Classic movie site with rare images, original ads, and behind-the-scenes photos, with informative and insightful commentary. We like to have fun with movies!
Archive and Links
Search Index Here

Thursday, June 05, 2014

Fresh Silent Stock On TCM Shelf

The Cossacks (1928) Takes Love and War In Light Stride

The Cossacks is outsize action romance done with a wink. If you didn't catch it on TCM this past Sunday, be sure to on the next bounce in July, because here's a pre-talkie that shows what fun hep people had with stuff taken seriously for most of an era headed toward finish as The Cossacks went into summer 1928 release. Yes, Gunga Din did have a big brother, or should I say sister?, because ace scenarist Frances Marion, the quick wit behind Valentino's tongue-in-cheek Son Of The Sheik, was also back of this, and she knew from fun to be had with bigger than life formula without ridiculing it outright. Marion was one of those (few) who understood how audiences had smartened up against backdrop of 20's roar. They'd seen every yarn spun a hundred times and were ready to lighten up. If only John Gilbert could have gone on making ones like this and leave squawk to those who'd quicker cede his kind of likeable bombast to arid stillness of microphones.

The Cossacks is about, well, Cossacks, who like to kill Turks, and that's all we need to know. They wear florid costumes and fight like demons. Russian politics of a sort John Barrymore dealt at Tempest address of a year before is not at issue here, question alone being, is Gilbert going to quit being a layabout and take up swords like a man? He does, and for no more weighty reason than to impress Renee Adoree, and us, with rides to rescue and endurance of Turk torture before receipt of a happy ending. The Cossacks was based on Tolstoy ... not that any of him was left once multiple minds at Metro had input. A troup of on-the-level Cossack riders were said to have been imported, horsemen that would make Hollywood stunt pros look to laurels (250 brought from Russia at cost of a quarter-million, said publicists, this two years ahead of The Cossacks' release, which shows how long the film was in gestation). The riders would be used in a Tim McCoy MGM western in addition to The Cossacks, and would canvass the US as promotion assist, sample being the above ad when the film played Cleveland's Stillman Theatre.

What exec Irving Thalberg and Metro brass wanted wasn't authenticity, let alone fidelity to Russian literature, but just enough flavor of each to vary studio concoct of Gilbert plus action plus love, and it didn't take genius to mix those. A Frances Marion, who'd get scenarist credit after numerous others had punted the assignment, knew that where Metro and its public were concerned, simplest alchemy was a most effective. MGM was among early applicators of a ten-heads-are-better-than-one theory, which wouldn't do most of their movies a lot of good in 1928 or after when the policy got even top heavier. Committees were already rife at picture-making, with Thalberg to make final call. The Cossacks was broth to which many poured ketchup, reminding me of the scene in Meet Me In St. Louis where Katie, Lon, and Grandpa want to do the same. Was that moment in 1944's musical meant to spoof overage of cooks in Leo's kitchen?

The Cossacks went to Broadway's Capitol Theatre for June 1928 opening, that venue being home to MGM product not quite of roadshow caliber. The Capitol's goal here, as always, was to fill enough seats to justify holdover beyond a single week booked. Crowds sufficient to keep The Cossacks around for a second (or more) frame would decorate trade ads and make urgent the need for outlier showmen to date the show, perception of a hit being everything ("Anyone Would Road-Show It," said publicity). Extended Runs as touted by Metro sales for summer 1928 included Garbo in The Mysterious Lady, Ramon Novarro in Across To Singapore, Lon Chaney's Laugh, Clown, Laugh, and Marion Davies in The Cardboard Lover, in addition to The Cossacks. In fact, there were two John Gilbert vehicles in current play, the modest Four Walls also on that season's release chart. Fantastic, and ongoing, success of The Big Parade made any subsequent Gilbert saleable. He'd appear in four for 1928, had done the same the previous year ... was there oversaturation afoot? Clouds that would burst upon JG after arrival of sound may have seen start of darkening here.

Jack sometimes opened a big mouth to the press, studio lockdown of star statements still a few years in offing. He said The Cossacks was too cheap to amount to much, this in advance of the show being finished, which didn't help toward folks' anticipation and attendance. Judged by Gilbert's up-down behavior, he may well have been bipolar, unrecognized per 20's diagnostic skill, and having to treat symptoms a best way he could with alcohol and serial marriages. Jack could be manic and make it work in fast action and romance context of The Cossacks, but where pull-back and shut-up was needed, his was a wire too live for a system built on discipline/control. That, however, was much of what commended John Gilbert to his public. Fan press called The Cossacks "a slice of rich, red meat," Screenland's review using as header "Hotsy-Totsky." The meat after eighty-six years tastes still fresh, as evidenced by clean survival of elements (I noted no nitrate decomp), plus a typically outstanding score by Robert Israel. TCM's is happy comeback for a most entertaining barnstormer that is The Cossacks.


Blogger Tom said...

Yes, it was certainly a treat for me to view that beautiful print of red blooded costume adventure the other night on TCM.

No one will ever accuse the film of much subtlety, least of all in its human relations. The Cossacks is very much a chauvinistic man's world in which women know their place (working the fields while waiting for their men to return from war).

Nothing quite as satisfying for a hot blooded Cossack as killing a Turk or two or ten, then bragging about it afterward.

While there's nothing in this fun romp to compete with the charming simplicity of the scenes that they had had in Big Parade, John Gilbert and Renee Adoree were still an impressive screen pairing in this one, too, I felt.

Particularly effective, I think, was that scene in which Gilbert climbs into Adoree's bedroom window after he had made such a jerk of himself (his impulsive hot blooded character very reflective of the actor playing him) and tried to make amends, only to discover from Adoree's tear stained face that it was too late.

And it's ALWAYS a pleasure for me to watch that wily old character actor, Ernest Torrence, this time as Gilbert's father and the leader of the Cossacks. The tension between father and son truly erupts in a furiously paced scene of whip brandishing carnage between them, with Pops decidedly coming out second best.

I think that the grim brutality of the torture scene in the film's final reels will come as a surprise to many, perhaps even a little off putting to some.

But I'm with you, John. It's a heck of a lot more fun watching Gilbert in a physical romp like this than in a lot of those talkfests that MGM would soon be planting him in.

12:14 PM  
Blogger Mike Cline said...

Wonder what became of Yurka Kuls?

5:04 PM  
Blogger John McElwee said...

Dan Mercer reflects on "The Cossacks" and John Gilbert's career:

After Gilbert signed that fabulous contract with M-G-M, he never again made films having the prestige or popularity of "The Wedding March," "The Big Parade," "La Boheme," or "Bardelys the Magnificent." There would still be the pictures with Garbo--they were a team after all, and she was as well served by them at this time as he was--and interesting curios like "Man, Woman, and Sin," but the latter was almost a throwaway, so far as the studio was concerned. Most of his pictures were almost programmers, with his own salary the most prominent part of the budget, but with little ambition to sustain the popularity which made that salary possible. The effect was to undercut his stardom, and this occurred well before the disaster of his first talkies. Gilbert was aware of what was happening and made scathing public comments about "Twelve Miles Out" or "The Cossacks." As to the latter, the "cheapness" he complained about had less to do with the production values as the story. He wanted something with emotional depth. Of course, there are some who would say that this damage was deliberate and put the blame on L. B. Mayer. I think that they're wrong, however. It would be better to say that Gilbert was mishandled, not out of hatred but misunderstanding or indifference. The same thing was happening to Clara Bow at Paramount, as B. P. Schulberg put her in picture after picture intended to exploit her popularity, but not to sustain it. Gilbert at least had "The Big Parade," which played for a year in some venues. People who saw it would want to see that sensational star again, whatever he was in. Too often they would be disappointed, but not always, it seems. Apparently "The Cossacks," for all of Gilbert's misgivings, is a pretty entertaining film. I missed it last Sunday, but there will be other opportunities in this digital age, with its commonplace miracles.

9:09 AM  
Blogger Tom said...

Well, as an actor, Gilbert's complaint about the lack of emotional depth in The Cossacks is certainly understandable.

He had given one of the great performances of the silent era, in my opinion, in The Big Parade, and there isn't much room for subtle nuances in this characterization. I'm hard pressed to say that I even liked his hot headed juvenile character, certainly not the macho one which he very abruptly becomes.

Renee Adoree, though, brought charm and sensitivity to her role, I thought.

While I thoroughly enjoyed Ernest Torrence's broad acting, it was a performance could only have been done during the silent era. That Scottish accent of his might have been a tad jarring for a Cossack leader if the film had been made a couple of years later.

10:31 AM  
Blogger opticalguy said...

Thanks for featuring this film so prominently. I got to see it on the free-on-demand option the last day it was available. Yeah … it's total hogwash BUT really FUN hogwash. Stunning look to the film and I suspected some of those extras in the scenes of the "jolly Cossacks" frolicking looked pretty darned authentic. Why the jolly sadists boasting of killing are supposedly redeemed by their religiosity still baffles me and it does seem like a desk-bound executive's fantasy of "when men were MEN!"

I agree with the poster TOM who said, "particularly effective, I think, was that scene in which Gilbert climbs into Adoree's bedroom window after he had made such a jerk of himself (his impulsive hot blooded character very reflective of the actor playing him) and tried to make amends, only to discover from Adoree's tear stained face that it was too late." This is when good acting makes hokum into GREAT fun.

Ernest Torrence is a ton O'fun (his soft, gentle, Scot's accent would have not worked for the Cossack chief so I'm glad it's a silent. Renee Adoree does a LOT with little.

The technical side (about 5 or so matte paintings and a couple of splendid optical composites (the cliff collapse) really show MGM's technical superiority to most others. The least convincing matte is the shot of the Cossacks riding down from the pass to the rescue but it looks way cool.

I just wish I'd recorded it!

9:01 AM  

Post a Comment

<< Home
  • December 2005
  • January 2006
  • February 2006
  • March 2006
  • April 2006
  • May 2006
  • June 2006
  • July 2006
  • August 2006
  • September 2006
  • October 2006
  • November 2006
  • December 2006
  • January 2007
  • February 2007
  • March 2007
  • April 2007
  • May 2007
  • June 2007
  • July 2007
  • August 2007
  • September 2007
  • October 2007
  • November 2007
  • December 2007
  • January 2008
  • February 2008
  • March 2008
  • April 2008
  • May 2008
  • June 2008
  • July 2008
  • August 2008
  • September 2008
  • October 2008
  • November 2008
  • December 2008
  • January 2009
  • February 2009
  • March 2009
  • April 2009
  • May 2009
  • June 2009
  • July 2009
  • August 2009
  • September 2009
  • October 2009
  • November 2009
  • December 2009
  • January 2010
  • February 2010
  • March 2010
  • April 2010
  • May 2010
  • June 2010
  • July 2010
  • August 2010
  • September 2010
  • October 2010
  • November 2010
  • December 2010
  • January 2011
  • February 2011
  • March 2011
  • April 2011
  • May 2011
  • June 2011
  • July 2011
  • August 2011
  • September 2011
  • October 2011
  • November 2011
  • December 2011
  • January 2012
  • February 2012
  • March 2012
  • April 2012
  • May 2012
  • June 2012
  • July 2012
  • August 2012
  • September 2012
  • October 2012
  • November 2012
  • December 2012
  • January 2013
  • February 2013
  • March 2013
  • April 2013
  • May 2013
  • June 2013
  • July 2013
  • August 2013
  • September 2013
  • October 2013
  • November 2013
  • December 2013
  • January 2014
  • February 2014
  • March 2014
  • April 2014
  • May 2014
  • June 2014
  • July 2014
  • August 2014
  • September 2014
  • October 2014
  • November 2014
  • December 2014
  • January 2015
  • February 2015
  • March 2015
  • April 2015
  • May 2015
  • June 2015
  • July 2015
  • August 2015
  • September 2015
  • October 2015
  • November 2015
  • December 2015
  • January 2016
  • February 2016
  • March 2016
  • April 2016
  • May 2016
  • June 2016
  • July 2016
  • August 2016
  • September 2016
  • October 2016
  • November 2016
  • December 2016
  • January 2017
  • February 2017
  • March 2017
  • April 2017
  • May 2017
  • June 2017
  • July 2017
  • August 2017
  • September 2017
  • October 2017
  • November 2017
  • December 2017
  • January 2018
  • February 2018
  • March 2018
  • April 2018
  • May 2018
  • June 2018
  • July 2018
  • August 2018
  • September 2018
  • October 2018
  • November 2018
  • December 2018
  • January 2019
  • February 2019
  • March 2019
  • April 2019
  • May 2019
  • June 2019
  • July 2019
  • August 2019
  • September 2019
  • October 2019
  • November 2019
  • December 2019
  • January 2020
  • February 2020
  • March 2020
  • April 2020
  • May 2020
  • June 2020
  • July 2020
  • August 2020
  • September 2020
  • October 2020
  • November 2020
  • December 2020
  • January 2021
  • February 2021
  • March 2021
  • April 2021
  • May 2021
  • June 2021
  • July 2021
  • August 2021
  • September 2021
  • October 2021
  • November 2021
  • December 2021
  • January 2022
  • February 2022
  • March 2022
  • April 2022
  • May 2022
  • June 2022
  • July 2022
  • August 2022
  • September 2022
  • October 2022
  • November 2022
  • December 2022