Film Review: Casanova (Loves of Casanova, 1927)
History can be very cruel to certain individuals, making them victims of not one but two revolutions. One such individual was Ivan Ilyich Mozzhukin (better known as “Ivan Mossjukine”), main star and screenwriter of Casanova, 1927 French silent biopic directed by Alexandre Volkoff (also known as Loves of Casanova in English-speaking countries).
Mossjukine plays title character of Giacomo Casanova, Italian adventurer whose legendary ability to seduce women and charm monarchs, politicians and celebrities allowed him to live a colourful life, immortalised by book of memoirs that turned him into arguably the most iconic figure of 18th Century Europe. The plot begins in 1760 Venice, a city-states that enjoys centuries of accumulated wealth resulting in atmosphere of debauchery and decadence. Casanova with his libertine lifestyle appears to be at home figuratively and literally, but too many unpaid debts and too many cuckolded husbands appear to catch up to him. In order to avoid incarceration, he is forced to seek greener pastures in Russia where he cons his way into the royal court and becomes favourite of Czarina Catherine the Great (played by Suzanne Bianchetti). The relationship sours when he seduces Maria, Dutchess of Lardi (played by Diana Karenne), and he is forced into exile again, ultimately returning to Venice where he would finally end behind bars of infamous Piombi prison. Yet, this proves to be just another chapter in Casanova’s life that would end with daring and spectacular escape.
Mossjoukine, director Volkoff and many crew members had began their careers and made their names in the emerging cinema industry of Czarist Russia, before revolutionary chaos made them seek fortune in France, Germany and other European countries. Mossjoukine not only quickly adapted to new circumstances, but also used his great looks, talent and charismatic presence to gain enormous popularity and nickname “Russian Valentino”. In Casanova he puts those qualities to excellent use, creating the powerful image of the world’s greatest lover. His efforts are complemented by the rest of the international cast, with German actor Rudolf Klein-Rogge shining as half-mad Russian Czar Peter III and French actress Suzanne Bianchetti delivering regal presence of Catherine the Great.
Mossjoukine as a screenwriter not only perfectly outlines libertine archetypes of Casanova, but also aligns them with the hedonism of the Jazz Age, which is especially evident in the Dance of the Swords scene, one of the more risqué pieces of 1920s French cinema. Director Volkoff While it splendidly recreates the 18th Century with Venetian locations, period costumes, and mass scenes featuring hundreds of extras. Casanova, however, falls short in several areas. The episodic plot lacks a strong cohesive narrative, leading to a somewhat disjointed viewing experience. The unimaginative direction by Alexandre Volkoff is not meeting the top standards of silent cinema, especially if it is compared with The Chess Player, another French silent epic which covered similar setting in much more memorable way. Additionally, the excessive length of the film could test the patience of viewers, even those accustomed to pecularities of silent films.
Ultimately, despite its visual splendor and standout performances, fate of Casanova and all the films trying to follow its path was sealed due to arrival of sound in cinema. The film became obsolete overnight and the careers of actors like Mossjoukine were wrecked due to sudden arrival of language barriers.
RATING: 6/10 (++)
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