IMDB
FILMAFFINITY
Título original: Feu Mathias Pascal
Título del estreno en España: El difunto Matías Pascal
Director: Marcel L'Herbier
Año: 1925
País: Francia
Guion: Marcel L'Herbier (basado en la novela de Luigi Pirandello)
Intérpretes: Ivan Mozzhukhin, Marcelle Pradot, Lois Moran, Marthe Mellot, Pauline Carton, Michel Simon
Producción: Cinégraphic
Duración: 178 min.
Argumento: Matías Pascal, el hijo único de una familia rica, se casa con la bella Romalinda, que sufre el carácter de una terrible madrastra que la controla y hace de su vida en casa una pesadilla, al igual que su trabajo como asistente de bibliotecario en su ciudad natal.
Datos Técnicos:
- Spoiler: mostrar
Subtítulos en inglés:
Feu Mathias Pascal (Marcel L'Herbier, 1925).English.srt
Publicada por DownTYU en publichd.se
Increíble ripeo de la obra de L’Herbier. ¿Alguien se anima con los subtítulos? Si queréis ir más rápido, podéis bajar la película mediante torrent aquí. Eso sí, no os olvidéis luego de ponerla un tiempo en el incoming, porfa.
[quote="hel"]Cuando subtitulas una película, estableces una relación especial con ella, que va más allá del mero disfrute. De alguna manera, la llegas a sentir como algo tuyo. La conoces bien, entiendes mejor la lógica cinematográfica en la que se basa, aprendes el lenguaje visual que se emplea, la quieres e incluso, a veces, te enfadas con ella...
Tenía pensado decir muchas cosas sobre Feu Mathias Pascal. Acerca de sus recursos técnicos, su narrativa, su temática, su equipo humano, su mensaje... pero, creo que lo mejor que puedo decir, a las dos de la mañana es: bajadla, hacedme caso, bajadla, mientras se pueda. Porque viejas películas olvidadas y denostadas por el gran público actual como esta joya, constituyen los pilares que han hecho grande el espectáculo que hoy día conocemos como séptimo arte.
Subtítulos en español:
http://www.subdivx.com/X6XMzI5MTYxX-feu ... -1925.html
Saludos y buena descarga. [/quote]
GEORGES SADOUL:
[quote] …Feu Mathias Pascal alió a las vistas de Roma y de San Gimignano las bellas escenografías de Cavalcanti, ayudado por Lazare Meerson. Interpretado por Mosjukin, en la cúspide de su gloria, y por el principiante Michel Simon, el film fue un logro en el que el refinamiento técnico se alió, sin gratuidad, con el penetrante cuadro de costumbres italianas que ofrece la novela de Pirandello...
[/quote]
DAVE KEHR:
Código: Seleccionar todo
Three different cultural streams of the early 20th century flow into “The Late Mathias Pascal,” a 1926 French film that has now been given an excellent Blu-ray presentation by the independent distributor Flicker Alley.
The director, Marcel L’Herbier, was a prominent figure in the French cinema’s first avant-garde. With colleagues including Abel Gance (“Napoleon”), Jean Epstein (“Coeur Fidèle”) and Germaine Dulac (“The Seashell and the Clergyman”) L’Herbier belonged to a loose group of filmmakers who, in the aftermath of World War I, were already determined to resist the transparent storytelling style of the dominant commercial cinema. By using aggressive stylistic devices like dissolves, superimpositions, slow motion and distorted sets, they hoped to interrupt the smooth narrative flow already associated with Hollywood and impose a more subjective, self-consciously artistic vision on the world they filmed.
The source material was an early novel by Luigi Pirandello, whose play “Six Characters in Search of an Author” had become the rage of Paris with its own assault on theatrical conventions. The protagonist of Pirandello’s novel, an impoverished provincial intellectual who takes advantage of a false report of his suicide to escape his contemptuous wife and grasping mother-in-law, is among the first heroes of literary modernism to experience an identity crisis. Free to be whoever he wants (thanks to a miraculous run of luck in Monte Carlo) he finds himself unconsciously recreating his earlier predicament, as he relocates to Rome and falls under the influence of a beautiful young woman and her avaricious father.
Starring as Mathias Pascal is Ivan Mozzhukhin — or Mosjoukine, as he was known in France and is billed in this edition — a White Russian exile whose hawkish profile and penetrating gaze had made him one of Europe’s leading movie stars.
Though equipped with a sexual magnetism some contemporary critics compared to Valentino’s, Mozzhukhin had substantial artistic credentials of his own. In France he founded his own production company, La Société de Films Albatros, and wrote the screenplays for several of his productions — most famously the highly stylized “Brasier Ardent” (1923), which he also directed.
L’Herbier specialized in sweeping denunciations of social decadence, preferably set amid stunning Art Moderne sets, like “L’Inhumaine,” from 1924, with sets designed by, among others, the artist Fernand Léger and the architect Robert Mallet-Stevens.
Unusually, for both L’Herbier and Mozzhukhin, “The Late Mathias Pascal” is essentially a comedy, with a more upbeat ending than Pirandello provided. Instead of smoldering, Mozzhukhin reins in his charisma for an effective, underdog performance, though his hypnotic stare remains always in reserve — a little like Buster Keaton channeling Bela Lugosi.
The monumental sets are still there, but, as designed by Alberto Cavalcanti and Lazare Meerson, they come with more realistic trappings. (The neglected municipal library, where Mathias works, occupies a ruined church, where mice scamper amid teetering stacks of rotting books.)
The studio work blends seamlessly with location shooting in Tuscany, Rome and Monte Carlo. And it’s a bit startling to encounter the actual casino when you’ve become accustomed to its Hollywood back-lot representation.
Also startling is the presence of the American actress Lois Moran, as the woman who enchants Mathias in Rome. With her clear, blue-eyed beauty, it is easy to imagine what F. Scott Fitzgerald must have seen in her. The two were said to be lovers around this time, and Fitzgerald later made her the model for Rosemary Hoyt, the victimized actress in “Tender Is the Night.” If a lot of cultural influences flowed into “The Late Mathias Pascale,” at least one flowed out as well.
Derived from a print made from the original negative held by the Cinémathèque Française, “The Late Mathias Pascale” receives a magnificent presentation here, with very tight detail and a delicate re-creation of the color tinting that the film (like most silent features) possessed on its first release.