HANNIBAL ON THE SCREEN

Evening Star, Issue 22524, 17 December 1936, Page 17

HANNIBAL ON THE SCREEN

PUNIC WARS FILMED ITALY’S AMBITIOUS PLANS Roman history is about to lose all its terrors for the fortunate schoolboys of to-day if the Italian Government continues its present plan of translating the story of Rome into cinema films of vivid aiid absorbing interest (writes a correspondent of the ‘ Observer ’). Already the dramatic chapter of the Second Punic War is nearly completed, and the exploits of Scipio Africanus in securing the ultimate defeat of Hannibal are being staged on a scale almost as grandiose as the events themselves. A reconstruction of the Roman Forums and the Temples of the Capitoline Hill has been erected in the Campagna Romana between Rome and Frascati. Three thousand actors have already taken part in scenes outside the Senate, and it only remains to “ shoot ” the naval battles off Sicily, the camp scenes in Tripoli, and the final conflict at Zama, one of the decisive battles in world history. . For this battle scene the Italian army is lending 12,000 foot soldiers and 3,500 horsemen. Eighty elephants are also to be in the fight. The most expert Italian archaeologists in the sections of Roman history dealing with naval, military, architectural, and costume affairs are all employed in securing accuracy of detail, while the best men in the Italian cinema world are carrying out imposing and realistic ensembles. The elephants have not yet been collected, and it is yet undecided whether the huge battle of Zama will be staged on Sicilian soil or in North Africa itself. The decision depends on question of light. READY NEXT YEAR. I am told that the film will be ready for release throughout the world by next February. Thanks to the courtesy of the Press Ministry, under whose aegis the film is being produced on behalf of the Government, I have been able to see the great work already accomplished towards completion of this wonderful enterprise, and to get a. description of the historical narrative in which tho life and times of Scipio Africanus are being reconstructed. The story covers the events of the Second Punic War between 207 and 202 b.c., but a prologue shows the Carthagenian invasion of Italy in rapid symbolical scenes. In a wild Alpine pass a moving avalanche transforms itself into the armed masses of Hannibal; an overflowing torrent becomes destructive invasion of the plains; from a cloudburst emerges tho dread figure of Hannibal on his black charger; a vision of the tragic battlefield of Cannae completes the incubus. The picture then begins to unfold in compact sequence the historical recovery of Rome, ending with the conquest of the seas and the destruction of Carthage as a great and rival power to Rome. The action opens in the Roman Senate, and shows the youthful faction of Scipio winning the decision to carry the war into Africa. From then on events take the story in succession to Hannibal’s camp, to Magna Graecia, to the Cirthian Regency of Numidia, to the Roman Forums, to Leptis Magnae, and to the field of Zama. TWO-FOLD ALLEGORY. Throughout the drama Scipio Africanus reveals the heroic and romantic qualities attributed to him by Livy plus the glamour created by the grandiose staging of modern cinematography at its best. Although historically accurate in tho main lines of the plot, Fascist Italy has not failed to drive home the lessons of a two-fold allegory. Firstly, tho film demonstrates the struggle between two different civilisations, showing the “ judgment of God ” represented by a history which condemns a non-creative Carthage to disappear- and a creative Rome to dominate the world. Secondly, the film makes the mighty past of Ilome a visible—an almost tangible——inspiration for the present generation of Italians and for the future of the City on the Seven Hills—Roma Genetrix. Minor figures and events are woven into the story with more attention to human interest than historical accuracy'. Nevertheless, no one will quarrel over the love episode of Velia or with the rather melodramatic treatment of the triangle of Sophonisba, Xing Massinissa, and Syphax. It must have been melodramatic in all conscience in 203 b.c., so why not in A.n. 1930? But the moving power of the whole drama is conveyed more by mass scenes than by individual actions, although the epilogue is a tiny scene of moving and symbolic charm. Scipio Africanus, in the peaceful retirement of a country villa, thrusts his hand into a sack of grain. As the seeds fall through his fingers he exclaims; “This is good grain. With the help of the gods we shall begin sowing now.” HELP FROM THE STATE., This most ambitious Punic War film represents only one phase of Italy’s determination to recover its lost lead in Cinelandia. The Italian film industry has four ready-made advantages to ex-ploit-sun, scenery, history, and histrionic talent. The difficulty 7 is to compete with the enormously wealthy combines of other countries, especially America. The Fascist Government has stepped in to help towards making good this financial deficiency. The script of new productions is submitted to a special cinema section of the Ministry of Press and Propaganda. If approved, then a Production Consortium is formed, the Government providing anything from 20 to 60 per cent, of tho money required. The Government also shares a percentage of ultimate profits, and has therefore a direct interest in promoting the success of each venture. The Scipio Africanus picture, for instance, _ is run by a _ specially created consortium, and the'initial, cost of the film is estimated at eight million lire. While this system virtually means Government control, it also means Government responsibility, and it also means that the greatest specialists and experts of whatever nature are placed at the disposal of the producing firms. The names of the men responsible for the accuracy of the Scipio film read like a university congress.