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OK, THE COSSACKS debuts on TCM Sunday. Does anyone have information about the new musical score. Someone must know something by this time? Just hope that it's good. probably by one of the former Young Composers Award winner's, as was the score of THE CIRCLE a couple years back when that premiered.

In the If Anything Can Go Wrong Dept., I notice that TCM is showing THE COSSACKS again on July 29.

I was relieved to see that there is a repeat performance within 2 months.
I was upset when it was cancelled in March. Late May/Early June s prime thunderstorm time, and I was afraid of losing the signal, here in the Phily area. Thanks goodess the weather forcast is favorable (clear), bit if it wwasn't ( or if we lost signal for some reason), a rebroadcast for an anticipated premiere is a great piece of insurance!

I have heard that this isn't one of Gilbert's best, but if he ans Renee' Adoree are in it, I want to see it!

Agnes

So, The Cossacks is listed on IMDB as running 100 min.
It has a 2 hour time slot. I wonder whet will run after it?????

Agnes

Come to Dinner

http://www.tcm.com/schedule/" target="_blank

Bob

Some beautiful cinematrography. Anyone know what happened to Percy Hilburn? The IMDB only shows credits through 1931 and he worked another fifteen years.

And did anyone spot Lou Costello?

Bob

yeah I did love the Cossacks last night I dvr it I was way on Sunday afternoon to night finally saw after coming home from work

Costello was also an extra in Marion Davies' The Fair Co-Ed.

Well, What can I say? It was a beautiful new transfer of THE COSSACKS late Sunday evening. All monochrome, the film maybe could have benefited from some tinting. Chiefly amber for day, and blue during the night scenes. However, very few MGM Silents after 1926 were distributed in tinted prints anymore. So a straight Black and white transfer was probably historically accurate. A brand new Robert Israel score was a stunning and I must say unexpected surprise, because I had asked him about it several months ago more then once, and he said nothing about his being part of the project. Robert's score was solid, but took some warming up to, especially given the repeated brief singing interludes included. That's right singing, during portions of 5 or 6 scenes. Something I don't recall in any of Robert's previous scores. In any event, it was great to see this finally debut on TCM. A long time coming as the France 3 Broadcast was clear back in 2001. The movie is apparently viewable on Watch TCM all the rest of this month as well.

Oddly enough Ben's intro never mentioned the fact that this was in-fact a TCM and most certainly North American broadcast premiere. They did note that THE COSSACKS originally had an Orchestral score, but he did not say a recorded score. I was under the impression that the film had never been released with a Movie-tone or Metro-tone or whatever you want to call it track. At least that is what I had repeatedly been told in the past. So I'm not sure what he was talking about there? Sure it would have boasted a live Orchestra score at several screening premieres. And he never specifically noted a recorded score in this. If it did have a vintage track, it has obviously been lost.

Just how many projects has Robert scored now for TCM now? Quite a few and I assume that this new version of THE COSSACKS should be released by Warner Archive soon as well.

Gagman 66 wrote:Robert's score was solid, but took some warming up to, especially given the repeated brief singing interludes included. That's right singing, during portions of 5 or 6 scenes.

I agree, the singing took me off guard at first, but it worked nicely with the film, which overall was quite good. No matter what little critiques one might throw at it, the cast alone was first-rate and reason enough to watch it. Actually, Renée Adorée is all the reason I need, but throw in Gilbert, Torrence, Asther, and Fuller, and you know you are going to enjoy a nice film. I know I did.

Gagman 66 wrote: The movie is apparently viewable on Watch TCM all the rest of this month as well.

When I watched my recording of Sunday's broadcast, I had brief issues with pixelating ,and also having the image freeze for nearly two seconds. Thank goodness I could record from another source through my cable company. It was re-recorded from 'On Demand' for a second time, and it's now a flawless copy.

There's lots of close-ups with some great acting from everyone; giving us a chance to see how well these actors could play their parts. The action scenes were over-the-top exciting; lots of camera work and a mixture of dummies and actors getting trampled by the horses.
I must admit, many of Renee's scenes were reminiscent of how she ran after John Gilbert in "The Big Parade."

Both the added voices (singing the same words as the actors in the film), and the synchronized drum beats gave Robert's new score the same feel as the sound on disc films of 1928.

I also had issues. There must have been a glitch somewhere, because I got the film in two parts with a chunk missing in the middle. But I was surprised at what a clean print it was. What I did see was even better than I remembered. I will be recording again on 7/29, when it's scheduled again.

I'm also having more problems than usual with TCM's signal lately. My DVR recording of, don't laugh, the Herman's Hermits outing Hold On showed up in three separate parts, and the Australian sheep shearing drama (OK, you can laugh) Sunday Too Far Away in two. And another film I was recording for a friend, a Parkyakarkus completist, She's Got Everything with Ann Sothern and Gene Raymond, had a handful of moments where the film simply pixelated and froze, requiring me to fast forward through them.

I was wondering if the problems were originating with my cable company's signal or at the channel itself. Hope these are bugs that get worked out soon. (I don't seem to have these problems with programs recorded on other channels, but keep in mind that TCM probably accounts for 90 per cent of what I record, so maybe the DVR needs to go back to the cable company.)

I gave up on taping from TCM when I moved back to Maine and realized the cable reception was so lousy. I have all the problem others here have mentioned: freezing up, pixilating, and total blackouts. Why bother trying to tape anything?

I thought the film for all the production values was a nothing. The plot, what little of it there was, turned out to be an excuse for senseless brutality and drinking to follow the brutality or an more brutality. All the characters were cut with a pretty broad cliche. Gilbert and Asther looked very handsome, I will confess, I loved that. The love story was boy meets girl, they go back and forth hating one another while really loving one another and then she marries Nils Asther.
Okay, IMO, just a dumb film.

Enjoyed Robert Israel's score, more than anything else for his use of a Tchaikovsky rarity the Manfred, the Nutcracker theme for Nils Asther proved annoying!

Anyway, not a film I care to revisit. ymmv on this one.

If anyone here is an Xfinity Comcast subscriber, they usually include the Silent Sunday feature as part of their free On-Demand movies (the process is lengthy - go to the 'On Demand' section, select 'Movies', then 'Free Movies', then 'Free Movies by Network' and then 'TCM'). That's how I watched it yesterday, and I had no problem with any glitches.

I have to agree with rudyfan. Fantastic image quality, great production design, effective score, lovely to see Gilbert and Adorée reunited, always like Nils Asther ... but the movie itself was an odd beast.

Brooksie wrote: I have to agree with rudyfan. Fantastic image quality, great production design, effective score, lovely to see Gilbert and Adorée reunited, always like Nils Asther ... but the movie itself was an odd beast.

"Unbelievable," is what I thought from the beginning.

It required a great deal of latitude to accept Gilbert's character could ever change so dramatically, let alone that the whole band of Cossacks would believe this. Torrence gave a fine performance of emotions going amuck, which was necessary because of the foolish script (talk about a rocky father-son relationship).
The love relationship with Renee and Gilbert was much too much, but I loved seeing all these emotions come alive on the screen mostly in close-ups.
Silly? yes. Still, if you can put aside common sense and watch all the things unfold in this 90 minute drama, you're sure to be entertained. It's one of the finest cinematography jobs I've ever seen with some pretty elaborate special effects.

Watching the Turks blow up the side of the mountain brought memories of C.B. DeMille to mind.

rudyfan wrote:I thought the film for all the production values was a nothing. The plot, what little of it there was, turned out to be an excuse for senseless brutality and drinking to follow the brutality or an more brutality. All the characters were cut with a pretty broad cliche. Gilbert and Asther looked very handsome, I will confess, I loved that. The love story was boy meets girl, they go back and forth hating one another while really loving one another and then she marries Nils Asther.
Okay, IMO, just a dumb film.

(There may be a slight spoiler-alert in this post) Going into it, I didn't really know what to expect. Knowing very little about the story, I assumed the heart of the story would be centered around Gilbert's character turning away from the violence of the Cossacks and the dynamics involved in that. That would have been interesting. But instead it was more about him embracing it. In fact, I think eventually he says something about liking the taste of blood (or something similar to that). Although I think there could have been an interesting story there with him turning away from the violence of his people, it was still an intriguing story the way it played out. In fact, it ended-up being a twist to me because I was expecting the story to unfold a different way.

I realize that adapting any music that has some popularity may evoke multitudinous reactions, and I feel that sometimes it is a good idea to share my reasoning with people so that I may establish that my ideas are not merely arbitrary or simply to fill several moments of screen time with perfunctory music. To describe my respect for the great composers, and my profound passion for classical music, would take volumes.

When I was studying the sequence in which the prince and his valet are taken to Widow Akoolena’s home, and they inspect the accommodations, I was immediately enchanted by the wonderful acting of Nils Asther, Dale Fuller, and Sidney Bracey: their faces, their reactions, and their gestures were handled with deft comedic excellence. As Widow Akoolena chatters incessantly, the prince’s orderly makes a gesture of this fact with his mouth, and the prince needs to place his fingers in his ears so he may stop hearing her prattling. The more I thought about this wonderful bit of humor, the Tchaikovsky Nutcracker Overture played again and again in my mind. It is delicately majestic, not at all pompous, sparkling with energy from the very first chords. Yes, it is a well known work, but it may be of great surprise to know that there are still many people who do not yet know this wonderful music. Regardless of its fame or anonymity, it was the music I kept hearing in my mind.

The character of this composition, for me, seemed to reflect clearly the character of the prince. There is a lightness and humor about the music, but there is also a developmental flow to the music that seems to highlight the visuals of the sequence it supports: the chattering of Widow Akoolena is clearly heard with the perpetual motion of sixteenth notes played in the strings. The occasional chord reinforcements in the winds, and especially for me as she chatters more and more, and the prince has plugged his ears, Tchaikovsky's sequences build more and more tension with each mounting phrase. Notice that when she turns to speak to the prince directly, and he removes his fingers in a camouflaged pantomime hiding his offensive gesture, the music chattering phrase stops with a sustained harmony and the melody continues on the oboe. In other words, the music catches the change of action on the screen, and supports this change by punctuating it subtly. So once more about the visual rhythm–Akoolena’s chattering builds and builds to this very moment when finally, the prince removes his fingers from his ears, and we as an audience can understand the timing being that of swift and delicate comedy at its best. The timing is crucial to the humor in this sequence and I felt that I had managed to capture these subtle details responsibly when adapting the Tchaikovsky. In fact, when I asked my wife about it, she told me that she would have been annoyed if I had not used this selection!

At any rate, the scoring of this feature was a formidable challenge in every respect and I am deeply grateful that I was allowed the opportunity to work on this fine production. I would be delighted to answer any questions that might be posed to me about this project, and I wish you many happy hours of viewing pleasure.

Thank you very kindly.

Robert Israel

Robert Israel Music wrote: In other words, the music catches the change of action on the screen, and supports this change by punctuating it subtly.

Throughout the film, the music and occasional song worked perfectly for my tastes. The film really developed many of the characters, not simply those in the title roles. Having watched twice, I've been able to look more carefully at the huge cast of supporting actors. Each gave a fine performance.

Thanks Mr. Israel for another fine effort on your part.

I recorded it.
I was so excited to see this (I am currently reading the new Gilbert bio).But because of family commitments, I might not free up enough to sit & enjoy it for a few days more. The snip I saw looked clear & beautiful. The music seemed wonderful.
TCM renamed the film!

Did anyone notice that in the opening title from MGM it is titled "The Cossacks", but on the opening card placed on the restoration, it is labled "Cossacks"?

Silly, but so simple whoever did it should not have made such a dopey slip.

Agnes

I'm elated that so many people enjoyed THE COSSACKS as it has been a frequent victim of unduly harsh criticism on this site in the past. I have yet to read any negative comments on the TCM Forums, the numerous Facebook Silent film groups,and several other sites. The film and Robert's score has garnered nothing but high praise.

Want to thank Robert for explaining his mindset in scoring the picture. From a Ukrainian, rather then a Russian perspective. This I found most insightful. I still am unclear as to how the project came about? But I am pleased that it did. Hopefully, at some point TCM will produce a version of TWELVE MILES OUT witch I have yet to see in it's entirety. Of course my founded wish is a Colleen Moore film or two. Most likely HER WILD OAT or LILAC TIME figures to be the first Moore First National feature that TCM will broadcast. Chuck Tabesh told me that HER WILD OAT had been on TCM's Radar as far back as 2009. I recently heard from a guy who told me that TCM should be debuting Karl Brown's STARK LOVE (1927) in the fall. He's very surprised that it has yet to be shown.

Incidentally, I gotta believe that TCM has close to enough films several of which Robert has scored, to feature Renee Adoree on it's annual Summer Under The Stars. Gilbert was so honored a few years back.

I finally saw this film and it was certainly a good example of the visual artistry of the cinematography to be found in even a relatively routine late-silent. It was fun seeing Gilbert and Adoree reunited on-screen after their work in THE BIG PARADE, even if Ernest Torrence nearly stole the show. It contained some exciting and well-edited action set-pieces, too. Good to see this one finally turn up on TCM.

It's just not fair!!!!! All you Yanks going on and on about watching these silent films on US-TCM when we in Blighty have to watch crap on our UK-TCM, (Ooooooooh dear, is saying "Yanks" racist? I hope not -- sorry in advance..)

Anyways, why can't THIS happen! Right!!!!! So we all know that US-TCM is uber-fantastic, and shows silents, and pre-codes and what-not. And that UK-TCM is a pile of dog poo. So why can't this happen! They beam US-TCM up to some big satellite up in space, and then have it beam down to the UK, and our transmitters pick up the US-TCM, but it's put onto some obscure little channel that nobody's ever heard of; (just to get by the ridiculously stupid "copyright laws" that the UK keep saying is the reason why UK-TCM cannot broadcast all of the old stuff.

Why can't they do that???????? Answers on a postcard!! And don't tell me it's to do with copyright, because in the UK there is the 50 year rule! The 50 year rule, is that anything over 50 years goes into the public domain. The US does not have that ruling so by rights it should be the other way around... i.e, US-TCM should have all the problems, and the UK shouldn't have any problems...

P.S. What is "WATCH TCM" ?? Never heard of it???

David Alp wrote:
P.S. What is "WATCH TCM" ?? Never heard of it???

This will frustrate you even more, I assume. WATCH TCM is the ability (for people who have TCM available on their cable subscription) to stream many/most of the previous seven days' worth of movies/programs shown on TCM. They can be watched on a computer or mobile device (iPad, smartphone, etc.).

http://www.tcm.com/watchtcm/help/" target="_blank

Rick

David Alp wrote:It's just not fair!!!!! All you Yanks going on and on about watching these silent films on US-TCM when we in Blighty have to watch crap on our UK-TCM, (Ooooooooh dear, is saying "Yanks" racist? I hope not -- sorry in advance..)

There are tens of millions of people from South of the Mason-Dixon line who will scream that they are no damned Yankees. It's well known in the US that outside this country, a Yankee is someone who comes from the US; in the US it's someone from New England; in New England, it's someone from Maine; in Maine it's someone who eats pie for breakfast.

Bob
and I don't mean quiche.

David Alp wrote:It's just not fair!!!!! All you Yanks going on and on about watching these silent films on US-TCM when we in Blighty have to watch crap on our UK-TCM, (Ooooooooh dear, is saying "Yanks" racist? I hope not -- sorry in advance..)

The same thing happens with TCM in Oz. The signal is carried on a satellite that is beamed into half a dozen Asian countries as well as Oceania. They have to clear the rights issues with all these countries which must be a nightmare. The result is that the same "set" of stock films is repeated over and over without very many first-runs. I used to have TCM on Pay-TV but gave it up after I had seen everything.

boblipton wrote:

David Alp wrote:It's just not fair!!!!! All you Yanks going on and on about watching these silent films on US-TCM when we in Blighty have to watch crap on our UK-TCM, (Ooooooooh dear, is saying "Yanks" racist? I hope not -- sorry in advance..)

There are tens of millions of people from South of the Mason_Dixon line who will scream that they are no damned Yankees. It's well known in the US that outside this country, a Yankee is someone who comes form the US; in the US it's someone from New England; in New England, it's someone from Maine; in Maine it's someone who eats pie for breakfast.

Bob
and I don't mean quiche.

Not sure about the pie or even the pye. My maternal grandfather always identified himself as a "Yankee" and his family had been in Maine for generations but originally from Isle of Jersey where all the old families are French (I think) or maybe Norman?

To Texans, anyone from an area north of them is a Yankee. I'm from Oklahoma, so I'm a Yankee.

boblipton wrote:

David Alp wrote:It's just not fair!!!!! All you Yanks going on and on about watching these silent films on US-TCM when we in Blighty have to watch crap on our UK-TCM, (Ooooooooh dear, is saying "Yanks" racist? I hope not -- sorry in advance..)

There are tens of millions of people from South of the Mason-Dixon line who will scream that they are no damned Yankees..

Bob

Oh! Now you see I DO know all about the Mason-Dixon line!! It's a song isn't it by Al Jolson!! Am I right???

Just hang my cradle, Mammy mine,
Right on that Mason Dixon line,
And swing it from Virginia,
To Tennessee With all the love that's in ya,
Weep No More My Lady,
Sing that Song again for me!