In the years following World War I, Italian cinema found itself in a period of profound crisis. The decade from 1919 to 1929 marked a downturn for Italian film, as foreign movies, particularly those from Hollywood, flooded the market and left domestic filmmakers struggling to compete. Financial troubles, limited technological advancements, and a lack of organized support from the government further crippled the industry, creating a fragile environment where only a few genres and filmmakers thrived. Despite this, some notable filmmakers and genres managed to leave their mark, hinting at a future revival.
Popular Genres and Influences: Passion Dramas and Religious Epics
In the early 1920s, as Italian cinema grappled with its diminishing audience and resources, one genre that captured public attention was the passion drama. These films, often rooted in classic literature and stage plays, resonated with audiences for their intense storytelling and emotional depth. Directors like Roberto Roberti, father of the future acclaimed director Sergio Leone, became known for their skill in adapting these stories, imbuing them with emotional gravitas that drew audiences back to Italian films. Roberti and his contemporaries sought inspiration from Italian and European literary works, which allowed them to create narratives with universal appeal, even as Hollywood’s allure grew.
Alongside passion dramas, religious epics, known as “colossal” films, emerged as another popular genre. Giulio Antamoro became famous for directing these grand, spiritual spectacles, which emphasized themes of devotion, sacrifice, and morality. With elaborate sets and expansive cast ensembles, Antamoro’s films captured the imagination of a public yearning for stories that spoke to their values and cultural heritage. These epics, infused with powerful religious imagery, became instrumental in maintaining a distinctly Italian cinematic identity, though they struggled to compete with the technical finesse of foreign films.
The Impact of Theatre: Eleonora Duse and La Bella Otero’s Influence
Italian cinema during this crisis saw the introduction of prominent stage actors, whose transition to the screen brought a new level of artistry and prestige. Eleonora Duse, one of Italy’s most celebrated theatre actresses, made a memorable appearance in the silent film Cenere (1916). Duse’s performance showcased her dramatic talent, blending the art of theatre with cinema in a way that captivated audiences and critics alike. Although she only starred in one film, her involvement elevated Italian cinema’s reputation during a time of struggle.
Another influential figure was La Bella Otero, a renowned Spanish dancer and actress. Her transition to film brought both intrigue and controversy, as her larger-than-life persona added a touch of glamour to Italian cinema. Otero’s presence in films helped to bridge the divide between theatrical and cinematic art forms, drawing theatergoers to the big screen and infusing Italian cinema with a sense of bold performance and dramatic flair.
The Enduring Appeal of the Neapolitan Genre
One of the few genres to survive and thrive amid the crisis was the Neapolitan genre, a style deeply rooted in the traditions of Naples. This genre found success largely due to the pioneering work of Elvira Notari, Italy’s first recognized female filmmaker. Notari was a prolific creator who wrote, directed, and produced films that centered around “sceneggiate” — melodramatic narratives accompanied by music and songs typical of Neapolitan culture. These films, often grounded in the everyday struggles of Neapolitan life, were accessible and emotionally resonant, allowing them to maintain a dedicated following.
Notari’s films held a unique appeal among Italian immigrants in South America, particularly in Argentina, Brazil, and Uruguay. Italian emigrants found comfort and nostalgia in Notari’s films, which incorporated popular Neapolitan songs performed live in theaters by local singers and orchestras, synchronized with the on-screen action. This practice created an immersive experience that helped Italian cinema to retain cultural ties with its diaspora, even as domestic audiences waned.
The Rise of Fascism and the Lack of State Support for Cinema
With the rise of Fascism in Italy, beginning in 1922 under Benito Mussolini’s leadership, Italian cinema faced new challenges. Initially, the Fascist regime displayed little interest in supporting or revitalizing the struggling film industry. The government’s lack of intervention accelerated the industry’s decline, as there was no public funding or organized strategy to counter the dominance of foreign films.
From 1922 until 1925, the Fascist government largely ignored the cinema industry, focusing instead on consolidating political power and controlling other aspects of cultural production, such as print media and radio. This neglect exacerbated the problems that Italian filmmakers faced, leaving the industry with minimal resources, outdated equipment, and limited avenues for artistic development. Despite this, some filmmakers continued their work, experimenting with new styles and themes in hopes of reviving Italian cinema.
The Dawn of a New Era: Blasetti and Camerini’s Breakthroughs
By the mid-1920s, however, a few visionary directors began to emerge, setting the stage for Italian cinema’s eventual recovery. Alessandro Blasetti, one of the foremost filmmakers of the era, made a significant contribution with his 1928 film Sole. This film, which explored rural themes and Italian landscapes, marked a shift toward realism in Italian cinema. Blasetti’s work is often seen as a precursor to the “white telephones” genre of the 1930s, characterized by its sophisticated comedies and dramas set in upscale environments. Sole hinted at Italian cinema’s potential to explore themes rooted in the country’s social and cultural identity.
Another significant filmmaker to emerge during this period was Mario Camerini, who directed Rotaie (1929), a film that would come to be regarded as a classic of Italian silent cinema. Rotaie, which translates to “rails,” tells the story of a young couple whose lives are transformed by a mysterious journey, blending romance and adventure with a stark, atmospheric style. Camerini’s work in Rotaie laid the groundwork for a more stylized and narrative-driven approach, setting a precedent for the storytelling techniques that would define Italian cinema in the years to come.
Legacy and Cultural Impact of the 1919-1929 Crisis in Italian Cinema
The Italian cinema crisis of 1919-1929 may have hindered the growth of the industry, but it also served as a period of transition that paved the way for future innovation. While much of the industry struggled, the films and figures that emerged during this time underscored Italian cinema’s resilience and adaptability. Directors like Blasetti and Camerini laid the foundation for the white telephone comedies of the 1930s and the eventual neorealism movement of the 1940s, which would bring Italian cinema to international prominence.
Moreover, the success of the Neapolitan genre and the contributions of figures like Elvira Notari underscored the Italian diaspora’s influence in maintaining cultural ties with the homeland. The emotional resonance and relatability of Notari’s work allowed Italian emigrants to stay connected to their roots, highlighting cinema’s role as a bridge between cultures.
The legacy of Italian cinema during the crisis years remains a testament to the power of artistic perseverance. From passion dramas and religious epics to the Neapolitan sceneggiate and the early works of Blasetti and Camerini, this era laid the groundwork for the golden age of Italian cinema, which would captivate audiences around the world in the decades to follow.