I come from the country of film NeorealismI used that style before those male filmmakersSome say my work was a sort of activism First Italian female cineaste of shakersActress, writer, producer, distributorI most preferred non-professional actors My scenes portrayed the humble, mundane factorVillage festivals, iris shots, cross-fadesI also recreated deviant behaviour Form and reverie came from the female gazeWhy should a lady settle for one suitor?Ardent ‘sceneggiata’ drama was my craze Neapolitan songs too, I liked to securePiedigrotta helped our record industryWith the film press connections I held allureI handled posters in synchronicityA spectator once tried to kill a villainThose were effects of my authenticity My modest background had a studious fill-inAs a milliner I first started workingA passion that thrived in my films deep within As Elvira Coda I was hardworkingWhen I was wed to Nicola NotariI found him ever so dearly supporting Our film production company was glaryIt was named after our sweet daughter DoraIt was really evolutionary We built a stage set, or ‘teatro di posa’We braved the crisis of the Giolitti AgeMy spouse was the camera, I the aura Eduardo or Gennariello on stageOur son played the ‘scugnizzo,’ the street urchinHe even went through the ‘guaglione ‘e core’ stage He was a good-hearted kid without a sinI was the ‘Marescialla,’ the GeneralMy harsh attitude allowed no underpin True emotions made acting so empyrealI banned glycerin for artificial tearsI had marvellous performers on my reel Tina Pica and Capannelle for yearsDora Film also arrived in ManhattanGennaro Capuano was in high gears Little Italy folks our films would demandI felt the urge to create an Acting SchoolTo enter the characters’ minds and expand I was told by someone with a time capsuleThat later on, child-actor Enzo StaiolaUsed my cognitive method as acting tool It was in a film about a bicycle…Times change, and the arts succumb to politicsThe return of dictators is cyclical My strong heroines went against their opticsThe Fascist Regime was for the patriarchyI was censored and could no longer pull tricks To them my work was absolute anarchyWomen could only be angels of the hearthAmerica showed my films clandestinely Cinema was centralised to Romehenceforth I tried to adapt to Hollywood styleOur film company perished with no rebirth Eduardo tried Great Britain for a whileBut soon returned to the Parthenopean landWith Nicola we then kept a low profile Cava de’ Tirreni became our dreamlandFar from the horrors of the war I wonderedWill this Cinema Mamma in future stand?