Nero. Or the Fall of Rome.

An early historical spectacle, Nerone is a forerunner of the likes of Cabiria which would five years later take the film world by storm. Today, it might look stagey, with some incredibly over-the-top acting at times, but it holds the interest more for what it signifies than the factually inaccurate story it tells. The costume and set design are far superior to most other contemporary films, giving at least some impression that the events we watch on-screen are actually unfolding in Ancient Rome rather than in a Turin film studio.

As you'd expect, Nero's a bit of a cad. He ditches his slightly dumpy wife Octavia when the younger Poppea catches his eye without a second thought, and then allows himself to be talked into killing the ex to clear the way for Poppea to become his new empress. So what we might possibly have here, in the form of Poppea, is cinema's first femme fatale - I certainly can't think of an earlier one.

As others have mentioned, the film is an uneasy mix of hokum punctuated by brief moments of artistic highlights. I certainly didn't find it as dull as some others seem to have done but, having said that, can see how this would chiefly be of interest to film historians and hopelessly completist film buffs like me...

This short version of the story of the Roman Emperor Nero suffers from being tediously slow - not a failing of every primitive silent but it certainly is of this one.

Rolling in at 14 minutes it seems much longer and doesn't keep to historical fact for very long. Some bits are interesting though - Nero has visions because of guilt (which echo the visitations to the king in Shakespeare's Richard III to some extent). Now and again a performance comes to life but not that often.

An interesting curio, especially when you watch early attempts to create a believable setting to make the viewer think they are really watching something set in Rome. An Italian production which is interesting in fits and starts.

This film is an inaccurate portrayal of the fall of the Roman Empire, one of the first Italian spectacles. The film uses no close-ups at all, just the usual tableaux idea which was used by earlier filmmakers. This gives it a stagy feel, like watching a play on TV. The acting is also very stagy too: the actors wave their arms and make gestures to try to tell what is happening, but the whole film could be a bit confusing for any modern viewer who didn't know about the fall of the Roman Empire. I at least could understand what was happening because of the subtitles throughout the film.

The set-up starts with Nero hearing of a beautiful woman named Poppea so he discards his other wife Octavia and marries her. Poppea then convinces Nero to kill Octavia. When this happens word gets out and Nero is forced to set Rome on fire. Here is where their history is wrong, because after some reading on the fall of the Roman Empire I found there was indeed a fire but I didn't read anything about Nero having been behind it at all, which was totally made up. There is then a dream sequence of Nero's remorse of having supposedly burnt Rome. The film ends suddenly when Nero takes flight from the people--and according to the IMDb summary, he commits suicide!

Worth watching if you're interested in the fall of Rome or early cinema. I actually don't find it that bad of an epic, just flawed and very stagy. The tints look pretty good and the visual look of the film was very nice.

This film may only appeal to fans of early silent cinema, but I thought it was interesting. The story is simple, the scenes are all played in a continuous long shot and the acting is very broad. But these characteristics were typical of most other films of the period, and Nerone has a visual richness that is unusual for the time. Apparently the Italian producer Arturo Ambrosio was willing to invest much more money in sets and costumes than producers in other countries. What makes Nerone effective, though, is that the scenes are staged and photographed with a sense of drama. By today's standards the film may seem tame, but audiences of the period were thrilled by Italian spectacles like these, especially the later ones which were much longer and much more spectacular. The Italian films of this era set a new standard for production values, and influenced filmmakers all over the world, including D. W. Griffith.

Remarkable that five years from this film, "Nero", that "Cabiria", with its outstanding sets, would be released. In just two years, the production values in "Nero" were made dated by those of "L'Inferno". Additionally, Pathé's Film d'Art had already set the standard in production values for historical spectacles higher than that in "Nero" with the prior year's release of "The Assassination of the Duke de Guise". Yet, Italy's film industry had only recently begun. Rapidly, the national cinema led the world in historical and literary spectacles, longer films and grand set design. Thus, this film is historically noteworthy for being an early entry to the Italian spectacle—but it's not of much interest otherwise.

"Nero" contains the dated tableaux structure, with title cards preceding and describing static shot-scenes, and is theatrical as a result. The sets, which are just cardboard and backdrops, are also no better than what could be found on the stage. For what they are, though, they're not bad. Although the story is set in Ancient Rome, the sets are all Renaissance with their linear perspective. The positioning of the extras also adds to the deep staging and the illusion of a kind of artificial deep focus. If I recall correctly, the same tricks were used in "The Last Days of Pompeii", released four years later by the same company. In short, the sets here are better than most from the time, but are, nevertheless, artificial, theatrical and dated.

Another effect of note in this film is the vision scene. The special effect, however, is simply a superimposition (or double exposure), which had been used in films for over a decade even by then and in photography for longer than that. The real roots for the composition of these vision scenes in early films belongs to magic lantern slides.