CHAPTER 5: FRUSTA REWRITER HANDYMAN

The three titles in this programme complete the variegated genres of the series ‘Serie d’Oro’ launched in 1909 with Spergiura! and Nerone. Arturo Ambrosio viewed Frusta as a kind of living encyclopedia, capable of writing or rewriting any story locked up in his Screenplay Office. For the adaptation of Schiller’s ballad Der Handschuh (Il guanto), Frusta recreated a romantic court atmosphere with a big finale, unfortunately lost, in which real lions keep viewers on the edge of their seats. In 1911 D’Annunzio – under an advantageous contract and without writing a line, save exequatur and a fleeting signature at the bottom of Frusta’s screenplays – let one of his works be filmed for the first time: Sogno di un tramonto d’autunno features Mary Cléo Tarlarini, Ambrosio’s first star, perfectly playing the part of a restrained and haughty Gradeniga trembling with jealousy. Frusta did not look down upon any project and, with directors like Maggi, Rodolfi and Caserini, he not only made the first foray into comedy, which would become a successful genre in Italian cinema, but also dedicated unusual care in writing slapstick. The manuscript of the screenplay for Gigetta è gelosa (a lost film made in 1914) contains a surprising monologue to be performed (!? …) in front of a mirror, written by Frusta for Gigetta Morano. The screenwriter had a certain care in writing female roles (and weakness for actresses), and it was the leading actress of Santarellina who would remember that Frusta was the Turin production company’s true genius.
Claudia Gianetto

Piano accompaniment by

Daniele Furlati

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