A Stella Production, made at Cinecitta Studios, Rome. Italian release through E.N.I.C. in 1939. U.S release through Esperia Films. New York opening: 19 September 1940. 97 minutes.
Italian release title: un' Avventura di Salvator Rosa.
COMMENT: Made shortly before the Blasetti-Cervi-Ferida The Iron Crown, this Zorro-type adventure in 18th century Naples proves a real eye-opener. Produced on an astonishingly lavish budget, stylishly directed and nothing if not zestfully played, this fast-paced Adventure offers not only superlative entertainment but a political tilt at Italy's ruling Fascist regime which seems to have escaped attention, notice or scrutiny from contemporary censors. True, the hero's name has been shortened from Salvatore ("Savior") to Salvator, but I'd have thought that little stratagem would fool no-one, let alone Mussolini's vigilant censors. Contemporary politics aside, however, Rosa is inferior to Fox's The Mark of Zorro in several important respects. Plumpish Gino Cervi (obviously doubled when swordplay is required) proves no match for Tyrone Power, whilst Valenti's incredibly voluble, scratchy-voiced villain cannot hold a candle to Basil Rathbone. And whilst smooth-faced Luisa Ferida equals Linda Darnell in looks, her hectoring voice would be a bit off-putting to all but the most ardent, self-centered or supercilious suitors (like Signor Rosa himself). Of course in the self-assertive department, Signorina Ferida is a mouse indeed to the sharp-clawed Rina Morelli, who plays the shrewish, sharp-tongued and capricious duchess to the strident hilt.
Other interesting players are Ugo Cesare (this is one of his last films, he died in 1940), who does some wonderful clowning as Rosa's coachman, Enzo Biliotti as the aristocratic viceroy, and Paola Stoppa, here hardly recognizable under a heavy disguise as one of the peasant leaders.
Whilst the swordplay is tame compared to Power's Zorro, Rosa has the advantage of much bigger crowd scenes and far more extravagant locations and sets. Cicognini's typically rousing music score sets the right tone of period polish from the opening credits, whilst the superlative cinematography by Vaclav Vich (his first film - on which he collaborated with Otto Heller - was made way back in 1923 and he was still working on high-budget movies well into the 1960s) provides yet another major asset.
Italian release title: un' Avventura di Salvator Rosa.
COMMENT: Made shortly before the Blasetti-Cervi-Ferida The Iron Crown, this Zorro-type adventure in 18th century Naples proves a real eye-opener. Produced on an astonishingly lavish budget, stylishly directed and nothing if not zestfully played, this fast-paced Adventure offers not only superlative entertainment but a political tilt at Italy's ruling Fascist regime which seems to have escaped attention, notice or scrutiny from contemporary censors. True, the hero's name has been shortened from Salvatore ("Savior") to Salvator, but I'd have thought that little stratagem would fool no-one, let alone Mussolini's vigilant censors. Contemporary politics aside, however, Rosa is inferior to Fox's The Mark of Zorro in several important respects. Plumpish Gino Cervi (obviously doubled when swordplay is required) proves no match for Tyrone Power, whilst Valenti's incredibly voluble, scratchy-voiced villain cannot hold a candle to Basil Rathbone. And whilst smooth-faced Luisa Ferida equals Linda Darnell in looks, her hectoring voice would be a bit off-putting to all but the most ardent, self-centered or supercilious suitors (like Signor Rosa himself). Of course in the self-assertive department, Signorina Ferida is a mouse indeed to the sharp-clawed Rina Morelli, who plays the shrewish, sharp-tongued and capricious duchess to the strident hilt.
Other interesting players are Ugo Cesare (this is one of his last films, he died in 1940), who does some wonderful clowning as Rosa's coachman, Enzo Biliotti as the aristocratic viceroy, and Paola Stoppa, here hardly recognizable under a heavy disguise as one of the peasant leaders.
Whilst the swordplay is tame compared to Power's Zorro, Rosa has the advantage of much bigger crowd scenes and far more extravagant locations and sets. Cicognini's typically rousing music score sets the right tone of period polish from the opening credits, whilst the superlative cinematography by Vaclav Vich (his first film - on which he collaborated with Otto Heller - was made way back in 1923 and he was still working on high-budget movies well into the 1960s) provides yet another major asset.