Catalogo 1999 - Cineteca di Bologna

She was often called up to play the role of the rival woman. Her jet black eyes and hair created an
unusual contrast with her tense and pale face, evoking a mysterious and ambiguous appearance.
She made her debut in the beginning of the century at Berlin’s Deutsches Theater, and her acting career had been burgeoning
on stage in the most important German theatres for at least ten years when Eugen Illés asked her to work for the screen. From
1913 onward, and under the same director, Morena acted in a dozen films one after the other, often with Alexander von Antalffy
as her partner who a few years later, having moved on to the other side of the camera, called her to act together with Emil
Jannings in Wedekind’s Lulu. Also in 1917 she played in the first version of Tagebuch einer Verlorenen, directed by Oswald with
Conrad Veidt and Werner Krauss, which anticipated the project which a dozen years later Pabst took up again with Louise
Brooks. Throughout the silent period, Morena was the leading actress in four to five films a year, directed by Wiene, Murnau
(Der Gang in die Nacht), Czerepy, Steinhoff, May (Das indische Grabmal), Franck, Froelich, Boese, Holger-Madsen, Pabst
(Man spielt nicht mit der Liebe), Gaston Ravel.
Sound cinema did not stop her career, but moved her progressively away from the limelight. (Vittorio
Martinelli)
Io ho creato la donna di mondo e la femmina. I miei sforzi miravano costantemente a tenere separati i due mondi in modo netto.
Conseguire il massimo dell’effetto con la massima economia di mezzi era il mio obiettivo artistico. La plasticità propria del film e
le sue risorse, questa possibilità di dar vita alle mille, sottili sfumature del movimento (dalle quali risulta senza soluzioni di
continuità l’immagine del personaggio, in modo del tutto diverso che a teatro) è quanto maggiormente mi ha attratto nel cinema.
(Erna Morena, in Hermann Treuner (Hg.), Filmkünstler. Wir über uns selbst, 1928)
I created the stylish lady and the wench. It was always my aim to clearly outline the border between
these two worlds. My artistic objective was to achieve the greatest effect with the least means. The
three-dimensional aspect of film and its potential, to be able to shape those thousand fine nuances of
movement (from which the character then emerges visually, quite complete and quite different to the
theatre), that is what most attracted me about film. (Erna Morena, in Hermann Treuner (Hg.),
Filmkünstler. Wir über uns selbst, 1928)
ore 14.45
Presentazione del progetto: ITALIA TAGLIA / First Presentation of the Project: ITALY CUTS
Rosanna Rummo, Direttore Generale del Dipartimento dello Spettacolo del Ministero per le Attività e i
Beni Culturali
Giuseppe Bertolucci, Presidente della Cineteca del Comune di Bologna
Vittorio Boarini, Direttore della Cineteca del Comune di Bologna
Andrea Marcotulli, Direttore generale ANICA
Tatti Sanguinetti, Curatore del progetto
annunciano l’avvio e le tappe del progetto.
Tagli a sopresa / Choice of surprise cuts.
ore 15.25
Divine apparizioni / Divine apparitions - Erna Morena
TASCHENDIEBE (I borsaioli / Germania, 1920). R.: Emil Justitz. In.: Erna Morena, Emil Mamelok,,
Maria Zelenka, Ernst Wurmser, Hans Albers, Willi Kaiser-Heyl, Richard Georg, Margarete Kupfer,
Fritz Sattler, Alexander Areuss, Hans Lindegg. 35mm. L.: 2098m. D.: 116’ a 16 f/s. Didascalie russe /
Russian intertitles
Da: Gosfilmofond of Russia