Spartacus (1913)

October 30, 2026

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Mario Guaita-Ausonia | Cristina Ruspoli | Giovanni Enrico Vidali (Director)

Rest of cast:

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Original Title: Spartaco

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“Spartacus”

Pretentious eight-reel Pasquali production as presented at the Chicago Auditorium, by George Kleine.

Reviewed by James S. McQuade.

Spartacus, a prince of Thrace — Mario Ausonia
Idamis, his sister — Signorina Christina Ruspoli
Marcus Licinius Crassus, Roman consul — Enrico Bacci
Narona, his daughter — Signorina Maria Gandini
Noricus, chief of the gladiators — Luigi Mele
Artemon, sweetheart of Idamis — Verdi Giovanni

Feature photodramatic subjects, such as Quo Vadis? Antony and Cleopatra, The Last Days of Pompeii, Spartacus, and others of like character, I have become thoroughly convinced can be estimated at their true value only by viewing them often. It is impossible to review any one of them with critical intelligence after seeing a single presentation. There is so much to fill the eye at all times that, no matter how mentally and ocularly alert one may be, many fine points in the production will escape attention, so that the mental image formed of the subject as a whole retains at best only a skeletonized outline. It is only by repeated viewing that the worth or demerits can be accurately ascertained. The same reasoning can be applied to patrons of these feature subjects. Yet many people think that having seen a big pictured story once, they have the right to class it as good, bad or indifferent.

I can frankly say that Spartacus grew in my estimation after the second, third and fourth presentations, notwithstanding that defects were also revealed on these occasions.

The story lacks the dignity of a classic, as it is for the most part pure fiction; but the Pasquali producer has offset this in large measure by the atmosphere he has created. Several imposing exteriors show views of ancient Rome, splendid triumphal pageants, fierce gladiatorial contests in the spacious amphitheater of the Circus Maximus, and scenes of battle on the mountain side, in which the Roman legions are scattered by Spartacus and his men. The final climax also occurs in the Circus Maximus, a scene that resembles the great scene in Quo Vadis? where the lions are let loose on the band of Christians, only in this case Spartacus takes the place of the devoted zealots for a time, the conspirator Noricus being substituted in the end. Another fine exterior shows the descent of Spartacus and his men over lofty cliffs by means of vines, in order to attack the Romans in the rear. An impressive interior shows the great feast in the palace of Crassus, during which the consul summons picked champions among the gladiators to engage in mortal combat.

The aspect of harshness which dominates the story is softened by the love scenes between Spartacus and Narona, daughter of Crassus, and Artemon and Idamis, sister of Spartacus. These love scenes were rendered still more effective, in the presentations at the Auditorium, Chicago, by the sweetly expressive music arranged by Modest Altschuler and played by a symphony orchestra of thirty-eight pieces. Indeed, never before had I thought it possible that music could be arranged so as to afford such perfect accompaniment to pictures. Had song taken the place of the pictures, the music could not have been more appropriately expressive nor more delightfully contributory to one’s pleasure. George Kleine deserves much praise for his enterprise and good taste in this matter. The presentations showed a marked step forward, and the industry has been highly benefited. When one spends $2,500 per week for music for pictures, their artistic value is well appraised.

The photodramatic talent of the principals in the cast is best represented by Luigi Mele, in the part of Noricus, and by Signorina Ruspoli, in the part of Idamis. Signor Mele has a most expressive face. His intense envy and hatred for Spartacus are venomously written on his visage. Just watch the workings of his features while he stands in the consul’s box, in the Circus Maximus, and gazes at Spartacus alone in the arena, awaiting the entry of the lions. Note that evil, crafty look at another time, when he catches sight of the sword and cloak of Spartacus on a chair. At that moment the plot to slay Crassus and place the crime on Spartacus flashes through his brain. Again see him express by look the impending triumph of his villainy, when he sends by the hands of the slayer of Crassus a forged message to Spartacus, bearing the name of the man just murdered. As chief of the gladiators, as well as villain, Signor Mele sustains his part well.

Signorina Ruspoli as the sweetheart of Artemon is winsome and charming. She photographs beautifully. The scene revealing her as she reads Artemon’s tablet, which conveys the intelligence that he is about to consult her brother Spartacus concerning their approaching nuptials, is one of the most appealing in the entire eight reels. Every lineament of her face shows delight and happiness and her eyes shine with rapture.

Spartacus was a difficult character to assign; since brawn and muscle were indispensable in the selection. Signor Ausonia has a well knit, powerful frame, and the play of his muscles and his strength would rival those of Sandow at his best. Witness his bending and breaking of the steel bars of the gate that imprisons his sister, Idamis. Signor Ausonia, besides, is a handsome man, with aristocratic, clean-cut features, and although he is lacking in the art of expressing emotion, he succeeds in making Spartacus a hero and a convincing lover as well.

Signorina Gandini, in the part of Narona, does not fully realize the possibilities of the character. Like Signor Ausonia, she is somewhat weak in emotional scenes, and is addicted to a sameness of gesture that mars some really good acting. This lady has an attractive face. The Artemon of Signor Giovanni is well carried, and Signor Bacci presents Crassus forcefully, although he carries too much flesh to fit the part pleasingly.

The story is laid about 73–71 B. C. Spartacus, prince of Thrace, Idamis, his sister, and Artemon, her lover, are led captives to Rome by the Roman Consul Crassus. There Spartacus and Artemon are added to the company of gladiators, and Idamis is given to the consul’s daughter, Narona, as her slave. Narona, however, treats the fair captive as a sister.

Noricus, chief of the gladiators, is defeated in contest by Spartacus and nurses bitter enmity for him, especially so when his chieftainship is bestowed on the Thracian by Crassus. He spys on Spartacus, when he finds that Narona loves him, and awaits the time for revenge.

At a great feast Crassus orders Spartacus to bring before the company a number of champion gladiators to engage in deadly combat. Artemon is the sole survivor, and Crassus, intoxicated with wine, commands Spartacus to fight his friend and the lover of his sister. Spartacus refuses and calls on his fellow gladiators to free themselves, offering to be their leader.

He leads his men to the mountains, and Crassus, with his legions, encamps in a pass that hems in the gladiators. Spartacus and his force descend the cliffs by ropes formed out of vines, and rout the Roman army. Crassus is taken prisoner, but is released by Spartacus on the request of Narona.

Spartacus enters Rome in triumph and orders that all slaves be freed. Noricus, more envious than ever, plots the ruin of the victor. He professes friendship for Spartacus, but sows dissension in the ranks of the gladiators. Then he secures two accomplices, who slay Crassus. The sword and cloak of Spartacus are placed on the dead body and the Thracian himself, who has been decoyed to the spot by a forged message, is arrested as the slayer. Spartacus is condemned by acclamation to be thrown to the lions in the arena.

Through Idamis the fiendish plot of Noricus is discovered; Spartacus is rescued at the last moment, and throws his enemy into the arena.

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The Battle of the Gladiators — Scene from George Kleine’s Big Pasquali Production, Spartacus
The Escape Down the Precipice — Scene from Spartacus
Spartacus and Narona — Scene from Spartacus

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Collection: Moving Picture World, June 1914

Currency

Spartacus (1913)

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