John Barrymore (Sergeant Ivan Markov), Camilla Horn (Princess Tamara), Louis Wolheim (Sergeant Bubba), Boris De Fas (peddler), George Fawcett (general), (Ulrich Haupt (captain), Michael Visaroff (guard), Lena Malena (Tamara's friend), Albert Conti (bit), Wilhelm von Brincken (examiner), and Michael Marke, Gregory Gaye, John Bleifer.
Director: SAM TAYLOR. Adaptation: C. Gardner Sullivan. Original story and scenario: Erich von Stroheim. Based on a story by V.I. Nemirovich-Dantchenko. Uncredited script contributor: Lewis Milestone. Titles: George Marion, junior. Uncredited direction: Lewis Milestone, Victor Tourjansky. Photography: Charles Rosher. Art director: William Cameron Menzies. Costumes: Alice O'Neill. Music score: Hugo Riesenfeld. Set decorator: Casey Roberts. Wardrobe manager: Frank Donnellan. Technical adviser: Alexis Davidoff. Production manager: Walter Mayo. Production supervisor: John W. Considine, Jr. Producer: Sam Taylor.
Copyright 11 October 1927 by Feature Productions, Inc. Presented by Joseph M. Schenck. Released through United Artists. New York opening at the Embassy, 17 May 1928. U.S. release: 11 August 1928. Sydney release at the Prince Edward, 19 October 1928 (ran 5 weeks). 10 reels. 9,300 feet.
SYNOPSIS: Romance between a peasant soldier and a princess during the Russian Revolution.
NOTES: Academy Award to William Cameron Menzies (shared with his "The Dove") for Art Direction (defeating Seventh Heaven and Sunrise). Also nominated for Cinematography, but lost to Sunrise. A silent film.
COMMENT: Once thought lost, this large-budget movie has now been placed back in circulation. Unlike some other lost/found films which have recently surfaced, this one is not in the least disappointing.
In fact it really was a lost masterpiece featuring superb performances not only from its star, Barrymore, German import Camilla Horn (making her Hollywood debut), and ever-reliable Louis Wolheim, but a most remarkable study in insane villainy by Boris De Fas. What makes this menacing portrait even more remarkable is the fact that De Fas does not seem to have made any other Hollywood films. None! So if you don't catch him in Tempest, you will miss one of the most unique character studies in the movies.
Director Sam Taylor has also excelled himself in this instance, though he is aided by Rosher's superlative photography as well as Menzies' deservedly award-winning sets.
All in all, an engrossing story with vivid characterizations, realized with panache, style, plus a consistently visually appealing finesse.
Director: SAM TAYLOR. Adaptation: C. Gardner Sullivan. Original story and scenario: Erich von Stroheim. Based on a story by V.I. Nemirovich-Dantchenko. Uncredited script contributor: Lewis Milestone. Titles: George Marion, junior. Uncredited direction: Lewis Milestone, Victor Tourjansky. Photography: Charles Rosher. Art director: William Cameron Menzies. Costumes: Alice O'Neill. Music score: Hugo Riesenfeld. Set decorator: Casey Roberts. Wardrobe manager: Frank Donnellan. Technical adviser: Alexis Davidoff. Production manager: Walter Mayo. Production supervisor: John W. Considine, Jr. Producer: Sam Taylor.
Copyright 11 October 1927 by Feature Productions, Inc. Presented by Joseph M. Schenck. Released through United Artists. New York opening at the Embassy, 17 May 1928. U.S. release: 11 August 1928. Sydney release at the Prince Edward, 19 October 1928 (ran 5 weeks). 10 reels. 9,300 feet.
SYNOPSIS: Romance between a peasant soldier and a princess during the Russian Revolution.
NOTES: Academy Award to William Cameron Menzies (shared with his "The Dove") for Art Direction (defeating Seventh Heaven and Sunrise). Also nominated for Cinematography, but lost to Sunrise. A silent film.
COMMENT: Once thought lost, this large-budget movie has now been placed back in circulation. Unlike some other lost/found films which have recently surfaced, this one is not in the least disappointing.
In fact it really was a lost masterpiece featuring superb performances not only from its star, Barrymore, German import Camilla Horn (making her Hollywood debut), and ever-reliable Louis Wolheim, but a most remarkable study in insane villainy by Boris De Fas. What makes this menacing portrait even more remarkable is the fact that De Fas does not seem to have made any other Hollywood films. None! So if you don't catch him in Tempest, you will miss one of the most unique character studies in the movies.
Director Sam Taylor has also excelled himself in this instance, though he is aided by Rosher's superlative photography as well as Menzies' deservedly award-winning sets.
All in all, an engrossing story with vivid characterizations, realized with panache, style, plus a consistently visually appealing finesse.