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MANILA, PHILIPPINES - JANUARY 17: Miss Universe Romania, Teodora Dan, walks the runway during a swimsuit fashion show at Jpark Island Resort and Waterpark in Cebu, Philippines on Tuesday, January 17. The Miss Universe contestants are touring, filming, rehearsing and preparing to compete for the Miss Universe crown in the Philippines. Tune in to the FOX telecast at 7:00 PM ET live/PT tape-delayed on Sunday, January 29, live from the Philippines to see who will become Miss Universe. (Photo by Mark Sullivan/Miss Universe Organization via WME IMG Collection)
Aquí os dejo otra más de la serie, fotografía obtenida en Febrero de 2010.
Espero que os guste y gracias por pasar por aquí y dejar vuestro comentario. Un saludo, Josu.
Italian postcard by Unione Cinematografica Italiana, series Teodora, no. 1. Photo: Ambrosio Film. Rita Jolivet in Teodora (Leopoldo Carlucci, 1921). Caption: "A portentious prediction foretells Teodora, daughter of Acacios, she will become Empress.
The film was based on a classic stage play, Théodora (1884) by Victorien Sardou, in which Sarah Bernhardt had excelled, e.g. in 1902 opposite Pierre Magnier as Andreas/Andrea, staged at her own Théâtre Sarah-Bernhardt.
Plot: On the island of Cyprus, future emperor Justinian meets a beautiful 'hetera', who swears she will become empress. She succeeds and in her thirst for domination, she gives away her desire for luxury. With a mute slave and heavily veiled, she errs the streets of Byzantium in search of occasional affairs. One night she meets the noble Greek Andrea and falls in love with him. She tells him she is Myrta, the sister of a scribe. Unrest rules in the empire because the high taxes were blamed on Teodora's caprices. The magician Tamyris, whose son has been killed by the guards, organises a conspiracy in which centurion Marcello and the same Andrea participate. Teodora finds out about the conspiracy from the unaware Andrea and she kills Marcello herself when he is about to name Andrea. Andrea still finds out and gathered at the hippodrome of Byzantium he attacks Teodora with infamous insults. She has him arrested and thrown before the lions but Tamyris rescues him. Meanwhile, Justinian finds out about his wife's double life and considers expelling her. Teodora, therefore, asks Tamyris for a potion that will cause him to forget, but Tamyris instead gives her a deadly potion, which, however, is drunk by Andrea. He dies in Teodora's arms, witnessed by Justinian. The emperor has her strangled to death.
Rita Jolivet (1885 - 1962), an American-born British actress of French descent, was already an acclaimed stage actress of the British, American, and international stage when she debuted in film. Noticing Jolivet's performance at the Garrick Theatre in New York, the American distributor and importer of European films George Kleine proposed her to make films in Italy. Enthusiastic about the Guazzoni epics and Borelli's Love Everlasting (Ma l'amor mion non muore), Jolivet went to Turin where she worked for Ambrosio. After acting in Fata Morgana (Eduardo Bencivenga, 1914), with René Maupré, and Cuore ed arte (Bencivenga, 1915), with Hamilton Revelle, however, she returned to the US to play in Cecil B. deMille's The Unafraid (1915), with House Peters. The film was a huge success and Jolivet acted in another four American films.
Embarked on the Lusitania in May 1915 in order to shoot two more films at Ambrosio and to marry an Italian count, Jolivet was one of the few survivors when a German submarine destroys the transatlantic. Her theatrical producer and mentor Charles Frohmann was on board as well but he perished, after which Jolivet's stage career came to halt and henceforth she focused on film acting. Safely escorted to Britain, she married count Cippico di Zara in London, and reaching Italy, she played in two more Ambrosio productions, La mano di Fatma (1916) and Zvani (1916), both by Gino Zaccaria. Returned to the States, Rita acted in four films in 1916-1917, and contributed to a Red-Cross film. In 1918 she decided to produce Lest We Forget, a romanticized version of the fatal events of the Lusitania, directed by French director Léonce Perret. Jolivet personally presented the film in roadshows all along the States. The revenues of Lest We Forget were donated to war victims. Also, Jolivet was the best Liberty Bonds seller of the US, supposedly selling them more than Fairbanks, Pickford and Chaplin together.
After the war, Jolivet returned to Italy to star in a long cherished project: the life of Theodora, Empress of Byzantium, directed by Leopoldo Carlucci, based on Victorien Sardou's play, and with enormous, imposing sets by Armando Brasini. On stage, Sardou's play had been a major hit for Sarah Bernhardt. Because of various economical problems and censorship, the production slowly proceeded in 1919 and 1920 and was finally premiered in the US in October 1921. It was a huge succes. One year after, success was even bigger in Italy, with audiences flocking to see the film. The critics were enthusiastic both about the film with its gigantic sets and about Jolivet's performance. In-between theatrical performances Jolivet made 1 American and 3 more films in France: The Bride's Confession ( Ivan Abramson, 1921) with Leah Baird, Roger la Honte (Jacques de Baroncelli, 1922) with Gabriel Signoret, Le mariage de minuit (Armand du Plessy, 1923) with Gabriel de Gravone, Le marchand de bonheur (Giuseppe Guarino, 1926) with Georges Melchior, and Phi-Phi (Georges Pallu, 1927) with Georges Gauthier and Gaston Norès. She then remarried a rich Scotsman in 1928 after divorcing Cippico, retreated from stage and screen world, and moved to New York.
Source: Vittorio Martinelli, Le dive del silenzio, English Wikipedia, IMDB.
Italian postcard by Unione Cinematografica Italiana, series Teodora, no. 6. Photo: Ambrosio Film. Rita Jolivet in Teodora (Leopoldo Carlucci, 1921). Caption: "Searching for her lovers, Teodora descends to the lowest quarters of the city."
Rita Jolivet (1885 - 1962), an American-born British actress of French descent, was already an acclaimed stage actress on the British, American, and international stages when she debuted in film. Noticing Jolivet's performance at the Garrick Theatre in New York, the American distributor and importer of European films George Kleine proposed she make films in Italy. Enthusiastic about the Guazzoni epics and Borelli's Love Everlasting (Ma l'amor mion non muore), Jolivet went to Turin where she worked for Ambrosio. After acting in Fata Morgana (Eduardo Bencivenga, 1914), with René Maupré, and Cuore ed arte (Bencivenga, 1915), with Hamilton Revelle, however, she returned to the US to play in Cecil B. DeMille's The Unafraid (1915), with House Peters. The film was a huge success and Jolivet acted in four more American films.
Embarked on the Lusitania in May 1915 in order to shoot two more films at Ambrosio and to marry an Italian count, Jolivet was one of the few survivors when a German submarine destroys the transatlantic. Her theatrical producer and mentor Charles Frohmann was on board as well but he perished, after which Jolivet's stage career came to halt and henceforth she focused on film acting. Safely escorted to Britain, she married count Cippico di Zara in London, and reaching Italy, she played in two more Ambrosio productions, La mano di Fatma (1916) and Zvani (1916), both by Gino Zaccaria. Returned to the States, Rita acted in four films in 1916-1917, and contributed to a Red-Cross film. In 1918 she decided to produce Lest We Forget, a romanticized version of the fatal events of the Lusitania, directed by French director Léonce Perret. Jolivet personally presented the film in roadshows all along the States. The revenues of Lest We Forget were donated to war victims. Also, Jolivet was the best Liberty Bonds seller of the US, supposedly selling them more than Fairbanks, Pickford and Chaplin together.
After the war, Jolivet returned to Italy to star in a long cherished project: the life of Theodora, Empress of Byzantium, directed by Leopoldo Carlucci, based on Victorien Sardou's play, and with enormous, imposing sets by Armando Brasini. On stage, Sardou's play had been a major hit for Sarah Bernhardt. Because of various economical problems and censorship, the production slowly proceeded in 1919 and 1920 and was finally premiered in the US in October 1921. It was a huge succes. One year after, success was even bigger in Italy, with audiences flocking to see the film. The critics were enthusiastic both about the film with its gigantic sets and about Jolivet's performance. In-between theatrical performances Jolivet made 1 American and 3 more films in France: The Bride's Confession ( Ivan Abramson, 1921) with Leah Baird, Roger la Honte (Jacques de Baroncelli, 1922) with Gabriel Signoret, Le mariage de minuit (Armand du Plessy, 1923) with Gabriel de Gravone, Le marchand de bonheur (Giuseppe Guarino, 1926) with Georges Melchior, and Phi-Phi (Georges Pallu, 1927) with Georges Gauthier and Gaston Norès. She then remarried a rich Scotsman in 1928 after divorcing Cippico, retreated from stage and screen world, and moved to New York.
Source: Vittorio Martinelli, Le dive del silenzio, English Wikipedia, IMDB.