Maria Jacobini

Maria Jacobini (25 February 1892 – 20 November 1944) was an Italian actress known for her prominent roles in silent films and her status as one of the notable divas of the Italian cinema during the early 20th century.^[1][2] Born in Rome into a noble family, she developed a passion for the theater early in life before transitioning to film, where she quickly established herself as a leading performer in Italian productions during the 1910s and 1920s.^[1] She appeared in films for companies such as Savoia Film, Pasquali Film, and Fert Film, often in starring roles, and gained recognition for her dramatic talent and serene screen presence.^[1] In the mid-1920s, she relocated to Germany amid challenges in the Italian film industry and starred in several German silent films.^[1] She married director Gennaro Righelli, collaborating with him on multiple projects in both Italy and Germany, and continued her career into the sound era after returning to Italy in the 1930s, with her final film appearance in 1943.^[1][2] Jacobini died in Rome in 1944, leaving a legacy as a versatile performer who bridged the silent and sound periods of European cinema.^[1]

Early life

Family background

Maria Jacobini was born on 17 February 1892 in Rome, Lazio, Kingdom of Italy.^[1] She died on 20 November 1944 in Rome, Lazio, Italy, at the age of 52.^[1] Jacobini was born into a noble Roman family with prominent ecclesiastical and political ties to the Vatican and the Papal States.^[1] https://storiainrete.com/dive-del-cinema-italiano-maria-jacobini-1892-1944/ Relatives included Cardinals Angelo Maria Jacobini and Ludovico Jacobini, who served as Secretary of State under Pope Leo XIII, as well as Camillo Jacobini, who served as Minister of Public Works in 1854 under Pope Pius IX.^[3][4] She had two sisters who also became actresses: the elder Bianca Jacobini, who appeared in four films before retiring, and the younger Diomira Jacobini.^[5] All three sisters are buried in the family mausoleum at the Cimitero del Verano in Rome, in the Arciconfraternita del Preziosissimo Sangue di Gesù section.^[1]

Dramatic training and early stage work

Maria Jacobini received her dramatic training at the acting school attached to the Accademia di Santa Cecilia in Rome, where she studied under Virginia Marini and Eduardo Boutet.^[6] As a teenager, she pursued this formal education in dramatic arts, building the foundation for her early professional work on stage.^{[5] [7]} After completing her diploma, Jacobini joined the theatre company of Cesare Dondini Jr., where she debuted on stage at the theater in Palazzo Del Drago performing secondary roles.^[6] She quickly demonstrated her natural dramatic talent in these parts, marking the beginning of her brief professional theatre career before transitioning to other opportunities.^[7]

Silent film career

Debut and early films in Italy (1910–1918)

Maria Jacobini made her screen debut in 1910 with a role in Beatrice Cenci, directed by Ugo Falena for Film d'Arte Italiana. ^[8] This historical short film marked her entry into Italian silent cinema during its early development. ^[5] In 1912 she took on her first major role in Cesare Borgia, directed by Gerolamo Lo Savio. ^[5] That same year she signed with Savoia Film in Turin, where she quickly rose to prominence as a leading lady in the company's productions. ^[5] One of her standout early performances came in Giovanna d'Arco (Joan of Arc, 1913), directed by Ubaldo Maria Del Colle with Nino Oxilia serving as assistant director, produced by Savoia Film. ^[9] Contemporary Italian reviews praised the film's lavish mise-en-scène, careful historical reconstruction, and especially Jacobini's measured and compelling portrayal of the heroine, highlighting her ability to convey deep faith and courage. ^[9] During this formative period she also worked for several other production companies, including Pasquali Film, Celio Film, and Tiber Film. ^[5] By 1918 she appeared in Addio giovinezza!, directed by Augusto Genina for Itala Film, a touching adaptation that showcased her growing skill in emotional dramatic roles. ^[10] These early films established Jacobini as a versatile and respected presence in Italian silent cinema up to the end of World War I.

Peak years and collaborations in Italy (1919–1922)

In 1920, Maria Jacobini joined Fert Film in Turin as the company's prima attrice, or leading actress, marking the beginning of her most productive period in Italian silent cinema. ^{[11] [1]} At Fert, she entered into a long and significant professional collaboration with director Gennaro Righelli, who became the primary director for many of her films during these years. ^{[11] [1]} This partnership yielded several notable works, including Amore rosso (1921), Il viaggio (1921), and L'isola e il continente (1922), which are considered masterpieces of the Italian silent era. ^[1] Il viaggio, an adaptation of Luigi Pirandello's novel, featured Jacobini in the starring role opposite Carlo Benetti and was produced by Fert Film. ^[5] Other films from this fertile collaboration with Righelli included La casa di vetro (1920) and Il richiamo (1921), both showcasing her as a serene and compelling screen presence amid the post-World War I crisis in Italian filmmaking. ^[5] In 1922, their joint efforts continued with Cainà: l'isola e il continente and La casa sotto la neve, the latter preserved and noted for its dramatic intensity. ^[11] These projects solidified Jacobini's status as one of the era's prominent figures in Italian silent film before the industry's decline prompted her and Righelli to pursue opportunities abroad. ^{[5] [11]}

Work in Germany and France (1923–1929)

In 1923, amid the production crisis that affected the Italian film industry after World War I, Maria Jacobini relocated to Berlin with her husband and frequent collaborator, director Gennaro Righelli, to pursue opportunities in the more robust German cinema market.^[1][11] There, she established the short-lived Maria Jacobini-Film GmbH production company, which produced only one film: Bohème – Künstlerliebe (1923), an adaptation of La bohème directed by Righelli, in which she starred as the suffering Mimi opposite Walter Janssen.^[11][1] Jacobini quickly established herself in German silent cinema, achieving public and critical success comparable to her earlier acclaim in Italy.^[1] She appeared in numerous films throughout the 1920s, often in leading roles and frequently directed by Righelli, including Steuerlos (1924), Orient – Die Tochter der Wüste (1924), Die Puppenkönigin (1924), Der Bastard (1925), and Die Frauengasse von Algier (1927), the last of which involved location shooting in Africa.^[12] She also starred in Villa Falconieri (1928), another collaboration with Righelli.^[12] During this period she occasionally returned to Italian cinema for projects such as La bocca chiusa (1925) and Beatrice Cenci (1926).^[1] Her final silent film was the French production Maman Colibri (1929), directed by Julien Duvivier and co-starring Franz Lederer, marking the close of her extensive work in European silent cinema before the transition to sound.^[1][11]

Sound film career

Transition to talkies and later roles (1930–1944)

In 1930, Maria Jacobini transitioned to sound cinema with her role in Perché no?, directed by Amleto Palermi as an Italian-language version of the American film The Lady Lies. ^{[13] [14]} This film marked her entry into talkies, co-starring with Livio Pavanelli after her long silent career in Italy, Germany, and France. ^[14] She returned permanently to Italy in the early 1930s and shifted to character and supporting roles in the emerging sound industry, appearing at studios such as Cines. ^[14] Her later work included appearances in musical biographies and dramas, such as Giuseppe Verdi (1938) and Melodie eterne (Eternal Melodies, 1940). ^[15] Jacobini continued in supporting parts during the 1940s, with roles in Via delle cinque lune (Street of the Five Moons, 1942) directed by Luigi Chiarini and her final screen appearance in La donna della montagna (The Mountain Woman, 1943–1944) directed by Renato Castellani. ^{[16] [17]} This period reflected her adaptation from leading silent roles to ensemble contributions in Fascist-era Italian cinema until her retirement from acting.

Personal life

Romantic relationships and marriage

Maria Jacobini had a romantic relationship with film director Nino Oxilia during her early career with Savoia Film in the early 1910s.^[1] Oxilia directed several of her first films and introduced her to the industry in Turin.^[1] In 1920, Jacobini began a long personal and professional relationship with director Gennaro Righelli, who became her frequent collaborator on screen.^[11] The couple married in 1925.^[1]

Teaching career

Professorship at Centro Sperimentale di Cinematografia

Maria Jacobini taught acting at the Centro Sperimentale di Cinematografia in Rome from 1938 to 1943, drawing on her thirty years of experience in film to train the next generation of performers.^[6] She continued to appear in films during this period while serving in the role.^[6] Among her notable students were Clara Calamai and Alida Valli, who benefited from her instruction in recitation and performance techniques.^[6] Her teaching at the prestigious institution marked a transition from her earlier stardom in silent and early sound cinema to mentoring aspiring actors in Italy's national film school.^[6]

Death

Final years and burial

Maria Jacobini spent her final years in Rome following her last film appearance in La donna della montagna (1943). ^[1] She died on 20 November 1944 in Rome at the age of 52. ^{[1] [2]} She is buried in the Jacobini family mausoleum at the Cimitero del Verano in Rome, in the Arciconfraternita del Preziosissimo Sangue di Gesù section (Area XVIII, column 35, row 6), alongside her sisters Bianca and Diomira. ^{[1] [18]}