Intolerance

Nice.

It's interesting that this comes out, I think, about six years after Intolerance, the D.W. Griffith three-plus-hour, four different stories and different eras.

And that's a film that is ostensibly doing something very similar with regard to cutting between these different time periods and drawing connections from them.

And it's a film that's celebrated for those aspects of it.

... and they had epics before we did.

And, you know, when you look at, like, Griffith's Intolerance, um, you know, his sort of mea culpa for Birth of a Nation, that's a...

There's so much of Cabiria in that, you know? It's so-

Oh, 100%.

And this is very interesting because, you know, yeah, like you said, Italian cinema up to 1915 was known for its spectacular production, like epics and blockbuster success.

You know, the last days of Pompeii, 1913, and Cabilia, 1914, which, you know, impacted D.W. Griffith to make Intolerance and the birth of a nation and so on and so forth, right? But speaking of the birth of Italian neorealism in cinema, indeed this film, Ascinta Spina, is about working class culture, lives, right? That's, I mean, different from those epics.

And as you said, the film includes a number of shot, I mean, scenes shot on location of the

city of Naples

And what she does is she like is screaming at these Florida governors, these 10 old men.

And she basically like climbs to the top of the structure there at Hollywood and Highland that used to look like from that movie Intolerance, the D.W. Griffith movie, the big archway or whatever.

But then they kind of built over it.

So it looks like shit now because they made it modern.