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Francesca da Rimini; or, The Two Brothers
Also known as [Francesca di Rimini]
(1908) United States of America
B&W : Short film
Directed by J. Stuart Blackton
Cast: Florence Turner [Francesca da Rimini], Paul Panzer, Edith Storey
The Vitagraph Company of America production; distributed by The Vitagraph Company of America. / From the play Francesca da Rimini by Gabriele D'Annunzio [?] and from writings by Dante Alighieri? / © 4 September 1907 by The Vitagraph Company of America [H99035]. Released 8 February 1908. / Standard 35mm spherical 1.33:1 format. / The play was subsequently filmed as Francesca da Rimini (1908).
Drama: Historical.
Synopsis: [The Moving Picture World, 8 February 1908, page ?] Scene I. — The Letter. — Francesca surrounded by ladies-in-waiting at the palace. Her father enters and together they read a letter from Lanciotto asking for the hand of Francesca. Both are overjoyed at the union of two great houses in marriage, and the daughter retires to dress for Lanciotto’s arrival. Scene 2. — Love at First Sight. — Francesca on throne; a page enters and announces the arrival of the guest. Paulo (Lanciotto’s brother) enters, hands her the parchment from his brother; their eyes meet—it is love at first sight. With an effort Paola withdraws. Francesca unrolls the parchment to find that Lanciotto has been called to war, and has sent his brother to act as proxy until his return. Francesca is horrified as she realizes that he heart has been given to the brother, while Paola is dismayed at being false to his brother’s trust. After perusing the letter, Francesca gives her consent to marry the brother, and, as the messenger leaves, falls back unconscious. Scene 3. — The Bridegroom. — The Father, Paolo and Lanciotta enter. The latter is misshapen and looks still more ugly in comparison with his handsome brother. Lanciotto is introduced, advances to kiss Francesca; she gazes upon her future husband, then recoils, disgusted and heart-broken. Scene 4. — The Wedding. — The church is filled with the court, the priest, Lanciotto and Paulo waiting. Francesca and her father arrive, the ceremony goes on; the priest pronounces his blessing. Lanciotto attempts to kiss his bride, but she shrinks from him. In despair and sorrow, he realizes his wife does not love him. At this point, a messenger in great excitement enters and announces that the bridegroom must go to the front immediately. He buckles his sword, leaves his bride in Paolo’s care, and hastily depart. Scene 5. — The Lovers. — Francesca and Paolo are sitting on a bench in the palace gardens. He is reading to her, but the love existing is frequently shown in shy glances. Pepe, the court jester, brings a message from the castle. Paolo drops the book and, with a lingering look, reluctantly leaves. In the hurry his cap has been forgotten. Francesca sees it, holds it to her heart, and kisses it repeatedly. Paolo returns, looking for his cap, and starts back as he realizes what this action means. He takes her in his arms and kisses her ardently. Both vow eternal fidelity. Pepe, the jester, enters at this unexpected moment, unperceived by the lovers. Surprise, horror, then fiendish glee are depicted on his countenance, as he rushes away to inform his master, Lanciotto. Scene 6. — Lanciotto is sitting musing over a fire at the camp. He is alone, and is kissing a photo [sic] of his bride, as the jester staggers up and tells of his discovery. Lanciotto, in ungovernable rage, rushes madly about, bids the “tale-bearer” say his prayers, then stabs him to the heart as the only way to prevent the tale from spreading. Scene 7. — Seated in a room at the castle, Francesca and Paolo are in the midst of a love scene when the curtains directly back of them part and the haggard face of Lanciotto looks down upon them, expressions of despair, hate, jealousy and revenge rapidly crossing his countenance. As the lovers arise, the travel-strained husband enters; both fall back in horror and fear. Realizing the fate in store for them, they take one long last embrace and farewell kiss, as Lanciotto, enraged, stabs Francesca to the heart. Paolo knees beside the body and is himself stabbed by the thoroughly frenzied brother. Lanciotto raises his hand to heaven as though to justify the deed, laughs insanely as he gazes down upon the dead, then stabs himself and falls dead.
Reviews: [Variety, 22 February 1908, page ?] Too much cannot be said in praise of this new work. It represents the successful working out of the new idea in motion photography — the use of standard dramatic works as cinematographic subjects. The familiar story of “Francesca di Rimini” has been stripped of all its embellishments and the mere narrative of the tragic play is presented in all its embellishments and the mere narrative of the tragic play is presented in all its powerful simplicity. As a matter of record, a capacity audience at the Colonial remained in its seats and watched the film to its finish. An unmistakable movement toward the doors was checked before the picture had been running two minutes. Mechanically the work approaches perfection. The story is carried out by one of the most skillful groups of pantomimic players that has been seen on the sheet in a long time. [At this point the writer recounts the plot, but mistakenly believes Francesca is the dwarf, Lanciotto. He also raves about the film’s “exquisite series of out-of-door scenes laid in what serves for an Italian garden.” Just one point of criticism suggests itself in this very meritorious production. Whereas all the exterior scenes are in perfect settings, the interiors are wretched pasteboard and tinsel “fakes.” Their frank staginess dispels the illusion which has been so carefully nourished by the beauty of the other scenes and skill of the players and makes a sad blot on the otherwise artistic achievement.
Survival status: Print exists.
Current rights holder: Public domain [USA].
Listing updated: 14 August 2023.
References: Blum-Silent p. 28; Leyda-Before p. 44; Musser-Emerge pp. 4, 472, 602; Shipman-Cinema p. 38; Slide-BigV p. 178 : Website-AFI; Website-IMDb.
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