The Iron Crown

Last updated
The Iron Crown
The Iron Crown.jpg
Directed by Alessandro Blasetti
Written byAlessandro Blasetti
Renato Castellani
Corrado Pavolini
Guglielmo Zorzi
Giuseppe Zucca
Starring Massimo Girotti
Gino Cervi
Cinematography Mario Craveri
Václav Vích
Edited by Mario Serandrei
Music by Alessandro Cicognini
Distributed byLux film
Release date
  • September 1941 (1941-09)
Running time
97 minutes
CountryItaly
LanguageItalian

The Iron Crown (Italian : La corona di ferro) is a 1941 Italian adventure film written and directed by Alessandro Blasetti, starring Massimo Girotti and Gino Cervi. The narrative revolves a sacred iron crown and a king who is prophesied to lose his kingdom to his nephew. It blends motifs from several European myths, legends and modern works of popular fiction. The film won a Coppa Mussolini award, which is the ancestor to the Golden Lion.

Contents

Plot

Sedemondo (Gino Cervi) succeeds his brother Licinio (Massimo Girotti) upon his death as king of Kindaor, and a messenger bearing a crown made from a nail from the true cross requests permission to cross the kingdom. The crown by legend will stay wherever injustice and corruption prevail. Sedemondo takes it to a gorge where it is swallowed by the earth.

A wise woman prophesies to the king that his wife will bear a daughter and Licinio's widow (Elisa Cegani) a son, that the two will fall in love, and the son take the kingdom from Sedemondo. When he gets home, he is told that his wife has given birth to a boy (the daughter having been switched with the child of Licinio) and so believes the prophecy to be invalid. He raises both the boy Arminio and girl Elsa. After some strife between Sedemondo and Arminio, the king orders Arminio to be taken to the gorge and slain.

Twenty years later, with Arminio (Massimo Girotti) having grown up in the forest, Sedemondo arranges a tournament to determine who will marry Elsa (Elisa Cegani). Tundra (Luisa Ferida) leads the resistance among the people against the king. The tournament, with various characters attending in disguise, sets up whether the prophecy will come to pass. [1]

Cast

Dubbing

Production

The film had an unusually large budget and was filmed on elaborate sets at the newly built Cinecittà studios. It stands out in Blasetti's filmography, as several of his most famous films instead were shot on location and used non-professional actors, whereas this was instead a big budget, controlled, set structured production. [2] The Iron Crown belongs to what is sometimes regarded as a tetralogy of films by Blasetti which deal with mythological themes. The other three films are Ettore Fieramosca from 1938, Un'avventura di Salvator Rosa from 1940 and The Jester's Supper from 1942. [3]

The Italian actress Vittoria Carpi in an uncredited role shows a bare breast for moments in the film, and may have been the first actress to do so in an Italian sound film. However, the credit for this is normally given to Clara Calamai in Blasetti's next film, La cena delle beffe (1941), probably because Calamai is the protagonist of that film. [4] [5]

Reception

H. H. T. of The New York Times wrote in 1949, when the film was released in the United States: "There's enough sound and fury in the Rialto's new tenant, a pre-war Italian film called The Iron Crown, to blow the box-office clean across Times Square, if it hasn't done so already. For this adventure-spectacle of ancient times has recruited what seems to be about half the population of Italy, and they all manage to keep busy. ... But the film wastes no time in dropping all religious overtones and comfortably settling in the old boy meets girl rut. In fact, The Iron Crown is just another romance, played against some magnificent backgrounds with more violence and bloodshed than usual." [6] The American film scholar Peter Bondanella wrote in his 2009 book A History of Italian Cinema: "The Iron Crown is an ambiguous work: while its message underlines a common sentiment among Italians at the time—the desire for peace and the cessation of hostilities during World War II—the symbolic implications of the search for a charismatic leader who will restore a magic crown to its rightful place in Rome may also point to Mussolini, Il Duce of a newly revived Rome. Nonetheless, Blasetti unquestionably gave new life to the Italian treatment of heroic mythology born in the silent era with Pastrone's Cabiria , and The Iron Crown is one of several important antecedents to the postwar genre of the peplum ('sword and sandal' epic) that would become such a cult favorite among film buffs." [2]

Awards

Related Research Articles

<i>Ossessione</i> 1943 film by Luchino Visconti

Ossessione is a 1943 Italian crime drama film directed and co-written by Luchino Visconti, in his directorial debut. It is an unauthorized and uncredited adaptation of the 1934 novel The Postman Always Rings Twice by American author James M. Cain, and stars Clara Calamai, Massimo Girotti, and Juan de Landa in the leading roles. It is often considered to be the first Italian neorealist film, though there is some debate about whether such a categorization is accurate.

<span class="mw-page-title-main">Gino Cervi</span> Italian actor (1901–1974)

Luigi Cervi, better known as Gino Cervi, was an Italian actor. He was best known for portraying Peppone in a series of comedies based on the character Don Camillo (1952–1965), and police detective Jules Maigret on the television series Le inchieste del commissario Maigret (1964–1972).

<i>The Witches</i> (1967 film) 1967 anthology film

The Witches is a 1967 commedia all'italiana anthology film produced by Dino De Laurentiis in 1965. It consists of five comic stories about witches, directed by Luchino Visconti, Franco Rossi, Pier Paolo Pasolini, Mauro Bolognini and Vittorio De Sica. The film features Silvana Mangano; Clint Eastwood appears in the final story. It was the last film starring Totò to be released in his lifetime.

<i>Telefoni Bianchi</i> Italian film genre

Telefoni Bianchi films, also called deco films, were made by the Italian film industry in the 1930s and the 1940s in imitation of American comedies of the time in a sharp contrast to the other important style of the era, calligrafismo, which was highly artistic. The cinema of Telefoni Bianchi was born from the success of the Italian film comedy of the early 1930s; it was a lighter version, cleansed of any intellectualism or veiled social criticism.

<span class="mw-page-title-main">Luisa Ferida</span> Italian actress (1914–1945)

Luisa Ferida, real surname Manfrini, was an Italian stage and film actress. She was one of divas in Italian cinema during decade 1935–1945 and she was the highest paid movie star of that period. The actress was famous as a films diva and she is remembered for her tragic death; in fact during the period of anti-fascist vendettas, immediately after Italian Civil War, she was assassinated, as was later proved by the Milan Court of Appeal, by shooting following a summary trial carried out by some partisans: she was shot with her lover, the actor and member of Decima Flottiglia MAS Osvaldo Valenti, as accused of alleged and hypothetical participation in war crimes and torture in connection with so-called Koch gang, facts of which she was then deemed innocent after the war. Therefore a war pension was allocated to the mother, who had no other source of income.

<span class="mw-page-title-main">Massimo Girotti</span> Italian actor

Massimo Girotti was an Italian film actor whose career spanned seven decades.

<span class="mw-page-title-main">Clara Calamai</span> Italian actress (1915–1998)

Clara Calamai was an Italian actress.

The Nastro d'Argento is a film award assigned each year, since 1946, by Sindacato Nazionale dei Giornalisti Cinematografici Italiani, the association of Italian film critics.

<span class="mw-page-title-main">Osvaldo Valenti</span> Italian actor

Osvaldo Valenti was an Italian film actor. Valenti starred in several successful Italian movies of the late 1930s and early 1940s, such as the famous The Iron Crown and The Jester's Supper. He appeared in more than 50 films between 1928 and 1945. He and his lover, Luisa Ferida, were executed by partisans in Milan, Italy, due to their links with Fascism. Their story was portrayed in the 2008 film Wild Blood.

<i>Fabiola</i> (1949 film) 1949 film

Fabiola is a 1949 Italian language motion picture historical drama directed by Alessandro Blasetti, very loosely based on the 1854 novel Fabiola by Nicholas Patrick Wiseman. The film stars Michèle Morgan, Henri Vidal and Michel Simon. It tells the story of the Roman Empire in which Christianity is growing around the 4th century AD. An unofficial remake, The Revolt of the Slaves, was released in 1960, with Lang Jeffries and Rhonda Fleming, only with Rhual's name changed to Vibio.

<i>Un giorno nella vita</i> 1946 film

Un giorno nella vita is a 1946 Italian war film directed by Alessandro Blasetti. It was entered into the 1946 Cannes Film Festival. American title: "A Day In the Life". This film was screened in 2009 at the Film Society of Lincoln Center's retrospective "Life Lessons" Italian Neorealism and the birth of modern cinema.

<i>A Free Woman</i> 1954 Italian film

A Free Woman is a 1954 Italian melodrama film directed by Vittorio Cottafavi. The film's sets were designed by the art director Dario Cecchi. In 2008, the film was included on the Italian Ministry of Cultural Heritage’s 100 Italian films to be saved, a list of 100 films that "have changed the collective memory of the country between 1942 and 1978."

<i>Love and Chatter</i> 1958 film

Amore e chiacchiere, internationally released as Love and Chatter, is a 1958 Italian comedy film directed by Alessandro Blasetti. It is based on a Cesare Zavattini's play with the same title.

<i>An Adventure of Salvator Rosa</i> 1939 film by Alessandro Blasetti

An Adventure of Salvator Rosa is a 1939 Italian historical adventure film directed by Alessandro Blasetti and starring Gino Cervi, Luisa Ferida and Rina Morelli. It is set in seventeenth century Naples, then occupied by Spain, where a famous artist celebrated for his paintings of the rich leads a double life as a secret defender of the poor and oppressed.

<i>Ettore Fieramosca</i> (1938 film) 1938 film

Ettore Fieramosca is a 1938 Italian historical film directed by Alessandro Blasetti and starring Gino Cervi, Mario Ferrari and Elisa Cegani. It is adapted from the 1833 novel of the same title by Massimo D'Azeglio, based on the life of the 16th century condottiero Ettore Fieramosca.

<i>Aldebaran</i> (film) 1935 film

Aldebaran is a 1935 Italian drama film directed by Alessandro Blasetti and starring Gino Cervi, Evi Maltagliati and Gianfranco Giachetti. The film was a naval melodrama, an attempt by Blasetti to make a more commercial film following the difficulties encountered with the propagandist The Old Guard (1934).

<i>The Jesters Supper</i> (film) 1942 film

The Jester's Supper is a 1942 Italian historical film directed by Alessandro Blasetti and starring Amedeo Nazzari, Osvaldo Valenti and Clara Calamai. It was based on a play of the same title by Sem Benelli, which had later been turned into an opera by Umberto Giordano. Like the play, the film is set in the 15th century Florence of Lorenzo the Magnificent and portrays a rivalry that leads to a series of increasingly violent practical jokes.

<i>The Innkeeper</i> 1944 Italian historical comedy film

The Innkeeper is a 1944 Italian historical comedy film directed by Luigi Chiarini and starring Luisa Ferida, Armando Falconi and Osvaldo Valenti. The film is an adaptation of Carlo Goldoni's 1753 play The Mistress of the Inn, one of a number of times the work has been turned into films. It belongs to the movies of the calligrafismo style.

<i>The Ten Commandments</i> (1945 film) 1945 film

The Ten Commandments is a 1945 Italian drama film directed by Giorgio Walter Chili. It features an ensemble of Italian actors in episodes based on the Ten Commandments.

Harlem is a 1943 Italian sports crime film directed by Carmine Gallone and starring Massimo Girotti, Amedeo Nazzari and Vivi Gioi. It was shot at the Cinecittà Studios in Rome. The film's sets were designed by the art director Guido Fiorini. The former world heavyweight champion Primo Carnera appears in a small role. It is also known by the alternative title of Knock Out.

References

  1. Landy, Marcia (2000). Italian Film . Cambridge University Press. pp.  73–77. ISBN   0-521-64977-3.
  2. 1 2 Bondanella, Peter (2009). A History of Italian Cinema. New York City: Continuum International. p. 39. ISBN   978-0-826-41785-5.
  3. Liehm, Mira (1984). Passion and Defiance: Italian Film from 1942 to the Present. Berkeley, California: University of California Press. p. 26. ISBN   0-520-05744-9.
  4. Il Mereghetti - Dizionario dei Film 2008, p. 556
  5. Forgacs, David (2002). "Sex in the Cinema". In Reich, Jacqueline; Garofalo, Piero (eds.). Re-viewing Fascism: Italian Cinema, 1922-1943. Indiana University Press. pp. 159–61. ISBN   0-253-34045-4.
  6. H. H. T. (1949-06-11). "An Elaborate Italian Import". The New York Times . Retrieved 2015-05-27.
  7. "La corona di ferro". Rivista del cinematografo (in Italian). Retrieved 2015-05-27.