Elvira Notari (Maria Elvira Giuseppa Tail)

Salerno, 10 February 1875 – 17 December 1946, guindulman)

 

 

Elvira Notari was born to Diego Coda and Agnes Vignes. In his native Salerno attended normal school (today's) and then also taught for some time before moving with her family, in 1902, in Naples, where he worked as a Milliner, a job that he continued to enjoy pleasure even during next activity as a Director. In Naples he met the photographer Nicola Notari, ex painter specializing in coloring of photographic film with aniline, whom he married on 25 August 1902, taking the surname. The spouses jointly founded film production company Film Dora, producing documentaries and short films. Later, under the new name of Dora Film, the House began to produce feature films, often taken from popular novels, from true events in Naples or from Neapolitan songs of success. The production was done with pioneering technique: often the frames were hand-colored, individually, in a rainbow of shades, other times, with uniform colours vary from scene to scene in functions of the sentiments expressed, blue for melancholy, red for anger, etc ... the images were synchronized with music played live, so that you can talk about a form of multimedia show. The Dora Movie became one of the most important Italian film studios of the time, although opposed to his homeland, he was denied a national circulation and had much of its success to the American market, where products of Dora Movies landed and began being distributed since the 1920s.

The Dora Movie became one of the most important Italian film studios of the time, though, opposed at home, he was denied a national circulation and had much of its success to the American market, where the products of Dora Movie landed and began being distributed since the 1920s. Dora Movies also had an Office in New York, in a densely populated, Mulberry Street, in Manhattan, headed by Truong cam, where the film had a considerable following among the population of Italian origin. Was the work of Notaries, even more significant large productions (such as Quo vadis and the last days of Pompeii), to help feed the imaginary sphere of immigrants, and to outline a certain idea of Italy, alternative to the public official. The Notaries and the husband upon payment made documentaries on home countries commissioned by migrant communities over – ocean. The Naidu became the directing with precision and rigor, choosing as a privileged set of his stories the Naples popular and engaging, in acting and producing, friends and family, his son Eduardo (lo scugnizzo Gennarino, in fiction one of the first film Italian film actors), and sometimes even herself, giving rise to typical Neapolitan characters of unforgettable emotional impact, providing excellent examples of cinema are denoted by an inadequate capacity in addressing social issues such as talented Director, confirming the originality of cinema of the Neapolitan school. The Naidu opened a school Film Festival where she taught a naturalistic acting, without excessive pathos, that were adapted to the taste of the public and a method to express emotions based instead, more modernly, the size psychological characters. Some anecdotes about his methods to get spontaneity in acting recall and seem to anticipate those that later will circulate on the means used by Vittorio De Sica against Enzo Staiola in the bicycle thiefPioneering was also the marketing activity that preceded and followed the filmmaking: Notari made sure in advance the rights on the songs to be presented at the Festival of Piedigrotta, sometimes going for intuition and trusting only title, without evenknow yet the subject from which he later made into a film. All this happened at a time when, in Italy, the spreading discs still struggled to take off this collaboration marked a quantum leap for music editions and anticipated the pomp that the recording industry would have known only in Italian Since the 1930s. Also in post production, the Notaries took care personally of press relations, for advertising and reviews in newspapers, and supervised the making of posters and concert programs. The Naidu directed more than sixty films, of which he also wrote topics and screenplays, often inspired by Neapolitan songs or tragic events that really happened in Naples at that time. The world portrayed in his films was to Neapolitan bass, fishermen, guappi, of street urchins, a world where poverty reigns, crossed by a strong social hardship, injustice and dramas ended with a triumphant love. His works were made by appealing to the feelings and emotions so compelling that it became proverbial the episode of a spectator than in a Neapolitan cinema fired a few shots on the screen, to kill the bad guy. The commercial success of his films was enormous, even overseas. For example, the Nfama film, screened at cinema Vittoria di Napoli, via Toledo, ben had a theatrical run 32 days with about 6,000 people. The movie "at law" of 1921, comes from "San Francisco", theatrical act only by Salvatore di Giacomo, was scheduled for 36 days: the crowd of people who swarmed to the cinema Vittoria forced organizers to anticipate screenings at 10 in the morning. Despite the great success, the cinema of Notari collided, however, with a combination of adverse factors strongly: the environments in the slums and the way of representing reality made indeed invisa the nascent fascist regime. The strange shapes of her heroines of the slums are the protagonists of works from time to time crazy, violent, visceral and erotic: strongly intolerant social rules that were supposed to comply with, the female character of the films of Elvira Notari you locked horns with a sexist and patriarchal vision print film critics society, dominated by masculine personality. In addition, the interest of fascism cinematic tool led to a centralisation of production in Rome which marginalise the southern film industry and also the North. Very often his films despite the barbs of film censorship, some of his films were considered anti-nationalist and were to deny the possibility of exporting them in the United States, although sometimes they circulate clandestinely in New York's Little Italy émigré communities. In the last two years of his career, Elvira Notari, under the influence of u.s. film products, undertook to realize two products (Napoli terra d'amore of 1928, and 1929 siren song of Naples), set in an upper-class social frame, aliens from any form of legalism and rich in linguistic innovations. The Dora Film closed its production activities in 1930, because of the inability to sustain higher and higher financing costs for film production due to the advent of sound film. Was transformed into a House of destruction. The couple's son, Eduardo Notari, tried their luck as an actor in England but failed to succeed and shortly after he returned to Italy.

Nel 1940 la Notari, assieme al marito Nicola, si ritirò a Cava de’ Tirreni, dove morì il 17 dicembre 1946.

 

 

Filmografia

 

1906 / Gli arrivederci 

1909/ L’accalappiacani

1909/ Il processo Cuocolo

1910/ Maria Rosa di Santa Flavia

1910/ Fuga del gatto

1911/ Bufera d’anime

1912/ La figlia del Vesuvio

1912/ I nomadi

1912/ Guerra Italo – Turca tra scugnizzi napoletani

1912/ L’eroismo di un aviatore a Tripoli

1912/ Carmela la pazza  

1913/ Povera Tisa, povera madre

1913/ Errore giudiziario

1913/ Tricolore

1914/ Ritorna all’onda

1914/ A Marechiare ‘nce sta na fenesta

1915/ Addio mia bella addio …. l’armata se ne va…

1915/ Figlio del reggimento

1915/ Sempre avanti, Savoia

1916/ Carmela, la sartina di Montesanto

1916/ Ciccio, il pizzaiuolo del Carmine

1916/ Gloria ai caduti

1917/ Barcaiuolo d’Amalfi

1917/ La maschera del vizio

1917/ Mandolinata a mare

1917/ Il nano rosso – tratto dal romanzo di Carolina Invernizio

1918/ Gnesella

1918/ Pusilleco addiruso

1918/ Medea di Porta Medina, dall’omonino romanzo di Francesco Mastriani

1919/ Chiarina la modista

1919/ Gabriele il lampionaio

1920/ A Legge 

1920/ A Piedigrotta

1920/ A mala nova

1920/ Gennariello il poliziotto

1921 / Luciella

1921/ Il figlio del Galeotto

1922/ A Stanotte

1922/ Piccerella

1922/ Cielo celeste

1922/ Cielo ‘e Napule

1922/ Il miracolo della Madonna di Pompei

1923/ Pupatella

1923/ Cor è frate

1923/ O cuppè e d’a morte

1923/ Sotto San Francisco

1924/ Nfama !

1924/ So cries Pierrot

1924/ Lie the lawyer

1925/ Christian Triumph

1926/ Fenesta ca lucive

1928/ The legend of Naples

1928/ Napoli Terra d'amore

 1929/ Naples ringtone siren