The first time I watched THE DUMB (MUTE) GIRL OF PORTICI, I was somewhat taken aback. I have been a big fan of Lois Weber for many years but I had never seen anything like this. I was used to her movies being either 1) issue driven like HYPOCRITES or WHERE ARE MY CHILDREN? or 2) intimate domestic dramas like TOO WISE WIVES or THE BLOT. PORTICI is neither of these. I didn’t like the exaggerated gestures and over-the-top acting which seemed a bit too much even for 1915. Anna Pavlova was a celebrated dancer and her movements are graceful but an actress? Rupert Julian, better known as the director of PHANTOM OF THE OPERA , gives credence to Lon Chaney’s claim that Julian encouraged his performers to overact. Then I watched PORTICI a second time and had a different reaction.
The movie is based on Daniel Auber’s 19th century Grand Opera of the same name and was meant to be staged like one only without singing. It looks like an opera from the large scale sets, the numerous costumes , and the overheated gestures which convey the passions of the characters. A second viewing also explained why the music fit what I was watching so well. Weber must have had composer Auber’s score played in the background as the performers’ actions often match the soundtrack which is based on the original music and excellently co-ordinated by composer John Sweeney. Aside from Pavlova and Julian, the only other recognizable name is Jack Holt (billed here as Mr John Holt) as one of the Viceroy’s sons. Within a few years he would become a rugged leading man of the 1920s and early 1930s.
The complicated plot involves one of a Spanish Viceroy’s sons, betrothed to an aristocratic woman, who seduces a poor Neapolitan mute whose brother is a fisherman and a leader of a local rebellion which is hoping to overthrow Spanish rule.in 17th century Naples. The brother plans to avenge his sister’s dishonor even though she still loves the nobleman. Lots of fighting and eventual tragedy ensue with the mute woman and virtually every other major character dying or being killed. The finale is a fanciful dance for Pavlova as her spirit goes to its final reward. The original story was by the prolific writer Eugene Scribe, creator of the “well made play” who also specialized in cranking out librettos for 19th century French Grand Operas.
Lois Weber handles all of the diverse elements in a masterful way. Her camerawork is static but encompassing, the editing moves the story along, and she stages the large scale scenes in a well choreographed manner. She truly knew the craft of filmmaking and was the equal of Griffith, De Mille, Stroheim or any other major director of the period. PORTICI should be seen along with her better known movies so you can see just what she was capable of. Like Griffith she would be shunted aside by an industry that she had been a vital part of in the beginning but, unlike Griffith, she would be completely forgotten for over 30 years. This Library of Congress restoration released by Milestone Film shows a different side of Weber but an equally valid one.
The Capsule Critic 