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This film was a true peculiarity, a filmed version of the great Feodor Chaliapin in one of his most famous roles; the fact that it was a silent film, with title cards, meant that audiences could only appreciate his acting. Another curiosity is that the film also included a minor role enacted by Richard Boleslavsky, who in 1932 directed “Rasputin and the Empress.”(9)
A great stage performer falls ill and loses her voice and beauty, and she and her admirer's lives crumble because of it.
An Arabian prince falls in with a group of downtrodden rebels and faces the wrath of an unsympathetic sultan whose wife he is also romancing.
After a man's wife leaves him for a sculptor, his only comfort is a statue of his wife.
A female doctor is so busy with her work that she has too little time for her fiancé. He falls in love with a waitress and the two have a child. Though considered by some to be a proto-feminist yarn, the film dwells on the consequences that equal rights for women may generate rather than openly champion suffrage. Similar in to Ibsen's The Doll House in many ways, the film provides mannered, solemn melodrama, ably acted by Mosjoukine and Yureneva.
Agnes and her two sisters struggle through a day in a home overrun by gamblers, thieves, and johns.