“MICHAEL STROGOFF”

Sun (Auckland), Volume 1, Issue 50, 21 May 1927, Page 17

“MICHAEL STROGOFF”

A NOTABLE FILM The eagerly-awaited “Michael Strogoff” was filmed before a large and appreciative audience at the Regent Theatre last night. There is little doubt that this great Continental picture sets a new standard for European movie production. “Michael Strogoff,” which is the screen version of one of Jules Verne’s melodramatic romances of the days of Alexander 11. and his court, is mounted on a scale hitherto unknown by Continental producers. The Lettish Republic sanctioned the use of what apparently was the whole of its army to augment the action in “Michael.” It is extraordinary how events in mid-Europe have changed since the days of the murdered Czar. To imagine the Tartar hordes giving the Soviet Government real concern nowadays seems too absurd for serious contemplation. Yet in the days of the bewhiskered Alexander, the Tartars lived up to their reputation. They certainly were Tartars, and a decided thorn in the side of the Czar.

Excellent are the representations of the interior of the Winter Palace, in the magnificence and glory it will never again know. Dignified were the quadrilles in which even Alexander was tempted to tread a measure at State functions.

In this connection the Universal Film de France producers have given us something quite new from a photographic point of view. Novel effects were obtained by placing the camera on the ground in these scenes, or else directly above the heads of the dancers. The audience were treated to a worm’s peep, and, alternately, a bird’s-eye view.

“Michael Strogoff” was distinguished by the notable characterisation of Ivan Mosjoirkine, an actor admirably cast in the leading role. Nathalie de Kovanko was frankly disappointing as Nadia, the girl who accompanied Michael, as his sister, through the Tartar lines. Dignified and stately was Gaidaroff’s presentation of the mighty Czar of all the Russias.

“Michael Strogoff” should not be missed. The film is a decided achievement, and if the Americans still excell in the art of the photo-play, it is comforting to know that Europe is making rapid strides in this great modern art.

It is hardly likely that Mosjourkine will be proof against a good Hollywood offer. This dashing young Michael is undoubtedly one of the greatest male pictorial leads of his day. America is bound to get him sooner or later. Maurice Guttridge, the Regent’s energetic musical director, as usual, took grea tpains that “Michael Strogoff” should be artistically supported musically. The score opens with the solemn Russian National Anthem, unfortunately from a musical point of view, now unpopular in its native land, and includes such gems as “The Entry of the Gods into Valhalla” (Wagner), the “Coppelia Ballet,” Saint Saen’s “March Hongroise,” Lugini’s “Marche Russe,” and the “Imaginary Ballet” of Coleridge Taylor. The central figure in a colourful prologue, in which was depicted the sumptuous court of the Great Khan, was Miss Valma Leich, who danced attractively, supported by a nimble ballet. Eddie Horton at the Wurlitzer, the Eton College Boy, who fulfilled expectations by really being a girl—and a particularly interesting educational feature depicting the beauties of saddened Vienna, concluded rather a remarkable bill.