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MUSEUM of DREAMWORLDS

MUSEUM of DREAMWORLDS

Silent Antiquity Films in the BFI National Archive

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Jone o Gli ultimi giorni di Pompei (Original)

1913

Alternative Titles

Gli ultimi giorni di Pompei (Alternative), The Last Days of Pompeii (Alternative), The Priest of Isis (Alternative)

BFI identifier

309731

Synopsis

Set in Pompeii and featuring the eruption of AD79. Based on the novel by Edward Bulwer-Lytton. Rl.1. Ione and Glaucus, who are in love, buy flowers from a blind girl, Nydia. Arbases, the Egyptian Priest of Isis, holds a magnificent banquet (139). Scenes showing a day in the life of a lady of fashion (186), followed by a chariot race (331). At the races, Arbaces conceives a passion for Ione. He tells her Glaucus is unworthy of her love and that he is infatuated with a blind slave that he bought from Burbius. To prove his love, Glaucus presents Ione with the slave- Nydia, the blind flower seller. Nydia secretly loves Glaucus and tells Ione that he was her saviour. She accompanies Ione to the house of Arbaces (856). Rl.1b. Arbaces instructs his servants to take Nydia to their quarters and conducts Ione into an inner temple. Nydia goes in search of her mistress and, unable to find her, seeks the assistance of Glaucus. In the precincts of the temple and the presence of the dancing girls, Arbaces attempts to violate Ione, who is rescued in time by Glaucus and Nydia (347). Rl.2. Glaucus thanks Nydia for her assistance. She confesses her unhappiness to Julia, a patrician friend, who asks Arbaces for a philtre that will bring Nydia Glaucus' love. Arbaces consults with a witch who then gives Julia and Nydia the philtre. Nydia, believing that she has a love potion, administers it to Glaucus. Glaucus, the victim of Arbaces' jealousy, immediately suffers a fit of madness and dashes wildly through the streets. In the groves of Isis Arbaces and another priest, Menegates, are walking. Glaucus stumbles into the grove and collapses. Menegates goes to his assistance but is killed by Arbaces with Glaucus' sword. However, the murder is witnessed by an elderly priest, Calenus. Glaucus is arrested for the murder while Arbaces offers Calenus untold wealth for his silence. Nydia, learning of Glaucus' arrest, goes to see Arbaces who orders his servants to imprison her. She escapes and wanders blindly in the subterranean passages of Arbaces' house where she overhears Arbaces receive Calenus and conduct him to an inner chamber (1073). Rl.3. Arbaces shows Calenus his treasures, then creeps stealthily from the chamber and locks the old man in. Nydia is recaptured by the servants. Publicly accused by Arbaces, Glaucus is condemned to the arena. Sallust, his friend, is grief-stricken. Ione goes to Arbaces for assistance. She repulses his further advances and is imprisoned. Nydia writes to Sallust for help and when the message is delivered he collects his friends to stage a rescue. The spectacle in the arena commences, watched by Arbaces (3092). Sallust and his friends rescue Nydia and Ione (910). Rl.4. Arbaces continues to watch the sports in the arena, which include fights between gladiators (3352). In the background, Vesuvius begins to belch smoke. Glaucus, alone in the arena, is surrounded by lions but they ignore him. Sallust confronts Arbaces with his victims and denounces him to the crowd who demand that he be thrown to the lions. Vesuvius erupts and the crowds panic. The destruction of Pompeii commences (3571). Guided by Nydia, the reunited lovers take refuge on a ship. Having saved them, the lovesick Nydia quietly slips into the sea (700). (3886ft) Note: The main title is a replacement on 1928 stock. All titles are in English and introductory titles on reels 3 and 4 read "The Priest of Isis" on 1916 stock. The whole film is riddled with periodic gaps, particularly in the last reel. (Shortlist)


Production Country: Italy
Production Company: Pasquali
BFI Category: Fiction
Source: N/A

Cast

Suzanne De Labroy (Nidia)
Ines Melidoni (Julia)
Luigi Mele (Glaucus)
Cristina Ruspoli (Jone)
Giovanni Enrico Vidali (Arbaces)
Giuseppe Majone Diaz (Burbo, the Innkeeper)
Michele Ciusa (Calenus)

Credits

Director: Giovanni Enrico Vidali
Co-director (uncredited): Ubaldo Maria Del Colle
Production Company: Pasquali
Based on the novel by Edward Bulwer-Lytton
Photography: Raimondo Scotti
Set Designer: Domenico Gaido

Film Technical Information

Original Length: N/A
Length of BFI Viewing Print: 3851 ft
Support: Viewable
Colour
Format: 35 mm , 35mm BW Positive, 35mm Colour Positive,Digital Betacam,16mm Positive, 35mm Dupe Negative, 35mm Tinted Positive

Comments on the print:

Further details on this print and its relation to the longer, restored version held by theMuseo Nazionale del Cinema (Turin) to follow.

1913- A City Reborn on Screen: Rediscovering the Sets of Jone, ovvero Gli ultimi giorni di Pompei

At the turn of the 19th century, Pompeii’s remarkable preservation made it a focal point for exploring and visualising ancient Roman life, particularly in early Italian silent cinema. This essay examines the 1913 Pasquali Film Jone, ovvero Gli ultimi giorni di Pompei, directed by Giovanni Enrico Vidali. The film combines three-dimensional sets with authentic locations and draws extensively on archaeological evidence, nineteenth-century paintings, and literary sources to reconstruct Pompeii’s urban and domestic spaces. Outdoor scenes depict streets, the Forum, and exedra seating, highlighting public life, while interiors, including triclinia, cubicula, and atria, illustrate elite domestic practices, luxury, and social hierarchy. The Villa of Diomed and the Temple of Isis emphasise refinement and exoticism, while amphitheatre sequences, with live animals and staged crowds, underscore spectacle and civic culture. By integrating archaeological accuracy with artistic and cinematic conventions, the Pasquali film transforms Pompeii into both a historical reconstruction and a dramatic stage, allowing audiences to witness daily life, ritual, and catastrophe.

1926- The Last Silent Epic of Pompeii: Architecture, Spectacle, and Cinematic Reconstruction in Gli ultimi giorni di Pompei

This article explores Gli Ultimi Giorni di Pompei (1926) as the culmination of silent-era cinematic representations of Pompeii, arguing that the film transforms cinematic fiction into a valuable source for understanding ancient architecture and urban life. By the 1920s, these layers converged in large-scale historical epics, enabling cinema to function as a medium of virtual time travel in which the spectator assumes the role of a beholder-traveller. Through close analysis of scenography, the article examines the reconstruction of streets, the Forum, public buildings, domestic interiors, baths, and the amphitheatre. It demonstrates how spatial organisation, architectural accuracy, decorative detail, and crowd scenes created immersive environments that animated Pompeii as a lived city rather than a static ruin. While acknowledging moments where fictional composition departs from archaeological precision, the article emphasises the film’s exceptional attention to material culture and its partial use of real locations. Ultimately, the study contends that Gli Ultimi Giorni di Pompei (1926) represents both the apex and the conclusion of silent Pompeii cinema, where spectacle, architecture, and narrative converge to produce a cinematic document of enduring archaeological and cultural significance.