The curse of silence is a psychological phenomenon that occurs when individuals choose to remain silent in situations where they should speak up. This can be due to a variety of reasons, including fear, insecurity, or a desire to avoid conflict. The curse of silence can have profound effects on individuals and the broader society. One of the key reasons why individuals may fall victim to the curse of silence is fear. People may fear the consequences of speaking up, such as retribution, negative judgement, or social ostracism. This fear can paralyze individuals, preventing them from expressing their thoughts, opinions, or concerns.

Black Magic

The gypsy parents of a child are condemned by Viscount de Montagne (Stephen Bekassy) and hanged before his eyes. The boy swears revenge. Sheltered by Gitano (Tamiroff), the boy grows into the mesmerizing charlatan Joseph Balsamo (Welles) peddling an elixir of life. Realizing that his hypnotic powers enable him to manipulate an individual's thoughts and behavior, Balsamo changes his name to Count Cagliostro and tours Europe promoting himself as an all-powerful healer.

In France, Montagne, unaware of their earlier encounter, asks Cagliostro to treat a young woman, Lorenza (Guild), who is in a deep sleep. Lorenza closely resembles Marie Antoinette, the wife of King Louis XV's eldest son (the Dauphin of France). Montagne and Mme. du Barry (Margot Grahame) intend to use Lorenza to impersonate and discredit Antoinette, thereby disgracing the Dauphine and allowing Mme. du Barry to marry the king. However, Louis XV's death and accession of Louis XVI puts an end to the plan. Meanwhile, Cagliostro has become enamored of Lorenza and marries her. He uses her resemblance to Antoinette to bring about the disgrace and death of Montagne, but Lorenza turns against Cagliostro, and his plotting culminates in his own dishonor and death.

The character of Count Cagliostro calls for a bravura performance, and Orson Welles provides it, using his voice and looks effectively in an extravagant performance. This film was made during Welles' busiest period in film. He appeared in three films in 1949, Black Magic , The Third Man , and Prince of Foxes , and in The Black Rose in 1950. His characters in these films are outsized personalities, well suited to Welles' larger-than-life acting. The other actors appearing in Black Magic , who have less showy parts, are adequate in support. The busy plot develops slowly to the predictable conclusion.

Gregoy Ratoff had ten years of stage experience as an actor before he began his film career in 1932. Initially an actor, he subsequently also became a director and producer. He was a competent director whose films are often entertaining, if slow paced, but lacking in any individual or distinctive qualities. His films include Intermezzo (1939) and The Corsican Brothers (1941).

Diane Guild had a short film career from 1946 to 1955. She was pretty and sincere, but lacking in screen presence and flair.

The film is based Alexandre Dumas' novel Joseph Balsamo , a fictionalized account of the life of Giuseppe (Joseph) Balsamo, alias Alessandro Cagliostro, an 18 th century adventurer, who was notorious as an occultist, alchemist, forger, and swindler. This extraordinary individual has fascinated composers and writers for two centuries, and his character appears in numerous operas, stories, and films.

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Cereal At Midnight

1949's Black Magic is equal parts drama, mystery, forbidden romance, and swashbuckler. Most importantly, it's a rousing tour-de-force for its star Orson Welles, who plays the infamous 18th century mentalist and occultist Joseph Balsamo, better known as Count Cagliostro--a real historical figure who has been the subject of films, operas, and novels, including the Alexander Dumas book upon which this story is based.

Our tale begins when Balsamo is a child, the offspring of gypsies who have been captured by the French Viscount de Montaigne. After being forced to watch his parents hanged, our young protagonist is beaten and very nearly blinded before being rescued by his kinsmen. Vowing revenge upon de Montaigne, Balsamo grows up to become an illusionist in a traveling show where he wows audiences with his sleight-of-hand skills and transfixing eyes. He soon meets Dr. Franz Anton Mesmer (from whom we derive the term "mesmerize") who teaches him how to use his captivating talent to hypnotize people and bend them to his will. Realizing the power that he now wields, Balsamo flees Mesmer and sets out to grow his fame and influence using the name Cagliostro. Before long, his goal of revenge has grown into something even more twisted: the desire to rule. With his uncanny powers of persuasion, who can stand against him?

Black Magic was the brainchild of indie producer Edward Small. Contrary to his name, Small is one of the bigger names in independent film production; his knack for recognizing and capitalizing on film trends led to a lucrative and prolific career that spanned half-a-century, from the silent film era all the way through the end of the 1960s. Small had achieved success bringing the swashbuckling adventures of Alexander Dumas to the screen in the 1930s with The Count of Monte Cristo and The Man in the Iron Mask, and work on Black Magic began in 1943. Through a series of cast and director changes, it would ultimately take several more years to realize his vision, and even then, Small is on the record saying that director Gregory Ratoff and star Orson Welles changed his idea considerably. It's even been said that Welles co-directed the film--uncredited, of course. Given the iconoclast's strong personality and intense vision, its undoubted that a lot of Welles the filmmaker can be seen here.

In fact, Black Magic seems to have many of the hallmarks of films that we associate with the maverick, whether he directed them or not. The camera angles and use of light and shadow, even the climax of this film, which takes place high above the street on the rooftops (an echo of 1946's The Stranger) all speak to the trademarks of Welles the craftsman. Speculation aside, Welles gives a great performance here, and he's clearly having the time of his life. This film finds the screen giant in svelte shape, his tall frame appearing slender in black attire. This is Welles the swashbuckler. His near-constant struggle with studios and executives throughout much of his career would find him seeking roles in independent features such as this to finance his passion projects; l ater, he would say that Black Magic was the most fun he'd had working in cinema. Shot in Rome over three months and with no seemingly no boundaries whatsoever, who can blame him?

A few words about the supporting cast: Nancy Guild (rhymes with "wild") pulls double duty as both the bold Marie Antoinette and the meek Lorenza, the demure object of Cagliostro's affections. One can't help but imagine that the actress, who filmed this movie during a brief stint between contracts at both Fox and Universal (where she would costar in Abbott and Costello Meet The Invisible Man), embraced the dual roles with relish, as it let her have her cake and--making Marie Antoinette proud--eat it too. Welles' long-time friend and collaborator Akim Tamiroff (Touch of Evil) appears, as does Frank Latimore (13 Rue Madeleine), Valentina Cortese (The Barefoot Contessa), and Margot Grahame (1935's The Three Musketeers). In an introduction to the film, Berry Kroeger (Gun Crazy) appears as the author Alexander Dumas alongside a bearded Raymond Burr, years before Perry Mason.

Now Black Magic makes its Blu-ray debut courtesy of a wonderful new HD restoration (also available on DVD) from ClassicFlix. The source elements for the film appears to be in remarkable shape given its origins, with only the occasional minor damage visible in the form of a few brief scuffs and scratches. Contrast is excellent, and well-resolved fine film grain is often visible. Truly, Black Magic may not have looked this good when prints were first struck in 1949. The only included special features are trailers for other titles from the ClassicFlix library.

I really enjoy Black Magic. It's more of a costume drama and 18th-century period piece than a genre film or a noir, but given the presence of Orson Welles, noir leanings seem unavoidable. In fact, this film would make for a stellar double feature with Anthony Mann's The Black Book, aka Reign of Terror, a full-blown noir set during the French Revolution that was also released during 1949, distributed by Eagle-Lion Films, one of the kings of Poverty Row. Black Magic is also not really horror, but given the moody atmosphere and occult leanings, not to mention gothic themes and setting, this one nevertheless offers its fair share of chills. That old Black Magic still has me in its spell.

Black magic 1949

The restoration and release on Blu-ray of the 1949 costume drama Black Magic (Cagliostro) starring Orson Welles is getting generally positive reviews.

Welles stars as Joseph Balsamo, a poor French gypsy with a tragic past and is taken under the wing of Dr. Mesmer (Charles Goldner). Mesmer teaches Balsamo the secrets of hypnosis. While Balsamo promises he will use the skill only to help others, he instead uses hypnosis to steal money and forge himself a powerful reputation. Using his newfound power, Balsamo plots to replace French queen Marie Antoinette (Nancy Guild) with a young woman.

Based on the Alexandre Dumas novel Joseph Balsamo, the movie was directed by Gregory Ratoff, a filmmaker Welles had referred as “a great friend, and more fun to work with than anybody I know.”

Welles reportedly had a hand in directing some scenes in Black Magic, which was filmed in Italy between October 1947 and January 1948.

Here is a sampling of reviews of the classicflix.com release:

Cereal Midnight: It’s even been said that Welles co-directed the film–uncredited, of course. Given the iconoclast’s strong personality and intense vision, its undoubted that a lot of Welles the filmmaker can be seen here. In fact, Black Magic seems to have many of the hallmarks of films that we associate with the maverick, whether he directed them or not. The camera angles and use of light and shadow, even the climax of this film, which takes place high above the street on the rooftops (an echo of 1946’s The Stranger) all speak to the trademarks of Welles the craftsman. Speculation aside, Welles gives a great performance here, and he’s clearly having the time of his life. This film finds the screen giant in svelte shape, his tall frame appearing slender in black attire. This is Welles the swashbuckler. His near-constant struggle with studios and executives throughout much of his career would find him seeking roles in independent features such as this to finance his passion projects; later, he would say that Black Magic was the most fun he’d had working in cinema. Shot in Rome over three months and with no seemingly no boundaries whatsoever, who can blame him?

Home Theater Forum: The film’s 1.37:1 theatrical aspect ratio is presented in this 1080p transfer using the AVC codec. While the image is very sharp throughout, image quality fluctuates as edges of the frame vary in emulsion consistency. That also often affects dark levels, too, which can sometimes lighten to a medium gray. There is an occasional scratch or two, but nothing especially distracting. Those tonal variations across the frame do occasionally intrude on one’s enjoyment. The movie has been divided into 16 chapters. The DTS-HD Master Audio 2.0 mono sound mix is typical of its era. Dialogue has been well-recorded and has been mixed with Paul Sawtell’s background score and the sound effects quite professionally. Unfortunately, low level hiss is an almost constant companion as one watches and listens, and there’s a tiny bit of crackle, too.

Trailers from Hell: Orson Welles in fine form! This lavishly produced costume drama, beautifully cast and directed, was filmed on location in gorgeous Italian palazzos, churches and villas. Welles is cast to type as the literally mesmerizing mountebank Cagliostro, who aids Madame du Barry in a scheme to seize the throne of France. Welles almost certainly ‘helped’ the credited director; the highly theatrical goings-on look exactly like Orson’s style. Super performances from Nancy Guild, Akim Tamiroff, Valentina Cortese, Margot Grahame and Charles Goldner turn Alexandre Dumas’ tale into swashbuckling mind-control excitement; the disc tops it off with a sensationally good restoration.

It Came from the Bottom Shelf: While Black Magic wasn’t exactly my cup of tea (or goblet of wine), it is a lavish, well-mounted production, with memorable performances by Welles and Guild. If costume pictures are your jam, or if you are already a fan of this particular film, the ClassicFlix Blu-ray is also heartily recommended. It is the best presentation the film has ever received on home video.

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This fear can paralyze individuals, preventing them from expressing their thoughts, opinions, or concerns. Over time, this can lead to feelings of frustration, powerlessness, and even a loss of identity. Insecurity is another factor that contributes to the curse of silence.

Individuals who lack self-confidence or doubt the value of their own contributions may choose to remain quiet. They may believe that their voice is not important or that they do not have the knowledge or authority to speak on a particular matter. This self-doubt can limit personal growth and prevent individuals from making meaningful contributions to their communities or organizations. Avoidance of conflict is another reason why individuals may choose to remain silent. Disagreeing with others or challenging the status quo can be uncomfortable and may result in tension or confrontation. People may choose to suppress their thoughts and opinions to maintain harmony or to avoid potential backlash. However, this avoidance of conflict can hinder progress, stifle innovation, and perpetuate injustices. The curse of silence not only affects individuals but also has broader implications for society. When people remain silent in the face of injustice or wrongdoing, it allows such behaviors to continue unchecked. Silence can validate and perpetuate harmful norms, discrimination, or abusive practices. Conversely, speaking up can bring attention to important issues, drive social change, and empower individuals and communities. Overcoming the curse of silence requires courage, self-confidence, and a belief in the value of one's own voice. It requires individuals to confront their fears, challenge their insecurities, and embrace discomfort. It also requires cultivating environments that promote open dialogue, respect diverse perspectives, and encourage the expression of differing opinions. Only then can the curse of silence be broken, and individuals and society can truly thrive..

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