El triunfo de Miguel Strogoff

This is actually a sequel, not a prequel to the older movie, because Strogoff is now a colonel. In the old movie he was a captain and only at the final he was promoted colonel.

Indeed, in the old movie Strogoff was put to a blinding torture by the enemies, however he managed to avoid the blinding itself (watch that movie to see how). Therefore, the fact he is not blind now, does not make this movie a prequel.

As for the story, the old movie does not follow the Jules Verne book so closely. I found the best match with the book in the 1937 movie, The Soldier and the Lady. Pity it's a B/W one.

Made to capitalize on the huge success of "Michel Strogoff" (1956) ,this not bad sequel owes nothing to Jules Verne but the hero's proper noun .Exit Nadia (who ,however ,did marry Michel at the end of the first film and the novel)who is not even mentioned .

Actually the screenplay bears a distant resemblance to Hathaway's "lives of a Bengal lancer": the inexperienced young officer (Pierre Massimi ,whose part resembles that of Richard Cromwell in the 1935 classic), the tough but wise guy (Strogoff ,played by Curd Jurgends ,who,like Gary Cooper,comes to his rescue),the attractive deceitful mysterious lady (Capucine ).....

It's an action-packed sequel and it features enough twists to sustain interest till the ending;for a sequel,that's still good value.

It is set 19th Century when Tartar riots took place, as they invaded Russia commanded by Feofar Khan : Valery Inkijinoff . The violent invasion separates Russian mainland from the Russian far east : Siberia. The Tartars tribes have overrun Russian empire and creating a serious threat. Experienced Colonel Michael Strogoff : Curd Jurgens, is called to Czar palace to carry out a risked mission , there he is received by the empress : Simone Valere , who asks him for caring her nephew, an arrogant and impetuous prince who is battling Tartars at the far country . As when the obstinate prince is vanquished by Tartars, he attempts to commit himself suicide, but Strogoff avoids it . The army expedition heads for enemy territory and along the way they suffer several dangers : depletion of supplies and transport, poisened waters, and camels are being killed, among others. Things go wrong when a traitor shows in the midst and they are subsequently imprisoned. Meanwhile, Strogoff falls in love for a beautiful singer, Capucine.

This sequel contains adventures, noisy action, a love story and impressive battle scenes. This is the following to Michael Strogoff 1956 by Carmine Gallone starred by Jurgens, Francoise Fabian and Sylva Koscina, in which Strogoff also battled Tartars and by the way he was blinded by a nasty enemy. In this Triumph of Strogoff there are breathtaking fights and spectacular battles that are staged with vitality and stylish. As well as noisy horse charges and explosions when the resourceful Strogoff infiltrates into the Tartar stronhold to free the prince by using dynamite. This adventurous movie relies heavily on the ambivalent relationship between Strogoff and a suspect singer as well as with a proud, presuntuous prince. It packs a colorful cinematography and a thrilling musical score by Christian Chevallier . The motion picture was professionally directed by Victor Tourjansky. He was a good artisan working from the silent cinema to the sixties, making several films, especially Adventures and Dramas such as Herodes the great, Prisoner of the Volga, The Cossacks, The Pharaoh's woman , A queen for Caesar , The governor, The goddess of love, Walz king, Seal of confession.

This Michael Strogoff novel by Jules Verne has got numerous cinematic renditions, such as : 1926 silent version also directed by Victor Tourjansky. 1936 with Anton Wallbrook, Akim Tamiroff, Elizabeth Allan. Mexican recounting 1944 by Miguel Maria Delgado with Julian Soler, Lupita Tovar. 1956 by Carmine Gallone with Curd Jurgens, Sylva Koscina, Francoise Fabian, Gerard Buhr. Strogoff 1950 with John Philip Law, Hiram Keller, Delia Boccardo. GermanTv series 1975 with Raymund Harmsturf. Italian Miniseries 1999 by Fabrizio Costa with Paolo Seganti, Lea Bosco. And French TV film with Anthony Delon as Michael Strogoff.

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)…