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It was now dusk and the last light of day glimmered, momentarily, for the Italian cinema ■ — La via del dolore (The Street of Sorrow) a title subsequently to be borrowed by Pabst for a memorable film ; 77 cammino delle Stelle (The Path of the Stars), others, and then, with a last gasp of renewed energy and optimism, another attempt to recapture what had been Italy's most successful province, the spectacular historical film, another Last Days of Pompeii by Palermi, which turned out to be just so much time and money thrown away.
Italian directors began to emigrate to foreign countries, followed by stars, cameramen and other technicians. They went first to Germany and France, two countries which subsequently fed the American cinema. Soon most of them gravitated in one way or another to Hollywood. Two Italian actresses made notable careers in Germany, Carmen Boni and Marcella Albani.
By 1925, Italy began to receive films by some of its expatriates, like Cyrano de Bergerac, directed by Genina, with Pierre Magnier, Linda Moglia and Umberto Casalini ; Henry IV, by Palermi, from the play by Pirandello, with the thin and disquieting Conrad Veidt and the plump and placid Bilancia ; Stendhal's The Red and the Black by Righelli, with Ivan Mosjoukine and Lil Dagover.
At home, Negroni turned out a Beatrice Cenci with Maria Jacobini and a Judith and Holofernes with Jia Ruskaia and Bartolomeo Pagano. There was a second Brother Francis, Vena d'Oro (Veins of Gold), and then, like a summing up of all the sins of the past, a Carnival of Venice.
Fascism had come into power in Italy on October 28, 1922.
In November, 1925, the Istituto Luce became a state society for propaganda and culture through the cinema. Solidly financed, it developed rapidly.
Generous legislative measures hastened the rebirth of the Italian cinema. Rome became the seat of the Istituto Internazionale di Cinematografia Educativa. It was a powerful organization but the task was formidable too — namely, to win back the Italian movie going public which was now devoted to Hollywood.
There was to be established the Direzione Generale della Cinematografia per la Disciplina e la Tutela della Produzione (General Office for the Discipline and Guidance of Film Production). Cinecitta was to rise, a gigantic mass of buildings. We were to have the Centro Sperimentale (Experimental Center) for the development of new talent. The film industry was to be aided and rewarded. Venice, with its International Exhibit of Cinema Art (now popularly known as the Venice Film Festival) was to become the film capital of the world. The public, already aware of the new vitality of the Italian cinema, began discussing the new directors and writers, as well as the new faces that were starting to appear on the screen, while the young people everywhere discussed film esthetics. New cinemas were built to seat thousands.
Mario Bonnard, no longer possessed of the old magic as a screen actor, turned director.
But it was not till 1929 that there was a hint that the dawn of a new era for the Italian cinema was at hand. A young man, who had gathered around his agressive film review a