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MUSEUM of DREAMWORLDS

MUSEUM of DREAMWORLDS

Silent Antiquity Films in the BFI National Archive

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Ultimi Giorni di Pompei, Gli (Original)

1926

Alternative Titles

The Last Days of Pompeii (Alternative)

BFI identifier

49553

For further information on how to access the film and associated materials, check the Notes on the Print under the Technical tab.

Synopsis

Set in Pompeii and based on the novel by Edward Bulwer- Lytton. Rl.1. Various shots of the ruins of Pompeii and Vesuvius (137). A reconstruction of life in old Pompeii showing artisans at work, street vendors, letter writers and the womens' baths (384). Glaucus, a young patrician, is deserted by Julia, the daughter of Diomed, a wealthy freedman. Glaucus, however, loves Ione, a patrician like himself (602). Rl.2. Arbaces, the Egyptian priest of Isis, is the guardian of Ione and her brother Apecides. Arbaces nurses a secret passion for Ione and is jealous of Glaucus. Glaucus purchases a blind slave, Nydia, who is being mistreated by her mistress. Arbaces, who wishes to gain complete power over Apecides, introduces him to a night of pleasure (476). Rl.3. Dancing girls perform and Arbaces is presented with a female slave on a platter of roses. Meanwhile, Glaucus goes to see Ione, but she refuses to see him having heard that he is amusing himself with a blind slave. He returns home where Nydia devotedly awaits him. He tells her of his love for Ione and Nydia, who secretly loves him, offers to intercede with Ione on his behalf (602). Rl.4. Apecides, disatisfied with his life, goes to see Olinthus, a Christian preacher who introduces him into the catacombs where he absorbs the new theology. Nydia, acting as Glaucus' ambassador, goes to see Ione and learns that she is in Arbaces' palace. She returns to Glaucus and, together with Apecides, hurries to the palace filled with foreboding. In the palace, Arbaces conjures up a vision for Ione in which he appears as her future husband. She tells him that ehr heart is with Glaucus. Glaucus and Apecides are in time to rescue her from violation be Arbaces who, in the ensuing struggle, is stunned by a falling statue caused by an earth tremor (850). Rl.5. Nydia, hiding her sorrow, sings to the united lovers as they sail on the river together. Theya re seen by the jealous Julia. Apecides is baptised. Julia consults Nydia about the possibility of obtaining a love philtre to administer on Glaucus. Nydia is unable to help but, following a suggestion from Julia's maid, they go together to Arbaces. Arbaces gives her a potion to induce madness instead. She accepts this but Nydia steals the potion and administers it to Glaucus herself (409). Rl.6. The horrified girl watches helplessly as Glaucus goes mad and runs amok. Apecides, inflamed by his new faith, meets Arbaces in a deserted grove and threatens to denounce him for his evil ways. Arbaces stabs him dead but is observed by Calenus, on of his priests, who is hidden in the bushes. The maddened Glaucus arrives on the scene and is denounced by Arbaces as the murderer. Glaucus is arrested for the murder despite the efforts of Olinthus who rightly suspects Arbaces of the crime (735). Rl.7. Glaucus is brought to trial and sentenced to death although his friend, Sallust, pleads his cause desperately. Apecides' body is burned according to the rites of Isis. Calenus officiates at the ceremony and afterwards demonstrates with a vision his knowledge of Arbaces' crime. Arbaces offers him untold wealth in exchange for his silence and conducts the priest to his treasure vaults. As Calenus is examining the treasure, Arbaces creeps out of the vault and locks the old man in. Nydia, who has wandered into the grounds in search of Glaucus, witnesses this further crime and hastens off for assistance but is captured by Arbaces' guards and thrown into prison (1014). Rl.8. She bribes her jailer to take a message to Sallust. Glaucus prepares to meet his end in the arena. Sallust receives Nydia's appeal for help and hastens to free her and Calenus. The spectacle commences in the arena with a gladiatorial combat. Arbaces joins the spectators who include Julis and her father. Sallust and his men release Calenus as Glaucus is led out into the arena to face a lion unarmed. Sallust arrives on the scene and denounces Arbaces. Arbaces appeals to the crowd who are divided in their opinion. There is an earthquake and Vesuvius erupts. In the ensuing panic, Sallust and Glaucus meet and Glaucus learns that Ione is a prisoner in Arbaces' palace. Forcing their way through the panic-stricken populace, they make their way to the palace and find Ione with Nydia (1004). Rl.9. The palace collapses as they make their escape. Arbaces searchers for the lovers as the destruction of Pompeii continues. Looters and thieves are at work as the the earthquake and eruption continue. Calenus is buried under falling masonry, whilst the Christians pray. Nydia guides Glaucus and Ione through the ruins but she is separated from them by the crowds. Arbaces and his guards find the lovers and as he is about to seize them, the earth opens and he falls to his death. Nydia finds them again and guides them once more through the fires and destruction. A Roman sentry remains at his post and is buried by lava. Dawn breaks and the united lovers, together with the faithful Nydia, have taken refuge on a ship in the harbour. Unable to live without Glaucus' love, Nydia slips silently away from the lovers and throws herself into the sea (1078). (7370ft) Note: The first and last reel are stencil coloured. The film has obviously been subjected to severe cuts. English titles. Note: The archive has also acquired the restoration by the Cineteca Nazionale, which is approximately 1,300ft longer. It has English intertitles and is tinted and toned, with the beginning and ending stencil coloured. (Shotlist)


Production Country: Italy
Production Company: Societa Italiana Grandi Films
BFI Category: Fiction
Source: N/A

Cast

Maria Corda (Nidia)
Vittorio Evangelisti (Apecides)
Rina de Liguoro (Jone)
Victor Varkoni (Glaucus)
Bernhard Goetzke (Arbaces)
Emilio Ghione (Calenus)
Livia Maris (Julia)
Carlo Gualandri (Claudius)
Ferruccio Biancini (Olinthus)
Vasco Creti (Sallust)
Alfredo Martinelli (Lepidus)
Giuseppe Pierozzi (Josio)
Enrico Monti (Lidone)
Bruto Castellani (Eumolpo)
Enrico Palermi (Medone)
Carlo Reiter (Pansa)
Carlo Duse (Burbo)
Gildo Bocci (Diomede)

Credits

Director: Amleto Palermi, Carmine Gallone
Production Company: Societa Italiana Grandi Films
Producer: Amleto Palermi, Carmine Gallone
Script: Amleto Palermi
Based on the novel by: Edward Bulwer-Lytton
Photography: Victor Armenise, Alfredo Donelli
Set Designer: Vittorio Cafiero
Costumes: Duilio Cambellotti

Film Technical Information

Original Length: N/A
Length of BFI Viewing Print: 8643 ft
Support: Viewable
Colour
Format: 35 mm , D3, VHS cassette

Comments on the print:

Further details about the status of the BFI material will be provided shortly. The viewable print is beautifully stencil-coloured in places.

Visual Resources

Victor
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Victor Varconi in Gli ultimi giorni di Pompei (1926) German postcard by Ross Verlag, no. 1344/1, 1927-28.
Maria
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Maria Corda in Gli ultimi giorni di Pompei (1926) German postcard by Ross Verlag, no. 1346/1, 1927-1928.
Maria
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Maria Corda and Victor Varconi in Gli ultimi giorni di Pompei (1926) Italian postcard by C. Chierichetti, Milano.
Maria
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Maria Corda in Gli ultimi giorni di Pompei (1926) Italian postcard. C. Chierichetti, Milano.
Rina
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Rina de Liguoro in Gli ultimi giorni di Pompei (1926) Italian postcard. C. Chierichetti, Milano.
Maria
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Maria Corda in Gli ultimi giorni di Pompei (1926) Italian postcard.
Gli
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Gli ultimi giorni di Pompei (1926) Italian postcard. C. Chierichetti, Milano.
Maria
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Maria Corda in Gli ultimi giorni di Pompei Italian postcard. C. Chierichetti, Milano.
Gli
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Gli ultimi giorni di Pompei (1926) German postcard by Ross Verlag, no. 53/1.
Gli
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Gli ultimi giorni di Pompei (1926) German postcard by Ross Verlag, no. 53/2.
Gli
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Gli ultimi giorni di Pompei Italian postcard. C. Chierichetti, Milano.
Gli
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Gli ultimi giorni di Pompei Italian postcard. C. Chierichetti, Milano.
Gli
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Gli ultimi giorni di Pompei Italian postcard. C. Chierichetti, Milano.
Gli
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Gli ultimi giorni di Pompei Italian postcard. C. Chierichetti, Milano.
Gli
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Gli ultimi giorni di Pompei Italian postcard. C. Chierichetti, Milano.
Gli
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Gli ultimi giorni di Pompei Italian postcard. C. Chierichetti, Milano.
Bernhard
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Bernhard Goetzke in Gli ultimi giorni di Pompei (1926) German postcar by. Ross Verlag, no. 1347/1.
Victor
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Victor Varconi Italian postcard. C. Chierichetti, Milano, No. 8.
Gli
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Gli ultimi giorni di Pompei Italian postcard by C. Chierichetti, Milano. Photo: Grandi Films, Roma.
Gli
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Gli ultimi giorni di Pompei Italian postcard. C. Chierichetti, Milano. Grandi Films, Roma.
Gli
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Gli ultimi giorni di Pompei Italian postcard. C. Chierichetti, Milano. Grandi Films, Roma.
Gli
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Gli ultimi giorni di Pompei Italian postcard. C. Chierichetti, Milano. Grandi Films, Roma.
Gli
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Gli ultimi giorni di Pompei Italian postcard. C. Chierichetti, Milano. Grandi Films, Roma.
Gli
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Gli ultimi giorni di Pompei Italian postcard. C. Chierichetti, Milano. Grandi Films, Roma.
Gli
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Gli ultimi giorni di Pompei Italian postcard. C. Chierichetti, Milano. Grandi Films, Roma.

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.