"A soggetto"/ Fiction
"Alta tensione, regla e trama di Arrigo Colombo, scenario di Arnaldo Baldaccini, fotografia di Bruno Salvadori, interpreti Arnaldo Baldaccini e Aldo Frosi. La pellicola si svolge in una centrale elettrica, ma pur presentando a sfondo della vicenda il funzionamento della centrale stessa, mostra il lavoro nelle sue fasi piu salienti in rapporto e in contrasto con un dramma umano, sottolineando i pericoli e i sacrifici ehe richiede la produzione della Corrente elettrica. In molte sequenze si deve notare lo sforzo dei realizzatori per raggiungere il fine, in qualche caso particolarmente arduo, come nelle scene notturne del salvataggio sulle dighe. Delicate le scene del risveglio del protagonista, con la rappresentazione della serenita della natura al mattino, e assai adeguata nel complesso la interpretazione." - Il Ventuno 26 (Review of the G.U.F. of Venice) March 1935.
"High Tension, direction and plot by Arrigo Colombo, scenery by Arnaldo Baldaccini, photography by Bruno Salvadori, actors Arnaldo Baldaccini and Aldo Frosi. The film takes place in a power plant, but while presenting the story of the plant’s operation as the background, it shows the work in its most salient phases in relation to and in contrast with a human drama, underscoring the dangers and sacrifices that the production of electricity requires. In many sequences, one must note the effort of the filmmakers to achieve these ends, in some cases particularly arduous, as in the night scenes of the rescue on the dams. The scenes of the protagonist’s awakening are delicate with the representation nature’s serenity in the morning, and the acting is very fitting." - Il Ventuno 26 (Review of the G.U.F. of Venice) March 1935.
"a soggetto breve"/ short fiction
"EVA E LA MACCHINA
Eva e la Macchina soggetto e regla di Leone Viola, fotografia e montaggio di Fernando De Marzi, interpreti Parisina Poggi, Carlomaria Dermal, Guido Cerato, svolge come tema il contrasto e nello stesso tempo il rapporto tra il maschio in possesso della femmina e il motociclista nel possesso della sua macchina. L'ambiente e per una parte primitivo e naturale, per l'altra invece si svolge presso un ponte di ferro e un passaggio a livello. I due motivi corrono parallelamente sino alla fine, allorché il Viola persegue il motivo della macchina sola, sino al finale gocciolare dell'olio, il cui parallelo rimane soltanto presunto. Eva e la Macchina si avvale di un ottimo ritmo di montaggio, dove al crescendo assai bene ottenuto della parte centrale succede il finale altrettanto realizzato nella sua calma compostezza."
"EVA AND THE CAR Eva e la macchina (Eva and the Machine), screenplay and direction by Leone Viola, photography and editing by Fernando De Marzi, starring Parisina Poggi, Carlomaria Dermal, Guido Cerato, develops as its theme the contrast and simultaneous relationship between the male in possession of the female and the motorcyclist in possession of his machine. The environment is on the one hand primitive and natural, and on the other, the film takes place near an iron bridge and a level crossing. The two motifs run parallel until the end, when Viola pursues the motif of the machine alone, until the final drip of oil, whose parallel remains only presumed. Eva and the Machine avails itself of an excellent rhythm of montage, where the very successful crescendo of the central part is followed by the finale equally successful in its calm composure."
— Il ventuno 24 (Review of the G.U.F. of Venice) January 1935, p. 15
"A suspenseful thriller with story, directing and acting at its best. Excellent lighting, using on to give regular 500-watt photo-floods for interior and outdoor night scenes. Swift pace editing." PSA Journal, Dec. 1955, 36.
"Amateur filmmaker, cinema historian and railway engineer H.A.V. Bulleid creates a cast of curious characters in this comic tale of espionage and intrigue. When 'Frantic' Philip Phoot is charged with delivering a highly important document to a mysterious agent named Farnley, he must negotiate his way past a 'sinister novelist' named Count Miaowt and the 'terminally insane' O. Goshyme Blottough, as well as the "dangerous political maniac' Prince Xwyzedski and his band of cronies. 'Frantic' Philip's secret letter has a cast of bumbling oddballs at each others throats as this tale of intrigue, mystery, foreign spies and banana skins heads for its 'explosive' climax" (EAFA Database).
"Supernatural thriller made by a teenage girl." Filmpreservation.org
"15 year old Mary is bored. With her parents permission she writes her chum Martha to come for summer vacation and they will make a movie. In the meantime two convicts escape from the nearby prison. To frighten the girls away the convicts decide to play ghosts. Film ends with posse, capture and hand colored inferno." Oregon Historical Society.
"As the title may indicate, the main character had too much to drink. He responds to a dream of nightmarish proportions and finds things quite confusing. Finally, awakened, he finds the physical surroundings not much different. It all adds to the confusion of a morning after" PSA Journal, Oct. 1961, 48.
"Featuring a philandering wife, an illicit lover and a trusting husband, Olvido (Oblivion) proves once again, in the course of its sharply paced sequences, that the wages of sin is death. In it, the taut situations (which will lead at the last to murder and suicide) are so expertly directed and suavely acted that they develop always within the bounds of credibility. This achievement is especially noteworthy in an amateur photoplay of this melodramatic type. For others, attempting work in the same medium, have lapsed all too often into either the ridiculous or the farcical. Producers Oscar J. Bonello and Roberto Robertie, both officers of the Cine Club Argentino, in Buenos Aires, have used black and white film wisely, since its stark contrasts under low-key lighting are more effective than would be those of color. The Spanish sound track, employed sparingly and with dramatic force, is in keeping with the high standards of the rest of the picture." Movie Makers, Dec. 1952, 339.
"Story of murder during a treasure hunt." Movie Makers, Nov. 1933, 475.
"The dutiful husband gets his own breakfast while his wife enjoys the luxury of sleeping late in the morning. He leaves her breakfast near the bed and we leave him for business. He becomes disturbed over the thought of a possible error in her food serving and feels the need to communicate her immediately. A nice gentle suspense builder" PSA Journal, Oct. 1961, 47.
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