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Michael Strogoff (1914)

The Russian Czar sends his trusted confidant, Michael Strogoff, to warn his brother the Grand Duke of a Tartar rebellion that will be led by Feofar Khan and Ivan Ogareff. Calling himself ... See full summary »


Lloyd B. Carleton


Benjamin S. Kutler (story) (as Benjamin S. Kotlowsky), Jules Verne (novel)




Cast overview:
Jacob P. Adler ... Michael Strogoff
Daniel Makarenko ... Ivan Ogareff
Eleanor Barry Eleanor Barry ... Marfa Strogoff
Betty Brice Betty Brice ... Sangaree
Ormi Hawley ... Nadia Fedorova
Lloyd B. Carleton ... Grand Duke of Siberia
Peter Lang ... Governor of Moscow (as Peter B. Lang)
George S. Trimble George S. Trimble ... Feofar-Khan


The Russian Czar sends his trusted confidant, Michael Strogoff, to warn his brother the Grand Duke of a Tartar rebellion that will be led by Feofar Khan and Ivan Ogareff. Calling himself Nicholas Korpanoff, Strogoff poses as a trader to journey to warn the Grand Duke. On his way he meets Nadia Fedorova, a young girl trying to join her father Wassili, a political activist who has been exiled to Siberia. Strogoff is captured by the Tartars, who don't believe he is a trader and threaten to torture Strogoff's mother Marfa unless he reveals his true identity. Written by frankfob2@yahoo.com

Plot Summary | Add Synopsis









Release Date:

19 October 1914 (USA) See more »

Also Known As:

Mihail Strogov See more »

Company Credits

Show more on IMDbPro »

Technical Specs

Sound Mix:


Aspect Ratio:

1.33 : 1
See full technical specs »

Did You Know?


Version of Michel Strogoff (1936) See more »

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User Reviews

Mr. Adler will eventually learn acting before the camera
29 September 2018 | by deickemeyerSee all my reviews

This old and popular story of Jules Verne gave the producer excellent opportunities for introducing and emphasizing spectacular features. They have used their opportunities unstintingly. Some of the scenes were deservedly applauded, notably the setting ablaze of the river and the startingly realistic fire. The production was staged lavishly. The director evidently loves the picturesque and he knows how to make it live on the screen. "Michael Strogoff" has been filmed before in the single-reel period of motion picture history and it was done well. The latitude which the multiple reel gives to the producer, enabling him to "paint out" the more thrilling episodes, makes this latest film version of the story much superior to the old production. The story of Michael Strogoff, the adventurous messenger of the Czar, who gets his message to the Grand Duke in spite of fate, is too well known to need detailed telling here. Suffice it to say that all the stirring adventures of the messenger were skillfully depicted on the screen, that every sensational and thrilling incident is ably recorded. A great effort was made to adhere faithfully to facts in the matter of uniforms and all the settings both in-door and outdoor. The Tartars and their Emir were particularly fine. In their picturesque garb they were shown swarming about the Russian frontier, destroying the telegraphic connections and harassing the enemy on their light, fast horses. The attack on the Russian guards by the Tartars was realistic and spectacular. Great care had been taken to create and sustain a truly Russian atmosphere, as witness the interior of the Russian inn and the hospitable samovar. Another scene that deserves special mention was the tented camp of the Tartars and the throne of their Emir. The contrasts were particularly happy, and the shifting of scenes from the gorgeous palace and ballroom of the governor to the lowly and secret haunts and surroundings of Ivan and Sanagree formed one of the merits of the feature. The part of Ivan was well rendered and all the female roles were splendidly taken care of. The man who played the part of the Grand Duke was at a loss what to do with himself most of the time. The main part was in the hands of the well-known Jewish actor, Jacob P. Adler, who is said to have been very successful on the so-called Yiddish stage. Mr. Adler has a commanding and magnetic stage presence; he is evidently conscientious in his work, and no doubt possesses more than ordinary histrionic powers. 1 have every hope that he will eventually learn acting before the camera; in this impersonation of Michael Strogoff he is plainly hampered by a lack of camera experience He talks too much and too vehemently. The camera records only the motions of the mouth and not the sounds. Emphatic elocution before the camera is worse than wasted. It fails to convey the idea which is to be conveyed. The mouth is a very important means of expressing emotion before the camera, but the mere rapid and constant moving of the lips and jaws have only a calisthenic value to the actor and fail to reach the audience. - The Moving Picture World, June 20, 1914

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