ROBERT WILLIAMS BUCHANAN (1841 - 1901)

A ROBERT BUCHANAN FILMOGRAPHY - continued (iii)

LA DONNA E L’UOMO (1923)
(based on the novel, Woman and the Man)
Written and directed by Amleto Palermi
Cinematographer: Giovanni Grimaldi
Produced by Rinascimento Film (Italy)
Cast:
Pina Menichelli Gillian
Milton Rosmer Philip O’Mara
Livio Pavanelli Sir George
Marcella Sabbatini Little Dora
Alfredo Bertone
Format: 35 mm Film. Runtime: 65 min.

BFI synopsis: “Gillian is married to Philip O'Mara, who leaves her and their baby, and goes to Australia. When she meets a rich baron who wishes to marry her, Philip starts persecuting her with letters and requests for money. Gillian almost goes mad and at the last minute Philip is killed, freeing her.”

A restored version of La Donna e l’uomo was shown at the La Rochelle International Film Festival in 1996.

The Kinematograph And Lantern Weekly (7 May, 1925 - p.53)

Woman and the Man

Cattermole. Anglo-Italian. Featuring Pina Menichelli and Milton Rosmer.
5,000 feet. Release date not fixed.

     Story.—Gillian O’Mara has a child and a worthless husband, Philip, who, after a violent quarrel, leaves her penniless and injured. Desperate, she goes home with a rich nobleman, whose interest becomes practical. Philip returns from abroad with another man’s wife, and plants his identity on a dead man found in a Limehouse dope-den. Gillian inherits money and agrees to marry her knight, but Philip traces her and is defiant. He is stabbed by the wronged husband, and the way is made easy for Gillian’s happiness with her lover and child.

SUITABLE for adult audiences who love the plainest and most unvarnished melodrama. There is little subtlety of treatment; emotional heaviness is ladled out unstintedly on familiar lines, and the plot is certainly never vague.
     Acting.—Pina Menichelli as the heroine has to be miserable most of the time, and as such does well; her languid dejection persists even in moments of happiness. Milton Rosmer plays with excellent power as Philip, and convinces more than the rest of the cast, which includes, nevertheless, some capable small-part British players in Harry Newman and Jim Lewis.
     Production.—The novel of Robert Buchanan’s is treated by the director, Ainleto Palermi, on frank Surrey-side lines, and the plot developments are never difficult to foresee. The wife’s divorce decision seems belated, but otherwise the action is reasonable, if heavy. A glut of very artless sub-titles, weak in punctuation, and as often as not remarkably unnecessary (such as “No!” and “Mamma!”), hammers home everything steadily. The opium den scenes are graphically sordid.
     Settings and Photography.—Both are very good and locations well varied.
     Box-office Angle.—Stars’ names, and melodrama of full-blooded type for audiences who prefer it. The dope-den should be a useful line.

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The Times (8 May, 1922 - p.5)

“The newest move in film production has taken the form of a combination of French, Italian, and English producers, who are working on pictures, parts of which are being produced in the three countries. The Film La Grande of Paris has recently completed a film of Oscar Wilde’s story of “Lord Arthur Savile’s Crime,” the principal features of which are scenes taken in various parts of London. The Renaissance Film Company of Rome are now in London making preparations for filming Mr. Robert Buchanan’s “Woman and the Man,” which is to be followed by Sir H. Rider Haggard’s “Jane Haste.” Signor Amato, who is directing the production, is returning to Italy in a few days to take the interior scenes. The object of both French and Italian producers is to make pictures that will unify the tastes and interests of the three nations, and to combine in their productions the best that is in all three in a European atmosphere, as opposed to that of America.”

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The Bioscope (18 May, 1922 - p.7)

     As a staunch believer in the production of films possessing an international appeal, not only by reason of their story and scenic environment, but also from the fact that the actors include histrionic exponents known to spheres other than the land of production, I was a delighted auditor at the luncheon given by Signor Carlo Amato, director of the Renascimento studios in Rome and a prominent member of the U.C.I. group, at the Savoy Hotel, after the Trade Screening of “The Second Mrs. Tanqueray,” last week. In outlining the present and future policy of the U.C.I. that gentleman said it was the aim of that concern to produce films that would appeal to the whole of the world. This was a policy, he said, that was being forced upon them by the stern logic of events. Socially and economically nations were learning that they could not live unto themselves alone, and he welcomed the opportunity offered by the international character of the film to link races and countries together in bonds of common interest and understanding. The policy of filming the works of British authors in Great Britain inaugurated in “The Second Mrs. Tanqueray,” would be repeated in Robert Buchanan’s “Man and Woman,” in which Milton Rosmer, the British film star, would also appear. Such methods should, and in this I am merely re-echoing Signor Amato’s sentiments, mean not only better films, but a warmer and close relationship between the film industries of Britain and Italy. It should be the forerunner of a film entente between the two countries.

                                                                                                                                           “PROJECTOR.”

(p.19)

     International productions are becoming more and more the vogue and a number of interesting visitors may be expected here during the next few months. An enthusiastic exponent of this policy of artistic exchange is Carlo Amato, the well-known Italian producer, with whom I enjoyed a chat—through the medium of an interpreter—during the week. Signor Amato is so satisfied with his experiment of including English exteriors in his first-rate production of “The Second Mrs. Tanqueray” that he intends to develop this international policy in his forthcoming pictures. I am glad to hear, moreover, that he will extend his interest to British artists as well as British scenery. In his next film—Robert Buchanan’s “Woman and the Man”—Milton Rosmer will appear with Pina Menichelli, and most of the exteriors will be made in London’s slumland. This picture will be followed by a version of Sir Rider Haggard’s “Joan Haste.” Incidentally, let me point out that the unqualified success of “The Second Mrs. Tanqueray” was due very largely to the remarkable scenario written by that rapidly-rising British scenario-writer, Harry Hughes.

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The Bioscope (25 May, 1922 - p.21)

     Milton Rosmer, whose engagement by the U.C.I. to play in their next Anglo-Italian picture has created considerable interest in filmland, leaves England this week with members of the Everyman Theatre company in order to represent British drama at the great Festival of Zurich. Subsequently, Mr. Rosmer will proceed to the Renascimento studios at Rome to commence work upon the film version of Robert Buchanan’s novel “Woman and the Man,” in which, as already stated in THE BIOSCOPE, he is to star with Pina Menichelli. Both artists will probably come to England in July for the filming of exteriors.

The Bioscope (22 June, 1922 - p.57)

MILTON ROSMER, who has already commenced work at the U.C.I. studios in Rome, is much impressed by the energy and efficiency of the Italian producers. “I came direct from Zurich,” he writes, “and at once found myself in a veritable hive of industry. I felt very strange and stiff at first, but the directors and artists were courtesy itself, and any awkwardness soon wore off. But what workers these Italians are! I’ve been so busy all day that I am obliged to do all my sight-seeing at night. Fancy visiting the Coliseum, the Forum, and the Vatican for the first time in the dark!” In a week’s time, the company will probably be over in England to make exteriors for the picture—a version of Robert Buchanan’s “Woman and the Man.”

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The Bioscope (11 October, 1923 - p.20)

(p.38)

An Anglo-Italian Achievement

     British and Oversea buyers will be interested in a new production which Renaissance Films, Rome, are about to offer them. Signor Amato, the managing director, has just brought over from Rome what is said to be a masterly adaptation of “Woman and the Man,” by Robert Buchanan, a story of striking interest which has as its principal locale the sinister depths of London’s Chinatown. The film is a happy blend of British and Italian effort. A British novelist’s work is interpreted by Pina Menichelli, the favourite Italian star, and Milton Rosmer, the equally popular British artist; and the scenery of both countries has been drawn upon to full effect. The two principals are supported by a capable Anglo-Italian cast.

[Poster for the Cine-Teatro Montagnetta - April, 1924.]

The Bioscope (24 April, 1924 - p.5)

The Bioscope (30 April, 1925 - p.4)

(p.32)

“Woman and the Man”

     To the ranks of independent renters has to be added the name of C. Cattermoul, who has opened offices at 93, Wardour Street, and whose first picture, “Woman and the Man,” is due to be shown at the Shaftesbury Pavilion, on Friday, May 1st. “Woman and the Man” is an adaptation from the novel by Robert Buchanan, and portrays life with its light and shade as only Robert Buchanan can show it. Milton Rosmer makes a welcome return to the screen in this picture, and has as co-star Pina Menichelli, whose work has always delighted. The picture was made partly in England and partly in Italy. “Woman and the Man” should prove a very attractive proposition, and the first show of the new renter should certainly not be missed.

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The Bioscope (7 May, 1925 - p.60)

“WOMAN AND THE MAN”

Offered by: C. Cattermoul. Length: Five reels. Type: Drama.
Cast: Pina Menichelli, Milton Rosmer.

     IN BRIEF: Ill-treated and deserted by her husband, a woman’s chance of happiness is imperilled by her husband’s return. Strong melodrama, well presented.
     Suitability: A useful booking for popular houses.
     The Story: Adapted from a story by Robert Buchanan, this film deals with the disillusionment of a young wife who soon realises that the man she has married is thoroughly worthless. Philip O’Mara is a hopeless and incurably selfish creature who deserts his wife and child after having reduced her to s state of destitution. Gillian, his wife, struggles on bravely to support her child and attracts the sympathetic interest of a wealthy baronet, who offers her marriage. Her happiness is nearly wrecked by the return of her husband, intent on blackmail, but he, in his turn, is hounded by a man whom he has wronged while abroad and comes to a dramatic end before his evil work is effected.
     The film, we understand, was produced partly in England and partly in Italy, somewhat of a handicap for a story in which the scenes are laid in England and what is vaguely described as “the other side of the world,” by which we presume is meant Australia. In spite of the difficulties the atmosphere has been well conveyed and the settings are well in keeping with the story, which is one of considerable interest.
     Acting: Milton Rosmer always proves effective on the screen and though the part of Philip O’Mara is of no very great interest in itself, and one with no redeeming feature, Mr. Rosmer invests it with much of his strong personality.
     Pina Menichelli is a beautiful woman who is inclined to rely too much on the effect produced by her eyes and who therefore misses the straightforward heart appeal which is essential for this class of melodrama.
     The other parts are in capable hands and the general production is adequate.

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Lincolnshire Echo (22 October, 1925 - p.1)

The Derby Daily Telegraph (24 October, 1925 - p.3)

THE PICTURE HOUSE.

     Attractive programmes have been arranged for the Picture House for the forthcoming week. On Monday, Tuesday, and Wednesday the super-production, “The Stardust Trail,” will be exhibited for the first time, the film featuring Shirley Mason. This is the story of a theatrical star who weds a member of the profession, for whom a rival lays in wait. Fascinating and intimate views of life behind the scenes and the footlights form a feature in this production. Bryant Washburn plays opposite Shirley Mason, the remainder of a talented cast including Richard Tucker, Thomas Mills, and Shannon Day. For the second portion of the week Milton Rosmer and Pina Menichelli will appear in the powerful Robert Buchanan story, “Woman and the Man.” This is a tale of a hasty marriage, full of dramatic passages and pathetic human touches. It provides capital screen fare, and has the advantage of being played by such polished artists as Milton Rosmer and Pina Menichelli. Each programme will contain the usual series of up-to-date comedies and items of interest, including in the first portion of the week the first episode of the new serial, “The Mysterious Pearl,” featuring Ben Wilson and Neva Gerber.

[Back to Film List]

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Four film versions were also made of When Knights Were Bold. This play, first produced in 1906, and credited solely to ‘Charles Marlowe’ (Harriett Jay’s pseudonym), was originally a Buchanan and Jay collaboration from 1896 entitled, Good Old Times. Since Buchanan’s name was never attached to the play or the films I have not included the latter in this filmography but full details are included in the section below:

When Knights Were Bold - The Films

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