‘An orgiastic pandemonium’: Elvira Notari, the ‘low-life cinema’ pioneer erased by fascism

Italy’s first female director made 60 features depicting the gritty squalor of early 20th-century Naples. Most were lost to Mussolini’s censorship and she died in obscurity – but now a new documentary gives her a voice again The seething Neapolitan melodrama È piccerella (1922), written and directed by Elvira Notari, follows the fraught relationship between the manipulative Margaretella and her morbidly besotted suitor, Tore, who steals from his elderly mother to buy expensive gifts for his reluctant inamorata, despite her roving eye. The movie opens with documentary shots of middle-class pilgrims, including Margaretella and her shabbily genteel mother, arriving in carriages and cars at Naples’s Candelora festival – an “orgiastic pandemonium of Bacchantes,” notes an intertitle. Challenging the camera’s gaze as much as the smouldering femme fatale, an obese drinker quaffs exultantly from a pint glass of wine; in another scene, an unshaven little pauper gleefully drops his jaw to display his two remaining teeth. “I think Notari had a desire to document how things actually were,” says Giuliana Bruno, whose 1992 book Streetwalking on a Ruined Map reconstructed the