The cinema in Poland
It was only after praying for several months, "Imperial Theater" that I began to get interested again in the movies. I had completed two parts of a lot of successful gestures, that of a slave in Sumurum and that of the protagonist in La Muette de Portici, and several friends would say that my game would have been very scenic expression on the screen. I did not give much weight to this hypothesis, because I would have predicted that the cinema would such a rapid increase. So I returned to the spectacles of cinema without much enthusiasm. We could see three or four films that French and Italian, though of little interest, they revive in me the love for the art dumb.
so ardently wished to interpret one part of a movie, to see what would result. We were in the summer of 1915, the war continued, and even in the most favorable conditions, it would be difficult to wait for a serious production. When I thought that I had to overcome obstacles in the beginning, I was laughing my audacious desire. The first difficulty was the absolute lack of facilities in Poland, there was no one involved in film production, and nobody knew the technique, even in its most basic principles. Moreover, on my own, I had no money at all to deal with such an undertaking.
However, despite all obstacles, I abandoned my idea. During my hours of rest from the theater, I wrote one subject: Love and Passion. It was a story very naive: the adventure of a girl who left the family home to devote himself to the theater and, after some time, became a great dancer. A young man who had loved her long ago, reached after several years, and because they loved each other always, they were married. It was touching.
My first film
When my party was finished, I began to turn in the lab a person who knew not only directed the making of this film, but I interpreted the main part. I had to serve the few means of fortune I possessed, and as technical means of a device that I did not have camera, belonging to the owner of the laboratory. These had always been only an amateur at the cinema, but in a short time, became a very competent person.
Since we did not have sufficient artificial lighting, using only natural light
, and, as actors use to our friends who lent their work very bravely and selflessly, only for their pleasure. Gl'interni shooting using the furniture in my apartment, while the exteriors were shot in a garden nearby. This garden was placed at our disposal, the precise condition that the owner's daughter found in our film.
Despite these almost insurmountable obstacles, Love and Passion was ready in less than a month, and it took me much longer to put it completely in order, to be presented to the public. But when it was completely finished, it constatai pettiness, and I was offered 100 rubles - that is, 400 francs - and I happy, I accepted the contract.
The owner of the film introduced him a few weeks later, and because it was the first work in 5 parts built in Poland and because it played by me, I enjoyed that reputation now, this presentation was sensational. Since then, I was considered a great actress. During the few months that followed, Love and Passion was represented in all the cinemas of Russian Poland, and, to my surprise, got a real success.
In Moscow, it produced such a stir that the complaint and the police did close the theater, where it was represented.
Censorship
The Russian film censorship was very strange before the revolution. Before anything else, the value of the film or ingenuity of the interpreter, it considered any production, solely from the religious point of view. It 'goes without saying that if it was found the least attack alla religione ufficiale, la visione del film era subito interdetta.
La scena principale di Amore e Passione era quella della danza di Salomè, dinanzi alla testa di Giovanni Battista; questa scena era la prova della mia abilità di danzatrice, mentre le altre dimostravano la mia capacità drammatica. Prima di presentare il film al pubblico, avevamo soppresso questa scena, poiché ne immaginavamo gli effetti, benigni per se stessi, ma terribili per la censura czarista. Però l'impresario del teatro di Mosca fu più audace di noi. Egli si procurò il film con la scena della danza del tutto inalterata e, fino al sequestro del lavoro, fece degli splendidi incassi.
Ancora attualmente Amore e Passione è considerato in Russia as a remarkable film and is of
fact that it procured several thousand rubles to their buyers. Here's how I made acquaintance with the cinema. Several artists dramatic protagonists became very popular film, but I believe to be the only one to debut in the part of quadruple producer, director, actress and star. And if someone else did it, it will not have to struggle as it touched me.
During the summer of 1916, the Germans arrived at the gates of Warsaw, and one morning, while my mother and I woke up, German troops occupied Warsaw completely.
Retreat
Russian forces were repelled to the other side of the border, and destroyed all the bridges in order to prevent enemies from advancing again. For a week, Warsaw was bombed continuously, since our troops left the city at once. The fighting that week were among the most horrific I have seen. More than 6,000 people were killed, of course, calculating the losses of the Germans.
At times there was a real rain of bullets. It was well that the Russians had only pieces of small arms, yet they also did enormous damage. Our house was completely riddled with bullets, which they beat in that number on the walls of my room, I had become impossible to enter it to take my clothes.
Despite these terrible events, I was playing every night at "Imperial Theatre 'on the other hand, the Germans forced the theater to remain open and worked for seven nights before empty benches.
We were continually exposed to see a bomb through the ceiling, or to be joined by an errant bullet.
As my mother and I lived in that week, I can describe it. We lack neither the food nor water as usually happens in such surroundings, but the terror of the people was boundless. There were enough hospitals, not enough doctors to treat thousands of wounded. During these terrible days, the Germans kept by force the most rigid discipline, and when the Russians were finally driven, there was the curious fact of having to see how quickly repair the damage our enemies and brought back to normal life in Warsaw. The great escape
I had much luck during those days and those nights of terror. One day while I was accompanied on stage by a friend, the latter was killed by a bullet beside me wandering. Another day, while visiting a wounded man to the hospital, the unfortunate man was killed before my eyes to the outbreak of a shrapnell. All this does not hinder to go to the theater every night.
The occupation of Warsaw by the Germans and the victories of these on all fronts, they arise in us the hope of a free and independent Poland. Shortly after I had resumed my usual life
, what was before the arrival of the Germans. The week of horrors and massacres that I looked more like an eerie dream. But the death of my boyfriend and the weeks of grueling work I had literally torn down, and that would have had a fatal outcome, if I had not changed since the theater.
I've never been too robust constitution and the ongoing trials of new parts I was so tired that all I had to spend a period of time in care of doctors. Sometimes m'accadde of being unable to finish to play my part, so I had to be accompanied home and put to bed. I was no longer sustained by the strength of my nerves. But my buona stella vegliava su di me : stavo per prendere un congedo, quando ricevetti una lettera di Max Reinhardt, il celebre direttore teatrale, che m'offriva un buon contratto per il suo teatro di Berlino.
A Berlino
Nulla poteva tentarmi maggiormente d'una scrittura come prima attrice sotto la direzione di Max Reinhardt, poiché questa era la migliore fortuna che potesse presentarsi ad un'attrice europea. Accettai subito e feci rapidamente i miei preparativi per lasciare Varsavia e raggiungere Berlino.
Nonostante la debolezza della mia costituzione non ebbi alcun timore in questo nuovo cambiamento della mia esistenza.
Come i Berlinesi potessero accettare un'attrice polacca, non potevo comprenderlo ; ma questa accoglienza era excellent opportunity for me to enter the great arena of art and do great things. On January 10, 1917 I arrived at the station eli Friedrichstrasse in Berlin.
Four weeks after the debut "Kamnierspiele Theatre" in Sumrum, under the direction of Professor Reinhardt. When I agreed to write propostami by Prof. Max Reinhardt, who only thought was for me a great chance to get out of life without the glory of Warsaw, but did not think the risks of my new situation. The conditions of life were already very bad in Warsaw, but in Berlin they were far worse. At the beginning of 1917, the food began to fail in Germany and there were bad omens in the air: but I could not explain why I had this feeling arriving in the capital. Every day the city seemed wrapped in a shroud of death: I felt invaded by such a moral vacuum, which was several times on the verge of returning to Warsaw, where I had left my mother. But the theater kept me from leaving.
The day of my arrival in Berlin, began testing Sumurum, under the direction of Prof. Reinhardt, and I was so busy that I had no time to think about my mental disaster. I've never worked as much as during my debut in Berlin. I had already made my share in Sumurum in Warsaw and I thought of making it to perfection, but I had to disillusion when I started working under the direction of Max Reinhardt, and I had to recognize I was conveniently far from interpreting that part.
films Pola Negri in Poland: 1914
Niewolnica Zmyslow (Love and passion of the senses or Slave), Pola Negri, Jan Pawlowski
1915 Beast, Aleksander Hertz
Czarna Ksiazeczka or Zolty Paszport (Passport Calvary yellow or a soul) A. Hertz, Harry Liedtke, Germany: Der Gelbe Schein
Pokoj No. 13 of A. Hertz
1916 Arabella A. Hertz
Jégo Ostatní Czyn A. Hertz
Studenci A. Hertz
zone (the bride) of A. Hertz
0 comments:
Post a Comment