, Giorgio Balboni e Liliana della Valle. Un cane e il solo altro personaggio della vicenda, e il film si vale di po-chi altri elementi per comporre il suo dramma: una barca, i cerchi, un fiore; e sopratutti iI sole e il mare: sia la vicenda che la sua trattazione si mantengono in un tono leggermente favoloso, che rimanda per certi aspetti a quel mondo che e proprio delle composizioni liriche di Roberto Zerboni, di cui anche noi abbiamo pubblicati vari esempi, e che sono seguite con moltissima attenzione dai bene informati. In senso cinematografico, la pellicola rispetta sempre una sobrietà di stile singolarmente accurata, e si vale quasi esclusivamente del sistema delle inquadrature fisse, studiando piuttosto la composizione e l'armonia del quadro, e mai cedendo alla retorica degli scorci o del montaggio inutilmente concitato, propria di varie produzioni sperimentali.”
"Cloud - Nuvola (Cloud), subject and direction by P. M. Pasinetti and Roberto Zerboni, photography by Francesco Cerchio, stars two children, Giorgio Balboni and Liliana della Valle. A dog is the only other character in the story, and the film makes use of a few other elements to compose its drama: a boat, circles, a flower, and above all the sun and the sea: both the event and its treatment are maintained in a slightly fabulous tone, which refers in some respects to that world that is proper to the lyrical compositions of Roberto Zerboni, of which we have published several examples, and which are followed with great attention by the well-informed. In the cinematographic sense, the film always respects a singularly accurate sobriety of style, and makes use almost exclusively of the system of fixed shots, studying rather the composition and harmony of the picture, but never yielding to the rhetoric of the foreshortening or of the uselessly excited editing, typical of various experimental productions.”
— Il ventuno 24 (Review of the G.U.F. of Venice) January 1935, p. 15
"Edited film used by an amateur travel-lecturer documents travel in western and southwestern United States beginning at a rodeo in Phillipsburg, Kansas (trick riding, lassoing jack rabbits, roping calfs, wrestling steers, horse races, bucking broncos and bucking steers as well as scenes of an airplane flyover and of an airplane crashing which possibly was a stunt) and continuing to Black Hills, South Dakota (forest scenery and ca. 1927 construction of Mount Rushmore--blasting off cliff face, scaffolding, men working and completed monument). Shown are roadside scenery, railroad tracks, men cleaning railroad tracks with hose and tank on small train car on the way to an unidentified mountain fishing camp possibly in Colorado (canoeing, fishing in stream, and a smokehouse) and a mountain farm where colts are branded. Cog railway is taken up to Pike's Peak. Travels continue to to the Southwest (unidentified southwestern town possibly Santa Fe with adobe buildings and men and children in Mexican dress singing and playing guitar, American Indian dance performance indoors possibly Zuni, parade of American Indians in unidentified city perhaps Gallup and Navajo band. Scenes of the southwest continue with Navajo in Canyon de Chelly (hogans and herding sheep), prehistoric archaeological sites (Mesa Verde, Chaco Canyon another unidentified cliff dwelling possibly Montezuma's castle) and Taos Pueblo. Film records American Indian dances at a gathering of Indian tribes possibly at Gallup, intertribal horse races and women's tug-of-war. Hopi are shown dancing at Hopi. Also shown are Indian women (possibly Apache or Navajo) and children together and children in cradleboard and the Navajo reservation (hogans, women spinning and weaving under a ramada, herds of sheep and goats and "dipping sheep"). Natural wonders of Grand Canyon, Monument Valley and Rainbow Bridge National Monument are featured.Travel continues to Yellowstone National Park, California (scenery, black bears, hot springs and geysers) and onto the California coast possibly Monterey (seals on rocks). Also shown are an unidentified town with oil pumps and derricks and people waterskiing" via the Human Film Studies Archives, Smithsonian Museum.
"Footage of various California missions [...] from the late 1930s." Archive.org
Total Pages: 299
Amateur Cinema