The 20 Best of Filoteo Alberini
Here I have listed the twenty best films from Filoteo Alberini.
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- DirectorFiloteo AlberiniStarsUbaldo Maria Del ColleCarlo RosaspinaThe Italian army captures Rome after refusal to surrender this unifying Italy.
- DirectorFiloteo Alberini
- DirectorFiloteo Alberini
- DirectorGaston VelleStarsMaria CaseriniEgidio RossiThe scene opens with a family conclave in the drawing-room of a well-proportioned mansion, at which family lawyers, the parents of a prospective bride and bridegroom and mutual friends are discussing deeds and settlement connected with the nuptials of a young couple. These having been settled satisfactorily, they are congratulating each other on the results of their labor, when the youth of the house appears on the scene. As the mother runs to him and tells him of the final arrangements, he is seemingly disgusted and repudiates the alliance which his parents wish him to form. He asks for his allowance. Taking no notice of his fiancée, he follows his father, leaving his fiancée to be consoled by her mother. Reaching the office of the father, he receives the portion of his fortune which he has demanded, is about to go out, and he is called back to sign a deed of renunciation; then taking the roll of bills, putting aside his father and mother, he goes from his home. Hastening to the apartments of a woman who has captivated his fancy, he explains to her that he is free from all the trammels of his home ties, showing her the money which he has obtained and giving her a portion, which she receives by showering her kisses upon him in acknowledgment. Inviting her to go out with him, they are seen driving through the streets of Paris in a four-in-hand, taking in their turn the banks of the Seine, through the Arc-De-Triomphe, then proceeding through beautiful scenery, they arrive at a country hotel, where they are surrounded by friends whom he dines and wines, finishing up with the drinking of toasts, after which a mock marriage is performed, uniting him to his amorata. We next see him, with his pseudo-wife, at the card table, where he seems to lose heavily in the game. With feverish haste he doubles and redoubles the stakes, still losing, until at last he stakes his last thousand on the game and loses. Hardly knowing what he does, he borrows of the ever-ready money lender and feverishly plays again, and again loses. The girl, who had been watching the game, and had seen how the cards had been manipulated, tells him that he had been cheated by one of the players, and pointing her finger at one, accuses him. The modern youth asks for fair play, which is denied, and a fight ensues, during which the youth shoots his opponent and flees from the scene, followed shortly afterwards by the girl, who staggers off in another direction. The players, who before were all excitement, now gather up the body of their late comrade and carry it out to the sidewalk, where they leave it in such a position that the Parisian police would imagine another tragedy had been committed by footpads. The modern youth flees from the horror, not pausing to look behind him, far into the country, until he comes to a lane, where he sees a shepherd leading home his sheep; this seems to give the youth an inspiration, for, following the sheep to the farm yard, he offers his services to the farmer, begging for work. The farmer notices his hands are not accustomed to this kind of work, puts a spade in his hand and tells him to dig, which shows his inexperience, and he is driven off. The daughter of the farmer intercedes for him, but is repulsed for her pains, which brings a blessing from the lips of the youth, who turns to thank her for her kindness ere quitting the farm. Following the fortunes of the youth to gain a livelihood, we find him in the role of a rag-gatherer on the streets of Paris, but, being weak from privation and hunger, he staggers and falls on to the curb. Kindly people hasten to his assistance, and with helping hands assist him on to his feet. A carriage and pair, in which are seated two ladies, drives up, and seeing the crowd, they both get out to offer their assistance. The mother love of the older lady recognizes the youth as her son, and at the same time her companion recognizes her fiancé. The recognition is also mutual with the youth, who tries to get away, but the mother insists and ultimately leads him to their carriage, and they drive off to his old home. We see the old father, helpless and broken down with sorrow, not with years, being escorted, about the grounds, by a trained nurse, and finally he is helped to his chair, and up the steps of his house, and taken to his room. No sooner has he got there than the carriage containing the youth comes up, and, attended by his mother and his fiancée, he is assisted up the steps and taken into the father's room. Previous to his being led in, the mother appears and sees her husband asleep. Clasping her hands in prayer and intercession, she looks upward, and feeling in her mind that her prayers will be answered, she goes for her son, whom she leads into the presence of her sleeping husband. At the sight of the premature gray hairs and the base form of his father, the youth falls upon his knees, and taking the hand which had ever been kind to him, he presses it to his lips and kisses it. This action awakes the old man, and a breathless silence seems to pervade the scene until he finally recognizes his son. The father reaches for a stick and raising it on high, crashes it down next to the mother, who receives the blow intended for the son. Seeing what he has done, the old man's rage is immediately turned into agony, and he falls into a daze. The mother, still tenderly cherishing her son, leads him to the father, and both fall on their knees and beg forgiveness. Hesitating between parental love and pride, his wife and son, kneeling in agonizing suspense, watch the emotion on the old mans face. Love finally conquers family pride and the old man falls on the son's neck and he is forgiven and received once more in the home of his childhood. -- The Moving Picture World, August 17, 1907
- DirectorMario CaseriniGaston VelleStarsUbaldo Maria Del ColleMaria CaseriniMario CaseriniThe Moorish general Othello is manipulated into thinking that his new wife Desdemona has been carrying on an affair with his lieutenant Michael Cassio when in reality it is all part of the scheme of a bitter ensign named Iago.Cinematographer
- DirectorGaston VelleThe scene opens at the Kings Palace, where the Prince, who is sole heir of the house, is seemingly suffering from some incurable malady, from which in vain the courtiers endeavor to arouse him. Finding this in vain, they summon the three court physicians, who, after full and complete examination of the Prince, adjourn on one side for consultation and diagnosis. This takes so long it quite wears out the patience of the Prince and his attendants; which is only diverted when the Court Jester appears with a large syringe full of water which the physicians have laid aside while making the diagnosis of the case. He proceeds to try their own medicine upon the physicians by squirting the contents over them, upon which they beat an ignominious retreat, to the intense amusement of the Prince, who at last rouses himself to take notice of what is going on around him and laughs loudly at the discomfiture of the three physicians. The mother of the Prince, hearing his unusual merriment, appears on the scene and is overjoyed at his recovery from his indisposition and leads him away into the grounds of the Palace, where among the sylvan scenery an alfresco picnic has been arranged for his benefit, where dancing girls exhibit their skill with feet and tambourine before him. Gitana, the gipsy, is now introduced to the notice of the Prince, skillfully performing the dance of her tribe, at the conclusion of which she kisses a flower she wore at her breast and throws it at the feet of the now alert and infatuated Prince. She vanishes from the scene. The Prince hastily descends from the divan on which he had been seated during the ceremonies, picks up the flower and hastens after Gitana who has made her way towards the camp, which appears to our view with the members of the gipsy tribe whiling away the time with cards and dice. The dice throwers are soon in altercation as to the result of one throw. Quickly drawing their stilettos, they are about to wreak summary vengeance upon one another, when Gitana appears just in time to separate them and turn them from their deadly impulse. An old gipsy appears at this moment to whom Gitana runs and asks her to describe her future. The old gipsy does this, but not quite satisfactorily to the girl, who goes into her caravan and there produces from an inner drawer a pack of cards which she proceeds to manipulate to tell her own fortune. The result is extremely satisfactory, for from the cards she gains the ace of hearts, which shows as an oracle the full success of her wishes. Holding up the card to view, the ace of hearts turns into the Prince, who offers to Gitana from the card his hand and heart. Gitana, being now quite assured of her success, while the tribe is sleeping, wanders away to the Palace where the Prince, not being able to sleep, owing to his thoughts of the gipsy queen, Gitana, leaves his courtiers and wanders in the Palace courtyard alone. To his amazement Gitana suddenly appears around the balustrade and the pair are very quickly clasped in each others arms, showing the spontaneity of their love. The Prince invites her to the Palace, begging of her to go, but she refuse, inviting him to her caravan. Leaving the Palace, the Prince throws his cloak around Gitana and together they wander through the beautiful grounds and sylvan scenes of the Palace, at last arriving at the gipsy camp, where the Prince again renews his promise of sincerity and love for the girl. Two cripples now appear on the scene and beg alms, but Gitana instantly dissolves their suspicion, introduces the Prince as a friend when they throw away their crutches, and the halt, lame and blind are instantly strong, hale and hearty gipsies, who offer their congratulations to their queen, Gitana, and her escort. Summoning the dancing girls of the tribe, they at once proceed to make merry and to give the scene its proper setting. While in the midst of these festivities the old gipsy crone appears, leading the King and court attendants into the midst of the assembled tribe of gipsies, who immediately surround the Prince as though to protect him from harm. The Prince goes to his father, explains the cause of his presence at the gipsy camp, introduces Gitana, the gipsy queen, as the one on whom his happiness depends, she falling at the feet of the King, begs his forgiveness and blessing, which the King graciously gives, at once proclaiming his consent to their nuptials, and requesting their return to the Palace, to which they go in one triumphant joyous procession, traveling again through the beautiful scenery until they arrive at the reception hall, where the Prince introduces to all the attendant courtiers and ladies of the Palace his betrothed Princess, who is received right royally and graciously by all, as being the one who has the happiness of their Prince at heart. Here we leave them to the full enjoyment of their nuptial festivities, thus showing that love, like death, levels all ranks, and can even wed the Prince to the peasant. -- The Moving Picture World, September 28, 1907
- DirectorGaston VelleThe exterior of a grocery store is exhibited with its usual concomitant supply of various goods. An elderly woman appears on the scene, furtively looks round, and finding the coast clear, beckons to her son, and they together steal a potion of the supplies on hand and retire. Mr. Storekeeper appearing, discovers his loss, and, thinking to prevent such depredations in future, goes into the store and returns with a strong battery of Bunsen cells and wire, which he attaches to the various goods, and makes a connection for a good shocking coil. Our two hungry pedestrians have hied themselves to a snug place in a woodland retreat, where they proceed to enjoy a good meal from the delicacies which they have stolen. After a while, feeling the necessity of something to drink, they both with one intent start back to the store, from which they were so successful on their first venture. The old lady takes hold of a bottle of wine which is standing displayed on the board, her son taking another from the other side. The electric circuit now being complete, they are both shocked by the electricity, and their cries summon pedestrians passing along the street to their aid. Each one in their endeavors to take the couple from the bottle receives the shocks, and is also held in electric contact. Their grimaces and cries bring others upon the scene, who try to pull them away and are in like manner shocked and held prisoners. The cries of such a goodly crowd all held in the throes of the coil bring the storekeeper to the door, and he, overjoyed at his scheme, relieves himself with hearty laughter at the grimaces and gesticulations of the prisoners caught through his ingenuity. One of the prisoners breaks the connection and releases his companions from the circuit. They then turn upon the storekeeper and the gendarmes take him into custody as a disturber of the peace, to the great joy of our hungry couple, who take what they need from the goods displayed and go off to enjoy the same at their leisure.
- DirectorGaston VelleStarsSignora MascioliAt a modern cycling hostel, there are seated three men, while in a stand adjoining are stored a couple of cycles. Another cyclist rides up. Placing his wheel in the rack, he proceeds to join the other two cyclists in an animated discussion. A fourth, noting the all-absorbing interest with which they are discussing their point stealthily makes his way to the rack and takes the newcomer's cycle, with which he rides hastily away. Finishing their conversation, they turn towards the rack for their cycles, and at once discover the loss of one, and pointing in the direction in which the cyclist had gone, they start to follow the thief. Up hill and down dale, through country lanes the chase goes merrily on. Two policemen stop the cyclist, who has thrown off his coat and hat and appears in cycling costume. He persuades them that he is only off on a heat or speed test and they allow him to go away. An automobile which the pursuers have pressed into service comes along and explains to the policemen the situation. They invite him to a seat, and follow quickly after the cyclist, who is seen proceeding down a number of stone steps, and half-way down he knocks over a couple and rolls them to the bottom until they arrive at a fountain, when they are stopped. He descends still more steps, they seeming almost interminable, and dashes into a window in which a party are partaking of a wedding breakfast. In his haste, running over the table, he drags the bride from her seat of honor and takes her along with him, clinging to the cycle, and falling down to the yard below. So rapid has been his ingress and exit that the guests have hardly realized what has happened to them, but, missing the bride, they proceed to follow the cyclist to get her back. Not knowing what to do with the fainting woman, he puts her on the cycle before him, and rushes off just as they are about to catch him, after breaking through a wall. Breaking away again, rushing through country districts, he comes to a quagmire where it is very hard pedaling, and the police, making a short cut, intercept him in his traveling through the morass, and. after braving many dangers, the bride is restored to the waiting arms of her husband, thus ending an exciting kidnapping with another man's bride.Cinematographer
- DirectorMario CaseriniStarsMaria CaseriniAmleto Novelli
- DirectorMario CaseriniStarsMaria CaseriniEttore Pesci
- DirectorGaston VelleStarsFernanda Negri Pouget
- DirectorFiloteo AlberiniFirst film produced
- DirectorGaston VelleNo modern theater nowadays is fully equipped without its attendant firemen, and we are introduced to one who is placed on duty behind the scenes. He evidently has a large heart, for as a ballet girl comes toward her dressing room he tries hard to attract her attention and to make love to her, which she repulses, telling him to attend to his duty. A group of girls now appear and our fireman ogles and grins at the bevy of girls, who treat him with a fair amount of amusement and laugh at his ungainly gait and his awkward love-making. Vanishing into their rooms, they leave him alone to the solitary curtain and the corridor. Tiring of acting as sentinel, he peeps into the dressing-room, where what he sees is vividly brought out on the screen through the peephole, showing a ballet girl trying her steps. Having satisfied his curiosity, he comes to another room, where a fat man is seen making up, the result of which is shown to the audience. Hearing footsteps, our fireman is instantly alert, and the leading lady passes by bearing a beautiful bouquet of flowers. He attempts to intercept her, but she scornfully waves him away and enters her room and our peeping Tom immediately glues his eye to the chink and what he sees we also see depicted on the screen. In this instance the make-up is extremely good and the devolution of a perfect woman is complete when we see the leading lady taking off her wig, throwing off her beads, taking off the India-rubber inflated bust, until she stands before us a man. Turning around, he catches the eye of Peeping Tom at the door and he instantly orders him away. The next scene to which our firemans curiosity leads him has two occupants, one being the star and the other being a colonel admirer in the full glory of his regimentals, busily engaged in making love to the intense delight of the audience and of Peeping Tom. A merry clown appears in the corridor. His silent footfalls are not heard by the fireman, who is so intent with the scenes that he is witnessing that he allows the clown to approach him, so noiselessly had he appeared upon the scene, and take from his belt the turnkey, and going to the stand Merry Andrew proceeds to turn on the water. The hose, the nozzle of which is held in the hand of Mr. Fireman in such a way that to his great astonishment he instantly gets a wetting and in his confusion trying to stop the water flowing from the nozzle, he half drowns himself. The actors and actresses, hearing the noise and commotion outside, open the doors of their dressing-rooms to ascertain the cause, with which all are treated to a cold shower bath, each and all trying to get out of the way of the stream of water. Gradually getting out across the stage, in which a trap door is open, Mr. Fireman, afraid to let go of the hose, is led with them, and, not noticing the trap door, falls through to the scene below, where he lays for a moment dazed and half stunned. This scene represents the fairy coming from underground, and the water being turned off by the same clown who turned it on, the scene proceeds. The curtain is turned up and underneath the stage the working mechanism of the fairy, with Mr. Fireman crouching behind, and having only half recovered his senses, rises with the fairy. Finding himself the observed of all observers, he keeps crouched down behind and then the ballet appears on the stage and our fireman is observed and surrounded. The curtain is rung down and our fireman is ignominiously freed from his position in the theater. -- The Moving Picture World, August 31, 1907Cinematographer
- DirectorGaston VelleStarsUbaldo Maria Del Colle
- DirectorFiloteo AlberiniProduced in 1906
- DirectorFiloteo Alberini
- DirectorFiloteo Alberini
- DirectorMario CaseriniStarsAlberto Capozzi
- DirectorFiloteo Alberini
- DirectorFiloteo Alberini
- DirectorFiloteo Alberini