495:"George Beban, who has the difficult role of Pietro Donnetti, gives a piece of character work that is truly marvelous. This artist has developed mimicry to its highest form of expression. His mobile countenance mirrored every emotion so perfectly, each varying mood was portrayed so truly, that it was hard to believe that this man was naught but a pantomimist. The upward glance when the heart was bitten again by the fangs of emotion, the hysterical joy of the Latin nature when in high spirits, all these phrases were delineated by this artist in a way that moved and thrilled."
476:"There are possibilities in the role of Pietro, in 'The Italian' ... that a less clever character artist than George Beban might overlook ... The story is full of human interest, requiring a full understanding of the character, and Beban by look and gesture is at all times in fullest sympathy with the difficult role. ... ll go to make a story that pulsates with human interest. The pathos of the child's death because of the lack of necessities and the imprisonment of the poor Italian furnish the real lesson of the Ghetto."
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672:"Beppo is a delightful character ... His rage after being robbed was another standout moment. The camera does a very tight closeup, one of the closest I can recall for a film from 1915, and his anger and fear are almost palatable. ... The ending of the film is also very dramatic and works well, without a false Hollywood happy ending ... It was nice to see the hardships of poverty portrayed without any easy answers, something that doesn't often happen."
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756:("'The Italian,' featuring the celebrated artist, George Beban, extensively known as a performer of superior merit ... Mr. Beban is famed far and wide for his very fine dramatic work in many roles, notably in his repertoire, being, 'The Sign of the Rose.' This is Mr. Beban's first appearance in screen work and from 'The Italian' we may expect unusually fine productions in which he takes the leading part.")
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532:"The audience is drawn to identify with Beppo, even though he remains in many respects an appalling ethnic caricature: dark, brooding, vengeful. That Barker and Beban are able to create so much sympathy for Beppo, despite their own, occasionally quite obvious condescension to the character, is a mark of emerging maturity in the movie business; no longer are films dealing in one-dimensional 'types.'"
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pasteurized milk to the baby. Beppo works hard to earn the money to purchase the expensive milk. While walking to the store to buy the milk, Beppo is robbed. He attacks the men who robbed him and is arrested. Beppo asks
Corrigan to help his baby while he is in jail: "I must get-a-de-milk or my babee is die." Corrigan rebuffs Beppo, and Beppo's baby dies during Beppo's five days in jail.
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Finally, the depiction of the tragic story of Beppo shows a certain sympathy for the character of the poor
Italian bootblack but also includes a callous disregard for depicting Italian immigrants in a stereotypical manner, an attitude that no doubt reflected the opinions of the majority of Americans at the time. Its plot is simple and compelling."
410:, a newspaper reported that a hundred pounds of rice were bought for the film's wedding scene. An initial order of fifty pounds of rice was left uncovered overnight by a "property man" at the Inceville studio. A "heavy rain caused each grain to swell to enormous proportions," requiring the purchase of another fifty pounds of rice.
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When
Annette arrives in New York, she and Beppo are married, and the following year they have a son, Tony. Beppo, Annette and Tony live a happy life in their Lower East Side tenement. The happiness is interrupted when the baby contracts a fever during a heatwave. The doctor instructs them to feed
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Cineaste also credited Beban for his intense performance, commenting on the fight sequence in which Beban's character "seethes with murderous determination" as the camera focuses on his face in an extreme close-up: "Beban's sudden transformation from amiability to wrath recalls the first glimpse of
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praised the film for its "rare quality of charm and a warmth of appeal that is truly unique" and concluded: "Here is a story beautiful and exquisite in theme ... Its simplicity and utter humanness have an appeal that reaches straight to the heart of the onlooker." Another review in the same paper
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Despite its occasional use of patronizing stereotypes, Bondanella concludes that Beppo "is represented with great dignity and even comic twists, making Beppo a far more lovable figure than one might expect." He concludes his chapter on the film with the following comment: "In short, what emerges
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The film employs a prologue and epilogue to frame the narrative story. In the prologue, a stage curtain rises and shows the lead actor, George Beban, in an upper class apartment wearing a smoking jacket. He sits on a couch and opens a book titled "The
Italian" by Thomas H. Ince and C. Gardner
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apart from the other films treating the
Italian immigrant experience. ... Its melodramatic plot reflects a serious sense of artistic construction, aimed at milking the last bit of emotion out of the audience. George Beban's outstanding performance shows his roots in the dramatic theater. ...
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When Beppo is released from jail, he learns that
Corrigan's young daughter is ill and vows to avenge his son's death by killing Corrigan's daughter. Beppo sneaks into Corrigan's house, but when he sees Corrigan's daughter lying in her crib, he cannot act on his plan, and he leaves the child
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Sullivan. As he begins reading, the film fades into the narrative story. In the epilogue, the film shifts from the image of Beppo kneeling at his son's grave to Beban turning to the last page of the book, closing the book and looking thoughtful. The stage curtain is then drawn closed.
577:, contrasting scenes of 'carefree Beppo at home' in the serene canals of Old Italy with the mean streets of New York where 'to live your baby must have Pasteurized milk.' America is not a promised land paved with gold but a Darwinian jungle, where dreams meet dead ends."
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certainly gets its liberal point across, a model of how
American movies dress social consciousness in the garb of melodrama. Even here, in its infancy, feature film was eager to pick up the call for social reform that sounded out in urban America before the First World
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praised the "vein of innocent humor" that runs through the film at the expense of Beppo and concluded: "'The
Italian' is regarded as Thomas H. Ince's masterpiece and is said to be greater than his 'Wrath of the Gods,' 'The Typhoon' and 'The Bargain.'"
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marked the first motion picture role for Beban, who had gained acclaim as a
Broadway actor and vaudevillian specializing in ethnic caricatures. Beban only agreed to join the project for a salary of $ 7000 and a percentage of the films profits.
282:. Beppo falls in love with Annette Ancello, but her father, Trudo, wants her to marry another suitor, one who is a successful businessman. If Beppo can prove himself within a year, Trudo agrees to allow him to marry Annette.
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on a street corner in New York City. He borrows money from an Irish ward boss, Bill
Corrigan, and sends for Annette to join him. In exchange, Beppo agrees to help Corrigan's candidate win the Italian vote in the ward.
661:, for his early use of editing to maintain story continuity and for his use of multidirectional camera positioning and variable framing to emphasize character development and psychological motivation rather than plot.
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is the fight scene between Beppo and his muggers. The scene lasts five minutes on the screen, and a newspaper story reported that, for realism, "a number of the biggest men at Inceville were used in the scene."
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is an unusually complex view of tenement life and multiethnic immigration in America, and the film consequently retains its value not only as social history but also as a work of art."
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is a story of failure suffused with a soft-focused, dappled nostalgia for the old country ... 'From sunny Italy to the New York ghetto,' read the taglines on Paramount's original
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in the title role as the Italian immigrant, Pietro "Beppo" Donnetti. In 1991, this film was deemed "culturally, historically, or aesthetically significant" by the United States
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Some critics have suggested the prologue and epilogue were intended to demonstrate the care with which Beban, a noted stage actor, had selected a story worthy of his talents.
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was released on DVD as part of a two-disc compilation titled, "Perils of the New Land: Films of the Immigrant Experience (1910-1915)." At the time of the DVD release,
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Ince and Sullivan are credited with writing the film's story, but film historian Kevin Brownlow has shown that the plot was essentially lifted from the earlier
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in March 2009, focusing on the film's depiction of the Italian-American immigrant experience as a Darwinian jungle rather than a promised land paved with gold:
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called it "a fascinating story," and "a simple story of ghetto life, showing that love, faith, and loyalty are not unknown quantities in this dark sphere."
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896:"GEORGE BEBAN, IN "THE ITALIAN": Celebrated Character Actor Appears in Title Role of This Brilliant Paramount Drama". Fort Wayne News. 1915-01-13.
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918:""THE ITALIAN" COMING: Thomas Ince's Masterpiece to Be Shown Thursday and Friday". San Antonio Light. 1915-01-31.
874:"Potash and Perlntotter" and "Today" Chief Playbills of Week: Garden—'The Italian." Washington Post". 1915-01-10.
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In his 2004 historical book on the depiction of Italians in Hollywood movies, Peter Bondanella praised the film:
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in November 1914 reported that "Ince sent Beban to Italy to get special canal scenes for the eight-reel play."
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also commended the "simple beauty of the story itself" and also praised Beban's performance:
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The film tells the story of Pietro "Beppo" Donnetti. Donnetti is a poor, but happy,
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852:"FUNNY INCIDENT IN "THE ITALIAN WEDDING"". Logansport Journal-Tribune. 1915-04-16.
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773:. National Film Preservation Board (U.S.). New York: Continuum. pp. 41–42.
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841:"A THRILLING SCENE IN "THE ITALIAN"". Logansport Journal-Tribune. 1915-04-17.
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Beppo sails for America to make his fortune, making a living working as a
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gave the film a positive review which included the following comments:
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1915 American silent feature film directed by Reginald Barker
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Clara Williams as Beppo's wife, Annette, with "Little Tony"
754:"LINDEN PHOTODROME". Suburbanite Economist. 1915-01-29.
809:"Critic's Choice: New DVDs: 'Perils of the New Land'"
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Grace Kingsley (1915-01-12). "Vaudeville and Films".
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934:"A Second Look: 'Perils of the New Land'"
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988:Bondanella, Hollywood Italians, p. 27
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739:Peter Bondanella (2004).
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1293:The Women and the Puppet
1245:Sweetheart of the Doomed
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101:(uncredited)
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1429:The Rainbow
1413:New Orleans
1405:The Toilers
1301:Godless Men
1197:The Italian
1173:The Typhoon
1157:The Bargain
1097:The Italian
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1048:Film portal
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648:The Italian
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351:The Italian
228:silent film
223:The Italian
216:The Italian
200:The Italian
184:intertitles
63:Produced by
39:Directed by
22:The Italian
1484:1915 films
1478:Categories
1461:The Healer
1189:The Coward
1105:0826429777
725:2020-11-17
700:2020-11-17
677:References
588:Fritz Lang
435:Leo Willis
317:Production
298:unharmed.
287:shoeshiner
236:shoeshiner
142:1915-06-18
107:Production
49:Written by
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1181:The Devil
789:676697377
633:Director
575:one-sheet
565:"Against
512:In 2008,
373:Manhattan
276:gondolier
232:gondolier
173:Languages
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666:DVD Talk
554:Cineaste
331:pictured
95:Music by
71:Starring
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1071:at the
364:The Wop
181:English
163:Country
158:78 min.
140: (
109:company
1464:(1935)
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612:War."
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536:The
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