Production
Historical accounts indicate that Thomas Ince and C. Gardner Sullivan had originally titled their project Dago, but agreed to change the title at the request of the film's star, George Beban. The Italian marked the first motion picture role for Beban, who had gained acclaim as a Broadway actor and vaudevillian specializing in ethnic caricatures.
Though set on New York's Lower East Side, the New York scenes for The Italian were shot in the immigrant quarter of San Francisco. While most accounts indicate that the scenes of Beppo as a gondolier were shot in the Venice district of Los Angeles, an account published by the Los Angeles Times in November 1914 reported that "Ince sent Beban to Italy to get special canal scenes for the eight-reel play."
One of the vivid scenes in The Italian is the fight scene between Beppo and his muggers. The scene lasts five minutes on the screen, and a newspaper story reported that, for realism, "a number of the biggest men at Inceville were used in the scene."
In a story on the production of The Italian, a newspaper reported that a hundred pounds of rice were bought for the film's wedding scene. An initial order of fifty pounds of rice was left uncovered overnight by a "property man" at the Inceville studio. A "heavy rain caused each grain to swell to enormous proportions," requiring the purchase of another fifty pounds of rice.
Read more about this topic: The Italian (1915 film)
Famous quotes containing the word production:
“An art whose limits depend on a moving image, mass audience, and industrial production is bound to differ from an art whose limits depend on language, a limited audience, and individual creation. In short, the filmed novel, in spite of certain resemblances, will inevitably become a different artistic entity from the novel on which it is based.”
—George Bluestone, U.S. educator, critic. “The Limits of the Novel and the Limits of the Film,” Novels Into Film, Johns Hopkins Press (1957)
“Every production of an artist should be the expression of an adventure of his soul.”
—W. Somerset Maugham (1874–1965)
“I really know nothing more criminal, more mean, and more ridiculous than lying. It is the production either of malice, cowardice, or vanity; and generally misses of its aim in every one of these views; for lies are always detected, sooner or later.”
—Philip Dormer Stanhope, 4th Earl Chesterfield (1694–1773)