'Diva' was used to describe operatic sopranos of the late nineteenth century who were viewed as Goddess-like by their devotees. The term was then applied to the stars of Italian silent cinema, the most notable of whom in its heyday were Lyda Borelli, Pina Menichelli and Francesca Bertini. Of this trio Francesca is considered to be the actress with the greater emotional range and the ability to take on a wider variety of parts.
Judging by her performance here in the title role her reputation was fully justified. Although Gustavo Serena who also plays her jealous husband is credited as director there is reason to believe that she was at least co-director if not more. Hers is an intense and full-blooded portrayal and although operatic in keeping with the times, is far more naturalistic than those of her contemporaries and one is not surprised to learn that she was strongly influenced by Asta Neilsen. She fully convinces as a loving wife who is prepared to 'stand by her man' even though he has shamelessly disfigured her.
The reasonably recent restoration has been colourised with no less than four colours which renders Alberto G. Carta's images of Naples even more impressive. A new score has been added and although idiomatic as regards the setting, is not nearly passionate enough for the material.
Francesca resisted the blandishments of Hollywood and continued acting throughout Europe until the very end. In 1976 at the age of 84, she was persuaded by Bertolucci to appear as a nun in '1900'.
This is the first version on film and is infinitely more effective than Mattoli's of 1948 despite the powerful presence of Anna Magnani.
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