This is a rare instance of a prequel from this era in cinema and, even more so, an international production: in 1956, Curd Jurgens had appeared in an adaptation of Jules Verne’s “Michel Strogoff” – revolving around the adventures of a valiant and legendary Russian warrior. Now, I say this is a prequel because in the ‘original’ the protagonist is blinded – this, then, would seem to be a (probably fictionalized) previous mission of his. Anyway, I recall watching Jurgens’ first Strogoff film on a now-defunct Sicilian TV channel as a kid; I guess I had enjoyed it back then and, in fact, I’d like to re-acquaint myself with it…particularly on the strength of this one, which proved a surprisingly efficient – if rather stodgy and decidedly overlong – affair.
The plot of Russians-vs.-Arabs isn’t particularly exciting or novel; what holds the interest is Strogoff’s ambivalent relationship with both a famous singer (Capucine – who’s eventually revealed as a half-caste, therefore a spy) and the arrogant, impetuous Russian prince (whom the Empress has personally asked experienced officer Jurgens to keep under control and which, naturally, leads to many a clash over the military tactics to adopt in the campaign – including the treatment of prisoners). With a traitor in their midst and the systematic depletion of transport, equipment and rations (the camels, fitted with poisoned needles, are being killed off!), the prince is forced to capitulate and subsequently held captive in an Arab fortress. However, the resourceful Strogoff organizes a wild rescue attempt – he’s to infiltrate the prison armed with explosives and, at his signal, the Russian forces deployed outside the city walls will charge; needless to say, the ruse pays off – signaling Strogoff’s “triumph” and supplying the requisite action climax to the film.
By the end of it, the prince is humbled…while Capucine discovers that her love for Jurgens is stronger than her loathing of the Russians; the viewpoint is a romanticized one, then, but one hardly expected otherwise from a product designed for mass consumption as this clearly was! Incidentally, I should be getting presently to another Russian epic (but made in Italy rather than France) from the same director i.e. THE COSSACKS (1960)…
The plot of Russians-vs.-Arabs isn’t particularly exciting or novel; what holds the interest is Strogoff’s ambivalent relationship with both a famous singer (Capucine – who’s eventually revealed as a half-caste, therefore a spy) and the arrogant, impetuous Russian prince (whom the Empress has personally asked experienced officer Jurgens to keep under control and which, naturally, leads to many a clash over the military tactics to adopt in the campaign – including the treatment of prisoners). With a traitor in their midst and the systematic depletion of transport, equipment and rations (the camels, fitted with poisoned needles, are being killed off!), the prince is forced to capitulate and subsequently held captive in an Arab fortress. However, the resourceful Strogoff organizes a wild rescue attempt – he’s to infiltrate the prison armed with explosives and, at his signal, the Russian forces deployed outside the city walls will charge; needless to say, the ruse pays off – signaling Strogoff’s “triumph” and supplying the requisite action climax to the film.
By the end of it, the prince is humbled…while Capucine discovers that her love for Jurgens is stronger than her loathing of the Russians; the viewpoint is a romanticized one, then, but one hardly expected otherwise from a product designed for mass consumption as this clearly was! Incidentally, I should be getting presently to another Russian epic (but made in Italy rather than France) from the same director i.e. THE COSSACKS (1960)…
