Mario Caserini’s Ma l’amor mio non muore! stands out as the first diva film. It is the first film featuring Lyda Borelli, who, at that time, was already an appreciated theatre actress, about to achieve wider popularity in her new cinematic career.
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"Mezzo" drama: 1. Doesn't lack in melodrama, but Borelli’s part in 'Malombra' had a more stormily ordealed core. 2. The copy I watched was halfway between a beautifully restored Edel’s 'Börsenkönigin' and Jessner’s quite all-black 'Erdgeist' and it's a flogging pity. 3. The heroine's descent from aristocratic farniente to a performer's nomadic life recalls Gremillon's 'Maldone', another class interconnection romance.
What does not die in this movie is not exactly the acting style of its protagonists but the inventions made by the director, still glowing in their revelations: the use of mirrors and its multitude of looks; filming in real and open spaces with a strong use of depth; the confusion of points of view among the spectators in the film and viewers of the film, a trompe l'oeil of extraordinary invention.