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The Shadow of the Silents – A Lady to Love 127
expand cinematic space in different directions. But it is also used metaphorically,
like in the case of the scene where Tony expresses his love for Lena, where
his off-screen monologue serves to underline his position as an “outsider”, as
well as it introduces a subjective perspective; what he has to say clearly focuses
on Lena, and thus it is only logical that she remains in focus of the image as
well.
In addition to dialogue and ambient sound, music is of course the third important
aspect of the overall “sound picture” that must be considered in analyzing
this film. A Lady to Love uses – which is typical of the time – only diegetic
music. The first occasion is the song opening the film, which reappears later in
the narrative; a sentimental Neapolitan folk song (composer unknown): “’Tis
now the hour of parting, Farewell, farewell, I leave thee; Napoli, fairest city, I
part forever now!” 21 This song reoccurs later in the film. Secondly, we see the
pianola in Lena’s restaurant on which the camera tracks in, and which we then
hear off screen later in the evening, as she is in her room, thus suggesting the
proximity between these two spaces, and showing that she has no home except
her small room at work. Thirdly, there is the song and music during the wedding,
which plays an important role for the ambiance, and is followed by applauses
from the guests – but also turns out to be quite significant in the narrative.
The first song, by Eduardo di Capua, is called “Maria, Mari”: “Wide, open
wide, o window, Maria’s face displaying, Here in the road I’m staying, one
glimpse of her to gain; No hour of peace is left me, night into day I’m changing,
While round her house I’m ranging, to talk with her in vain.” 22 This song rather
seems to emphasize the lover’s perspective. The second song, “Funiculi, Funicula”,
by Denza, contains among several verses the following: “That is the place
where the fire is hot, And I will fly and let you be, And I will not force my love
nor annoy you; Even to look at you, even to look at you.” 23 The cutting continuity
script states that: “This song is sung during the following dialogue”, which
contains a conversation between Tony and the Doctor, where Tony asks the
latter to look after Lena and see “if she’s having good time”, and being informed
by the Doctor that she is having a splendid time, Tony responds: “Oh, that’s
good, that’s verra good”, thus echoing the promise of unselfish love from the
song, and expressing the husband’s perspective. 24 Finally, there is also orchestra
music – Canzone, by Drigo – as well as the familiar song “Sulmare Lucia”,
which is repeated several times during the film.
Another key to these music scenes is contained in a conversation between
Tony and the Doctor. Tony complains: “Oh, poor Tony, he missa da fiesta.”
Doctor: “It’s time that coyote shut up.” Tony: “Angelo is no coyote, Doc.” Doctor:
“He’s been howling for the last five hours.” Tony: “Oh, you no ondrastand
music, Doc. (Sings:) La – la – la – .” 25 The music, throughout the film, not only