Vittorio Bianchi
Italian postcard. Caesar Film. Photo by Roseo & Co., Napoli. This is part of a series of star portraits of the actors of the Caesar Film production Andreina (Gustavo Serena, 1917).
Vittorio Bianchi (1865-?) was an actor and screenwriter of the Italian silent screen.
Vittorio Bianchi was born on December 23, 1865 in Avezzano, Abruzzo, Italy. In 1916 he started his career at the Neapolitan company Polifilms, opposite Mary Corwyn in the film Freccia d'oro by Giulio Antamoro. But immediately after, he became one of the regular supporting actors at the Roman company Caesar Film, first in Ferréol (Edoardo Bencivenga, 1916). he then acted in a range of dramas with diva Francesca Bertini at Caesar Film: Fedora (Giuseppe de Liguoro, Gustavo Serena, 1916), Andreina (Serena, 1917), Tosca (Alfredo De Antoni, 1918), La lussuria (Bencivenga, 1919), La contessa Sara (Roberto Roberti, 1919), and La serpe (Roberti, 1920). For La lussuria and La serpe he was also screenwriter. At Caesar he also acted in other films such as Le due orfanelle (Bencivenga, 1918), Maman Colibri (De Antoni, 1918) with Tilde Teldi, Dora o Le spie ((Roberti, 1919) with Vera Vergani, La morte civile (Bencivenga, 1919), Il cuore sotto il maggio (Camillo De Riso, 1920), Fino alla tenebra (Bencivenga, 1920), etc. Often the films were society dramas based on French plays by Victorien Sardou and others. His last films at Caesar Bianchi did in 1921.
According to Aldo Bernardini, Bianchi replaced Giuseppe Paolo Pacchierotti as regular screenwriter at Caesar and thus was responsible for the scripts of the Bertini vehicles Lisa Fleuron, Marion artista da caffè-concerto, La principessa Giorgio and Maddalena Ferat. From 1919 he also wrote a few scripts for Filmgraf (films directed by Gustavo Serena), in 1921-22 for Libertas, and in 1923 for Flegrea in Rome. Apart from a small part in Maciste nella gabbia dei leoni (Guido Brignone, 1926), Bianchi's career in silent cinema was over. Between 1931 and 1943 Bianchi had six parts in Italian sound films, mostly in films of directors who had started their careers in silent cinema such as Brignone, Carmine Gallone, Amleto Palermi and Enrico Guazzoni.
Sources: IMDb, Aldo Bernardini, Cinema muto italiano: protagonisti.
Vittorio Bianchi
Italian postcard. Caesar Film. Photo by Roseo & Co., Napoli. This is part of a series of star portraits of the actors of the Caesar Film production Andreina (Gustavo Serena, 1917).
Vittorio Bianchi (1865-?) was an actor and screenwriter of the Italian silent screen.
Vittorio Bianchi was born on December 23, 1865 in Avezzano, Abruzzo, Italy. In 1916 he started his career at the Neapolitan company Polifilms, opposite Mary Corwyn in the film Freccia d'oro by Giulio Antamoro. But immediately after, he became one of the regular supporting actors at the Roman company Caesar Film, first in Ferréol (Edoardo Bencivenga, 1916). he then acted in a range of dramas with diva Francesca Bertini at Caesar Film: Fedora (Giuseppe de Liguoro, Gustavo Serena, 1916), Andreina (Serena, 1917), Tosca (Alfredo De Antoni, 1918), La lussuria (Bencivenga, 1919), La contessa Sara (Roberto Roberti, 1919), and La serpe (Roberti, 1920). For La lussuria and La serpe he was also screenwriter. At Caesar he also acted in other films such as Le due orfanelle (Bencivenga, 1918), Maman Colibri (De Antoni, 1918) with Tilde Teldi, Dora o Le spie ((Roberti, 1919) with Vera Vergani, La morte civile (Bencivenga, 1919), Il cuore sotto il maggio (Camillo De Riso, 1920), Fino alla tenebra (Bencivenga, 1920), etc. Often the films were society dramas based on French plays by Victorien Sardou and others. His last films at Caesar Bianchi did in 1921.
According to Aldo Bernardini, Bianchi replaced Giuseppe Paolo Pacchierotti as regular screenwriter at Caesar and thus was responsible for the scripts of the Bertini vehicles Lisa Fleuron, Marion artista da caffè-concerto, La principessa Giorgio and Maddalena Ferat. From 1919 he also wrote a few scripts for Filmgraf (films directed by Gustavo Serena), in 1921-22 for Libertas, and in 1923 for Flegrea in Rome. Apart from a small part in Maciste nella gabbia dei leoni (Guido Brignone, 1926), Bianchi's career in silent cinema was over. Between 1931 and 1943 Bianchi had six parts in Italian sound films, mostly in films of directors who had started their careers in silent cinema such as Brignone, Carmine Gallone, Amleto Palermi and Enrico Guazzoni.
Sources: IMDb, Aldo Bernardini, Cinema muto italiano: protagonisti.