It boggles the brain how the 1926 Michael Strogoff has only been released on VHS and so little discussed in the nine decades since its premiere. It only has intelligence, beautiful production values, fluid cinematography, excellent performances, and action scenes which put the over-choreographed slow-mo fests of modern blockbusters to shame.
The film is a perfect showcase for the technical dazzle of the late silent era. Jumpy, jittery, broadly-acted flickers these were not: the camera glides through scenes, the editing is as fast-paced as the action, and the acting is restrained.
Much has been said of Ivan Mosjoukine's turn in the lead, but for me, the show is utterly stolen by his leading lady, Nathalie Kovanko. Her character Nadia is no fluttering damsel; risking her life to protect her loved ones and even saving Strogoff several times, she is a heroine in her own right.
All in all, Kino Lorber or Criterion should jump on this, or at least Grapevine.
The film is a perfect showcase for the technical dazzle of the late silent era. Jumpy, jittery, broadly-acted flickers these were not: the camera glides through scenes, the editing is as fast-paced as the action, and the acting is restrained.
Much has been said of Ivan Mosjoukine's turn in the lead, but for me, the show is utterly stolen by his leading lady, Nathalie Kovanko. Her character Nadia is no fluttering damsel; risking her life to protect her loved ones and even saving Strogoff several times, she is a heroine in her own right.
All in all, Kino Lorber or Criterion should jump on this, or at least Grapevine.