Viatcheslav Tourjansky

Sog.: Dall’omonimo Romanzo Dinoel Bazan; Scen.: Viatcheslav Tourjansky, Nathalie Dermanou; F.: Fédote Bourgassoff; Scgf.: Alexandre Lochakoff; Int.: Nathalie Lissenko (Hélène), Jeanne Bérangère (La Vecchia), Charles Vanel (Brémond), Nicolas Rimsky (Raoul D’ambreine), Nicolas Koline (Il Dottor Treillis), W. De Stryjevski, B. Malama, G. Leclerc; Prod.: Films Albatros; Distr.: Pathé Consortium Clnéma; Pri. Pro.: Parigi, 5 Ottobre 1923 35mm [Copia Incompleta]. L. Or.: 1800 M Ca. L.: 1350 M Ca. D. 60′ A 20 F/S. Bn. 

T. it.: Italian title. T. int.: International title. T. alt.: Alternative title. Sog.: Story. Scen.: Screenplay. F.: Cinematography. M.: Editing. Scgf.: Set Design. Mus.: Music. Int.: Cast. Prod.: Production Company. L.: Length. D.: Running Time. f/s: Frames per second. Bn.: Black e White. Col.: Color. Da: Print source

Film Notes

Calvaire d’amour is the fifth film Viatcheslav Tourjansky made for the production company Ermolieff-Cinéma. In this film, this veteran of Russian cinema (he made his debut in 1912) put together a melodrama, his specialty once he arrived in France, depicting “the triumph of ill-fated love against the domineering evil of man”, incarnated by the impeccable Charles Vanel. The press at the time saw in this film (which the Cinémathèque de Toulouse kept an incomplete nitrate print of) “a beautiful fresco of women’s pain, relentless misfortune up until the last moment, a harmonious progression of action, and then the final dramatic surprise”. Undoubtedly a melodrama that is a little antiquated, but that, in its best moments (the last reel), puts into practice the lessons learned from Griffith’s Intolerance.
Camille Blot-Wellens – Christophe Gauthier

Copy From

Restored by
Restoration carried out at

Restored By Cinémathèque Franqaise At L'immagine Ritrovata From A Nitrate Positive Held By Cinémathèque De Toulouse