The Last Command (1928 film)

[lakeland_silent]

I recently viewed this film and though it was a striking silent drama. It seemed to give an insightful look into early Hollywood. I believe it was a vivid performance by Emil Jannings and arguably his best work.

Have any of you seen this, and what are your thoughts on it?

[Changsham]

I saw it a long time ago. Emil Jannings was very good. I liked it but I thought the story was a bit contrived to get the desired ending. It left me scratching my head at the complete turnaround of the generals arch nemesis come film directors attitude towards Emil's general character.

[FrankFay]

It's a good solid film. The only real flaw in the story was pointed out by Kevin Brownlow.

To recap the plot- Janning's character sends the revolutionary (Wm Powell) away, while keeping his girl (Evelyn Brent). As the plot progresses we learn that the Grand Duke, despite his autocratic brutality, has some nobility of soul.

In Hollywood the Grand Duke meets his revolutionary adversary, who treats him with cold contempt. At the Grand Duke's death, however, he remarks "He was a great man". Now, we know that he WAS a great man, because we saw it- but how did Andreyev the revolutionary form that opinion? Surely not from watching him slip into madness before the camera?

[Changsham]

That explains it far better.

[Jim Reid]

They ran it this last year at the Kansas Silent Film Festival. Despite a film break, it was my favorite film of the weekend.

[Jack Theakston]

I must say, I didn't find this much of a stretch. The theme of the story is that both Jannings, Brent and Powell presumably love their country to the point that they would die for it, but are on two sides of the political spectrum. Once Brent dies, both are exiled to America, where the tables are turned. Powell looks to humiliate Jannings at first, but Jannings ferocity in his performance proves to Powell that although they are politically opposed, they both love the same country, even years after being exiled from it.

[Robert Israel Music]

As with any violent shift in any government, corrupt or not, those people experiencing the upheaval (in this case, the Russian people whose country is falling apart rapidly and is on the brink of revolution) are bound to be confused by the rhetoric of both opposing sides.

Leo Andreyev is idealistic and very much a subversive to the czarist government. He is tired of the “pretty speeches” that he believes are used by the leaders attempting to manipulate the ignorant to support a war effort (historically being one of the big reasons that prompted the 1917 Revolution in Russia) he does not believe in. Early in the film he challenges the General regarding the courage it takes to send other men to their death. Clearly, he does not understand the Grand Duke’s level of commitment to his responsibility. He views the military’s support of war as an act of complicity to a corrupt government. The General, in a rage to Andreyev’s pompous invective, whips him across the face and sends him to prison.

After ten years pass, Andreyev is in the “Mecca” of the world and has an opportunity to humiliate the man who had once humiliated him. As he sets the stage for the former general, now a pathetic extra in Hollywood’s film industry, and even going so far as to remind him of their brief encounter in the past, Andreyev’s arrogance and pride motivate his revenge . The cameras roll, the stage effects begin, and the majestic strains of the Grand Duke’s former national anthem begins.

Yes, his character goes mad, but the foundation of his integrity is revealed in his speech. Even though he has witnessed the collapse of his beloved Russia and has spent ten years wasting away his life in Hollywood, the call to duty and the love of his country are what inspire his passion filled speech. It becomes clear that The Grand Duke Sergius Alexander was not just another lackey, or a thug, or a criminal in a corrupt government, or that he was merely acting in his own self interest, but rather that he was acting in the interest of his country. He was not a corrupt man, but the genuine article: the real thing. It is not a question of who was right—czarists or bolsheviks—it was a question of truth and integrity. Both sides lied to everyone and both sides were responsible for operating tremendously corrupted systems. Andreyev realizes that the General was not one of these corrupted liars, and despite being in a pit of vipers, the Grand Duke remained a man of integrity; hence, “He was a great man.”

Robert Israel

[Changsham]

I must say, I didn't find this much of a stretch. The theme of the story is that both Jannings, Brent and Powell presumably love their country to the point that they would die for it, but are on two sides of the political spectrum. Once Brent dies, both are exiled to America, where the tables are turned. Powell looks to humiliate Jannings at first, but Jannings ferocity in his performance proves to Powell that although they are politically opposed, they both love the same country, even years after being exiled from it.

Yes, I agree that was what was intended. The way it was it as done was quite clumsy and could have been explained far better in an otherwise expertly made film. But the Powell character did no hold back on the humiliation and pushed the Grand Duke over the edge. The turnaround was too abrupt.

[FrankFay]

I think this is a classic case of a story that is better viewed than analyzed.

[Jack Theakston]

I think Mr. Israel put quite eloquently what I was trying to point out—it isn't a case of bad writing, it's about paying attention to character motivations.

Is it any less believable, for example, than any of your average films today where someone makes a speech to an audience that was previously reticent about that individual, only to have them applaud that character? Sometimes words do speak louder than actions.

[Mike Gebert]

I'm with Eric, it succeeds magnificently on sheer energy and intensity, despite the fact that it doesn't really add up.

[silentfilm]

I had seen it in the 1990s when I rented this film on VHS and I thought it was OK. When it was screened at the Kansas Silent Film Festival this year, with a great piano score by Greg Forman, the film was just incredible.

[Robert Israel Music]

I have a different point of view about this idea. For me, it feels something like saying that it is better to view the Mona Lisa, than to analyze it. There is nothing wrong with experiencing a work of art (classical or popular–it really makes no difference) and to have a reaction without going into it too much, but to have no discussion about one’s feelings, or no one to analyze and prompt healthy and respectful debate seems to me a kind of a lost opportunity. For that matter, it might be along the lines of looking at art (painting, cinema, sculpture, literature and so forth) and having no reaction or opinion at all.

Analysis merely is a way to help bring to light details that may be less obvious for the reason of a work’s success or failure. The irony being, what is a success for one group may be a calamity for another, or something in between. Considering the inclusion of Brownlow’s quote from years ago, (albeit paraphrased) regarding that this film has a flaw, I must contend that his conclusion is false. How he arrived at his idea based upon misunderstanding the information presented in the film. Suffice it to say that he has his point of view and I have mine (and no doubt there are opposing views to my statements).

But, in the end, this is a discussion very much worth having and, so far, everyone has contributed their feelings in very good fashion and in good spirits. Thank you.


Robert Israel

[Jim Reid]

The inconsistancy of Williams Powell's actions was something I did notice, but it didn't bother me enough to hurt my enjoyment of the film. Along with Bruce, I credit Greg Forman's performance with making this so enjoyable.

[Lokke Heiss]

I saw it in Topeka and thought it was terrific. I think it's one of those films that looks great on a big screen and a great score, and falls flat on its pompous face in any other presentation.

[Big Silent Fan]

I recently viewed this film and though it was a striking silent drama. It seemed to give an insightful look into early Hollywood. I believe it was a vivid performance by Emil Jannings and arguably his best work.

I've only seen four Emil Jannings films; "Othello" (1922), "The Last Laugh" (1924), "Faust" (1926) and "The Last Command" (1928).

In my mind, any one of these could arguably be his best work. Each story is so very different that they cannot be compared. All are favorites, and mostly because of his performance. If his name wasn't listed in the credits, I might not have known it was him.

The only other actor I can think of who could disappear so completely into a character was Fredric March. These two were truly "men of a thousand faces."

Thanks to the 'Flicker Alley' Film Fragments (shown earlier this year on TCM), I was able to see the conclusion of "The Way of All Flesh" (1927), the film which earned Emil Jannings an Academy Award.
What an emotional film that must have been.

[gentlemanfarmer]

As with any violent shift in any government, corrupt or not, those people experiencing the upheaval (in this case, the Russian people whose country is falling apart rapidly and is on the brink of revolution) are bound
Yes, his character goes mad, but the foundation of his integrity is revealed in his speech. Even though he has witnessed the collapse of his beloved Russia and has spent ten years wasting away his life in Hollywood, the call to duty and the love of his country are what inspire his passion filled speech. It becomes clear that The Grand Duke Sergius Alexander was not just another lackey, or a thug, or a criminal in a corrupt government, or that he was merely acting in his own self interest, but rather that he was acting in the interest of his country. He was not a corrupt man, but the genuine article: the real thing. It is not a question of who was right—czarists or bolsheviks—it was a question of truth and integrity. Both sides lied to everyone and both sides were responsible for operating tremendously corrupted systems. Andreyev realizes that the General was not one of these corrupted liars, and despite being in a pit of vipers, the Grand Duke remained a man of integrity; hence, “He was a great man.”

Robert Israel

I think this gets at the heart of the film, and I think that the score you assembled and prepared reflects this underlying assumption. I recently was able to acquire the original cue sheet and was interested to see the film, your score and it's similarities and departures from the original selections was most illuminating. It was interesting to see the underlying humanity and seriousness that your score brought to the film - in a way, it became an additional voice in the film, far beyond Bradford suggestions, and it made the film all that more powerful. I especially liked the opening use of Mazeppa, it was an inspired choice, and I thought very literarily apt, as well as musically and dramatically; and it was the choice of scoring, the difference between using the Russian Rag, and the music you selected or composed for the breadline/extras scene, etc. A very powerful and intelligent reading of a film that causes some issues for some how watch it. Thank you for the wonderful work and this clear exposition of the dramatic arc and it's moral implications. How much if at all did you refer to any previous cue sheets or scoring approaches when working on this project?

[Gagman 66]

Since this film is on DVD from Criterion, along with UNDERWORLD, and THE DOCKS OF NEW YORK, I'm very disappointed that so many people members of this forum, don't seem to have this great set in their collections?

[Mitch Farish]

Since this film is on DVD from Criterion, along with UNDERWORLD, and THE DOCKS OF NEW YORK, I'm very disappointed that so many people members of this forum, don't seem to have this great set in their collections?

I hear praise all the time from people - many of them young people - who hope this or that film airs on TCM so they can see it. If as many people who claim to love and watch classic and silent film bought the DVD releases there would be more classic and silent DVD releases. Most silents do well if they sell 3,000 copies! If the people who hope to see these films on TCM had a copy they wouldn't have to wait to see it. I've got my old 1999 Slingshot copy of The Last of the Mohicans, but if David Shepard's restoration comes out on Disc it will be an automatic purchase for me.

[Rick Lanham]

Since this film is on DVD from Criterion, along with UNDERWORLD, and THE DOCKS OF NEW YORK, I'm very disappointed that so many people members of this forum, don't seem to have this great set in their collections?

<Obligatory hand up> Me, me, I have it!

[gentlemanfarmer]

Since this film is on DVD from Criterion, along with UNDERWORLD, and THE DOCKS OF NEW YORK, I'm very disappointed that so many people members of this forum, don't seem to have this great set in their collections?

I hear praise all the time from people - many of them young people - who hope this or that film airs on TCM so they can see it. If as many people who claim to love and watch classic and silent film bought the DVD releases there would be more classic and silent DVD releases. Most silents do well if they sell 3,000 copies! If the people who hope to see these films on TCM had a copy they wouldn't have to wait to see it. I've got my old 1999 Slingshot copy of The Last of the Mohicans, but if David Shepard's restoration comes out on Disc it will be an automatic purchase for me.

Agreed, I try to purchase as many films as I can...I would love to be able to purchase these titles since I don't have access to TCM.

[Robert Israel Music]

Dear Eric,

Thank you for your kind words and taking the time to describe details from your impressions of this film and the score.

I do like to have the chance to read cue-sheets from contemporary sources, as they can be very useful–sometimes James C. Bradford hit upon very inspired choices and other times his selections describe quite the opposite to my way of thinking. Jack Theakston has suggested that cue-sheets are a very good starting point for a score, and I agree with his point of view. What I believe is important (more so than merely trying to assemble Bradford’s “shopping list”) is to try to understand why he made the selections that he did. Sometimes they are quite perplexing–in his cue-sheet for WHY WORRY? (1923), he suggests the use of Mendelssohn’s “Ruy Blas Overture” for when Harold Lloyd strolls through the streets of Paradiso immediately after arriving. It really does not work in any respect and kills the comedy of this sequence.

Apparently, Bradford had an amazing repertoire of selections in his mind and when scrutinizing his various works these days, it is rather amazing that he was so prolific and could often find pieces that were appropriately descriptive to an impressive array of subject matter. For example, (although the film does not exist) his musical selection for the opening titles of THE WAY OF ALL FLESH is a piece called “Bataille.” It is very dramatic and would set the stage for a serious film quite effectively; MONSIEUR BEAUCAIRE suggests the use of music from Andre Messager’s operetta of the same name, and it is an excellent choice; he opens THE VANISHING AMERICAN with a strong dramatic introduction and then moves into a lyric passage, from the composition entitled “From an Indian Pueblo” by W.M. Nelson; for SMOULDERING FIRES, he suggests opening with “Entr’acte Symphonique” which has the feeling of something about to boil over. These are decidedly different thematically, but he handles each one with clarity. What follows these opening suggestions is an entirely different matter.

I understand Bradford’s idea in suggesting “Russian Rag,” by Geo. Cobb, as a cue for the bread line sequence. In this ragtime piece, Cobb composes a variation in ragtime style of the famous three note motif from Rachmaninoff’s Prelude in C-sharp minor. This rag is a charming piece of entertaining music and is fun to listen to. This is precisely a reason not to use it for the sequence. Although there is a certain mood which goes well with 1920s film, the question to ask is really about the character of the actual scene.

Out of context from the rest of the film, it would appear that the music works and has a decent rhythm for the flood of extras piling onto the studio lot. It is written primarily in a minor key, so the dark timbre seems to be reflected. The music, however, is ultimately too light and fun in character (and it inspires too much toe tapping) to underscore the prevailing irony of this moment in the film. There is a wit to this sequence (observing the jaded and irritated facial expressions of the costume and prop department workers) and it seems more of an indictment of the Hollywood system: it appears that everyone except Jannings (a broken man) is angry, dismayed, or shouting and is being dehumanized; Jannings’ lack of emotion is also why he stands out from the crowd, apart from his huge frame, dark suit, and hat. It is necessary to consider each sequence of a well made film as part of a whole, rather than an independent moment. Is this scene supposed to be fun? Hardly. And the idea of using a fun piece of music as a “counterpoint” to the painful bread line is pure rubbish. When the Jannings character is introduced, he emerges from the darkness of his room at a flop house. The call to work would seem his only salvation from this despair. But, where must he go? To the Hollywood bread line!

As well as other compositions, I did compose the music for this sequence, the Jannings’ “Despair Theme” and the “Love Theme.” And I am very happy that you understood my choice for adapting Liszt’s “Mazeppa” as the opening title music. For now, this is enough to say, but I am truly appreciative of your taking the time to open a discussion on this topic.

Robert Israel

Here is a link:

http://youtu.be/9qf908-nKyM" target="_blank" target="_blank

[FrankFay]

Thanks for the comparison video. Your music is definitely more effective, but "Russian Rag" isn't bad. At the time it also had the advantage of being a well known piece that a pianist or orchestra might be able to play from memory.

Straying off topic: I once read of a woman who'd played piano for movies. She said her default piece was Beethoven's "Pathetique" sonata. She said she was watching the screen one day and got so wrapped up in the film that when she snapped back she found she'd slipped into the Pathetique automatically. (I just hope she wasn't playing the 1st movement during a love scene)

[drednm]

Thanks to the 'Flicker Alley' Film Fragments (shown earlier this year on TCM), I was able to see the conclusion of "The Way of All Flesh" (1927), the film which earned Emil Jannings an Academy Award.
What an emotional film that must have been.

It has probably been mentioned somewhere in this thread, but Jannings won his Oscar for both The Way of All Flesh and The Last Command

Jannings is also terrific in The Blue Angel. The newest film I've ever seen him in is the 1941 German film Ohm Kruger as president of the Transvaal during the Boer War. This is a propaganda film in which Queen Victoria is portrayed as a grasping monster. Jannings is excellent.

[gentlemanfarmer]

I understand Bradford’s idea in suggesting “Russian Rag,” by Geo. Cobb, as a cue for the bread line sequence. In this ragtime piece, Cobb composes a variation in ragtime style of the famous three note motif from Rachmaninoff’s Prelude in C-sharp minor. This rag is a charming piece of entertaining music and is fun to listen to. This is precisely a reason not to use it for the sequence. Although there is a certain mood which goes well with 1920s film, the question to ask is really about the character of the actual scene.

Out of context from the rest of the film, it would appear that the music works and has a decent rhythm for the flood of extras piling onto the studio lot. It is written primarily in a minor key, so the dark timbre seems to be reflected. The music, however, is ultimately too light and fun in character (and it inspires too much toe tapping) to underscore the prevailing irony of this moment in the film. There is a wit to this sequence (observing the jaded and irritated facial expressions of the costume and prop department workers) and it seems more of an indictment of the Hollywood system: it appears that everyone except Jannings (a broken man) is angry, dismayed, or shouting and is being dehumanized; Jannings’ lack of emotion is also why he stands out from the crowd, apart from his huge frame, dark suit, and hat. It is necessary to consider each sequence of a well made film as part of a whole, rather than an independent moment. Is this scene supposed to be fun? Hardly. And the idea of using a fun piece of music as a “counterpoint” to the painful bread line is pure rubbish. When the Jannings character is introduced, he emerges from the darkness of his room at a flop house. The call to work would seem his only salvation from this despair. But, where must he go? To the Hollywood bread line!

As well as other compositions, I did compose the music for this sequence, the Jannings’ “Despair Theme” and the “Love Theme.”

Robert Israel

Here is a link:

http://youtu.be/9qf908-nKyM" target="_blank" target="_blank" target="_blank[/quote]

Dear Mr. Israel,

Thank you for the very kind response to my question and comments. I had done the same thing you suggested, though not so clearly and nicely, and thank you for sharing the contrast, I had to work from the piano when I received the cue sheet, and had the same reaction, I played each of the cues on the piano, of YouTube, or on the stereo - those that I have or could find. Having already viewed the film it was an illuminating process, to see the subtle and not too subtle differences the choices made, even the opening title movement at screening, your Mazeppa whether rooted in Byron or Hugo, and as interpreted by Liszt was heads above the suggested Czardas by Lugini - which was far less effective and almost has a comic feel to it, and while Bradford seemed to be seeking "Russian" music, and flavor, I think he must have seen the certain comic or ironic touches to the film in a different manner, or perhaps the crunch of time and the desire for atmosphere and available reportorial demands of theater orchestras of the period were more powerful than additional instincts he would have had - it would have been interesting to know what actual orchestras played in 1928.

Of course, I had already seen the film with your score, and so it would interesting to know what I would have thought had I seen the film with Bradford's music, the power of first impressions, etc. Nonetheless, I immediately came to the same conclusion you posit in the example above, that the rag is too light. It makes sense, but leaves the pathos subsumed in the more comic nature of the scene, and so the next seen in the dressing room, which Bradford takes more seriously (if one can say that from a mere cue suggestion) seems to be much more sharply contrasted, almost glaringly so. This more jarring transition in terms of musical contrasts seems common in many cue sheets, and I have wondered about it. Is this a difference in their understanding of drama, or a bow to available scores, or the limitations of the medium?

Thank you for the insights you have given on the scoring process and how you approach cue sheets.

As I look through the selections on the cue sheets I think you can see the differences in taste that mark the difference between then and now, and also what surely must have been a grueling business of trying to creatively assemble thousands of cues per years for dozens if not hundreds of films, but as you say Bradford seemed to have had a wonderful memory and he has wonderful musical instincts, I find his cue sheets the most interesting and most intelligent by my little lights, but there are times you look at a cue from a film that exists (by any of the cue sheet compilers) and you think, "what!?! why that piece...why there...!?!"

I loved the original music you wrote for the score, and I'm very grateful for your willingness to share your thoughts and expertise in a forum like this. Thank you very much for helping keep silent film very much alive. I would love to ask your thoughts about your score for Underground some time in another proper thread.

Best wishes to you and yours for the Thanksgiving holiday,
Eric

[gentlemanfarmer]

Thanks for the comparison video. Your music is definitely more effective, but "Russian Rag" isn't bad. At the time it also had the advantage of being a well known piece that a pianist or orchestra might be able to play from memory.

Straying off topic: I once read of a woman who'd played piano for movies. She said her default piece was Beethoven's "Pathetique" sonata. She said she was watching the screen one day and got so wrapped up in the film that when she snapped back she found she'd slipped into the Pathetique automatically. (I just hope she wasn't playing the 1st movement during a love scene)

That's a great story about the Beethoven, and that's true the theater orchestra would probably know the piece well. The issue of memorization probably played a huge part in musicians/directors choices. The Cobb is a great piece of ragtime as well!

I was privileged to be loaned some papers belonged to a local silent film pianist after she died, I had gotten to know her sister from the church I served as organist, and one day she showed up with a folder of clippings and some handwritten memories when she discovered I was interested in silent film. In both her sister noted that she and the violinist (that's all there normally was in their "orchestra"), played almost exclusively popular music and dance tunes from ear/memory. I thought that was just astounding, she later moved to upstate New York and in the 1970s began playing again at schools and concerts, either improvising or playing popular standards and dance tunes from memory. The violinist eventually became her husband. What a sweet story, I thought, and that was a great gift to be allowed to read and photocopy.

[Rodney]

Thanks for the comparison video. Your music is definitely more effective, but "Russian Rag" isn't bad. At the time it also had the advantage of being a well known piece that a pianist or orchestra might be able to play from memory.

Straying off topic: I once read of a woman who'd played piano for movies. She said her default piece was Beethoven's "Pathetique" sonata. She said she was watching the screen one day and got so wrapped up in the film that when she snapped back she found she'd slipped into the Pathetique automatically. (I just hope she wasn't playing the 1st movement during a love scene)

That's a great story about the Beethoven, and that's true the theater orchestra would probably know the piece well. The issue of memorization probably played a huge part in musicians/directors choices. The Cobb is a great piece of ragtime as well!

I was privileged to be loaned some papers belonged to a local silent film pianist after she died, I had gotten to know her sister from the church I served as organist, and one day she showed up with a folder of clippings and some handwritten memories when she discovered I was interested in silent film. In both her sister noted that she and the violinist (that's all there normally was in their "orchestra"), played almost exclusively popular music and dance tunes from ear/memory. I thought that was just astounding, she later moved to upstate New York and in the 1970s began playing again at schools and concerts, either improvising or playing popular standards and dance tunes from memory. The violinist eventually became her husband. What a sweet story, I thought, and that was a great gift to be allowed to read and photocopy.

That is a great story. There was a three-piece orchestra (violin, piano, drums) in Boulder county somewhere (I only heard the story second hand and never knew which theater) that worked in a similar way -- they'd listen to the radio during the day, and steal the latest popular songs for their movie scores. They were proud to have never spent a dime on music!

It's not as rare a skill as you might think, though it's rarely taught in traditional classical music. With a little practice, and learning how the typical musical structure of your repertoire "works," you can get pretty good at playing a song you've never seen written down. It's the skill behind "No, but if you hum a few bars I can fake it." Country-western bands, back-up bands at open mic nights, and traditional fiddle players take pride in learning from other musicians rather than reading from charts.

Although its not my specialty, I improvise film scores from time to time, and I find that it's hard to get certain tunes out of my head. And especially if I'm tired or have been playing for over an hour, they sneak back in unbidden, to the point where I sometimes find I've overused my love theme before we hit the big love scene, and I have to think of something else. Or I find myself snapping to attention thinking "How long have I been in E minor? Jeez! Wake up!" I can only imagine what it was like for the men and women who put in eight hour afternoons and evenings in the small neighborhood theaters, six days a week.

I like the Russian Rag myself, and it made its way into my piano score for Chess Fever on the Image Bed and Sofa DVD. (Chess Fever at least is a Russian comedy, where the Russian Rag feels right at home).

[gentlemanfarmer]

Dear Rodney,

It is interesting, many of my musician friends - especially from folk, pop or gospel backgrounds just think it's amazing I don't play by ear - and while improvising at the organ for either communion or a silent film comes easily, I almost never "quote" more than a few bars of something "real" - I just can't do that, give me a theme and a harmonic progression, and I'll play around with it for an hour and produce an organ sonata, ask me to play "Happy Birthday" without the music and I go to pieces! Although many of those same friends can't sight read to save their lives, and it makes me feel somewhat better to be able to play at sight what takes them days or weeks to piece together. I know what you mean though about improvising and dealing with "ear worms" and then realizing, holy snikies I've been using that harmonic progression for 2000 bars, and the locomotive is about to crash into the river...crap what key am I in, and how does Dixie go, where's Buster, oh wait, I'm at home, in bed, its 2 a.m.

The idea of two people just playing music for hours from ear/memory blows my mind, but then most of my conservatory trained friends can do both thanks to all their ear training, harmonic and theory study, but for an autodidact with no ear - I look on all of it as miraculous. I really wonder what it must have been like to play all the films day in and day out. What a way to make a living.

The theater in the post above was the Roxy in Ford City, PA., and I need to get back to my files after the holiday to look up the couples names. Sometimes they augmented their playing with the addition of a drummer, a trumpeter or a clarinetist, they never recalled having more than three musicians at a time, and they never mentioned cue sheets or photo play music in any of their reminiscences. My memory is they played there from 1924 until sound. Which cuts a little against the grain of some of the more standard histories of music accompaniment practice.

I bet the diversity of accompaniment practices were staggering, I mentioned the small stash of music I picked up from the former Strand theater in Altoona, on the music for silents thread and the majority of it was popular and dance music as well, marches coming in next, then salon pieces a distant third, and photoplay an even more distant fourth. Now that is, I'm sure, a tiny fraction of music the theater once owned and there may be all kinds of good reasons why the percentages turned out that way in the surviving music that has nothing to do with period accompaniment practices; but I am beginning to wonder how many if any small theaters bothered with much photoplay music, I wonder if one will ever be really able to know. My guess is that most films outside of larger theaters in cities, used far more dance, popular and salon music for accompaniment than they did photoplay music with popular song and dance music predominating.

[LongRider]

I just watched this on the Criterion dvd set and watched with the Robert Israel score. I really liked it. I thought the three main actors all did great portrayals. I felt that the scenes from Russia, with the General's constant deference from his entourage was mirrored in the scene's from Hollywood with the directors entourage were interesting. Evelyn Brent surprised me at the end when she saved the General and told him she loved him. I liked the ending too, and felt that it fit the story.

Oh, and the score really added to and enhanced the film, I'm glad I was able to choose it.