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The Last Command (1928 film)

The Last Command is a 1928 silent romantic drama film directed by Josef von Sternberg, and written by John F. Goodrich and Herman J. Mankiewicz from a story by Lajos Bíró. The film stars Emil Jannings, who won the first Academy Award for Best Actor in a Leading Role at the 1929 ceremony for his performances in this film and The Way of All Flesh,[1] the only year multiple roles were considered. Evelyn Brent and William Powell co-star.

The Last Command
Directed byJosef von Sternberg
Written by
Story by
Produced by
Starring
CinematographyBert Glennon
Edited byWilliam Shea
Production
company
Distributed byParamount Pictures
Release date
  • January 22, 1928 (1928-01-22)
Running time
85 minutes
CountryUnited States
LanguagesSilent
English intertitles

In 2006, the film was deemed "culturally, historically, or aesthetically significant" by the United States Library of Congress and selected for the National Film Registry.[2][3]

Plot edit

In 1928 Hollywood, director Leo Andreyev looks through photographs for actors for his next movie. When he comes to the picture of an aged Sergius Alexander, he pauses, then tells his assistant to cast the man. Sergius shows up at the Eureka Studio with a horde of other extras and is issued a general's uniform. As he is dressing, another actor complains that his continual head twitching is distracting. Sergius apologizes and explains that it is the result of a great shock he once experienced.

The film then flashes back ten years to Czarist Russia, which is in the midst of the Revolution. Grand Duke Sergius Alexander, the Czar's cousin and commander of all his armies, is informed by his adjutant that two actors entertaining the troops have been identified as dangerous "revolutionists" during a routine passport check. He decides to toy with them for his amusement. When one of them, Leo Andreyev, becomes insolent, Sergius whips him across the face and has him jailed.

Leo's companion, the beautiful Natalie Dabrova, is an entirely different matter. She intrigues Sergius. Despite the danger she poses, he takes her along with him. After a week, he gives her a pearl necklace as a token of his feelings for her. She comes to realize that he is at heart a man of great honor who loves Russia as deeply as she does. When she invites him to her room, he spots a partially hidden pistol, but deliberately turns his back to her. She draws the weapon, but cannot fire. Despite their political differences, she has fallen in love with him.

When the Bolsheviks capture the train on which they are traveling, she pretends to despise him. Instead of having him shot out of hand like his officers, she suggests they have him stoke coal into the locomotive all the way to Petrograd, where he will be publicly hanged. This is a ruse to keep him alive and, when everyone on board is drunk, she helps him escape, giving him back the pearl necklace to finance his way out of the country. Sergius jumps from the train, then watches in horror as it tumbles off a nearby bridge into the icy river below, taking Natalie with it. This moment is when Sergius develops his head twitch.

Ten years later, Sergius is reduced to poverty, eking out a living as a Hollywood extra. When he and the director finally meet, Sergius recognizes him. Leo, in an ironic act calculated to humiliate him, casts him as a Russian general in a battle scene. He is directed to give a speech to a group of actors playing his dispirited men. When one soldier tries to incite a mutiny, telling the general that "you've given your last command", he whips the man in the face as instructed, just as he had once struck Leo. Losing his grip on reality, he imagines himself genuinely on the battlefield, besieged by enemies, and passionately urges his men to fight for Russia. Overstraining himself, he dies, inquiring with his last words if they have won. Moved, Leo tells him they have. The assistant remarks, "That guy was a great actor." Leo replies, "He was more than a great actor - he was a great man."

Cast edit

Background edit

 
The Last Command, Evelyn Brent (left) and Emil Jannings.

Proving the Hollywood adage that movie directors are "only as good as their last picture", Sternberg was given a free hand by Paramount when Underworld (1927) proved to be "an instant success".[4][5]

The following three years experienced the industry-wide transition from silent to sound technology, during which Sternberg completed The Last Command (1928), The Drag Net (1929) and The Case of Lena Smith (1929), his last silent works, and his first talkie, Thunderbolt, in 1929. Though these films were praised by critics for their distinct style, none achieved great box-office success.[6]

Before embarking on The Last Command, Paramount tasked Sternberg with editing portions of director Erich von Stroheim’s The Wedding March (1928), as well as writing the screenplay for director Mauritz Stiller’s The Street of Sin.[7][8]

Ernst Lubitsch told newspaper columnist Gilbert Swan that the background story for The Last Command had a real-life inspiration:[9] a General in the Imperial Russian Army named Theodore A. Lodigensky whom Lubitsch had met in Russia, and again in New York, where he had opened a Russian restaurant after fleeing the communist revolution.[10] Lubitsch encountered the ex-general once more, when the latter appeared in full uniform looking for work as an extra at $7.50 a day,[10] the same rate as Sergius. Lubitsch later told Lajos Bíró the anecdote.[11] Under the name Theodore Lodi, Lodigensky went on to play a handful of roles between 1929 and 1935, including Grand Duke Michael, a Russian exile who is forced to work as a hotel doorman in the 1932 film Down to Earth.[12][13]

Production edit

In 1927, Paramount’s sister film company in Germany, Ufa, yielded its foremost actor Emil Jannings and producer Erich Pommer to make a number of movies in Hollywood. Sternberg and Jannings had established a friendly rapport when they met in Berlin in 1925.[14][15]

Jannings starred in director Ernst Lubitsch’s The Patriot and in Victor Fleming’s The Way of All Flesh, but his performance in The Last Command surpassed these two productions.[8][14][16]

The source of the script for the film has been termed “somewhat controversial”. Paramount attributed the original story entitled “The General” to screenwriter Lajos Bíró, the scenario to John S. Goodrich, and the titles to Herman J. Mankiewicz. Nevertheless, Sternberg's significant additions and alterations to the plot are “incontestable” and form the basis of his claim to “ultimate authorship” of this cinematic "masterpiece."[17][18][19]

The Last Command was among “the most ambitious Sternberg ever shot”. The shooting was completed in five weeks.[20]

The release of The Last Command was stalled when Paramount executives reviewed the film and discovered that Sternberg had inserted material portraying Hollywood as heartless and cynical. They further complained that he had historically misrepresented the Russian Revolution, including "recognizable portraits of Trotsky and the young Stalin". Only under duress from a wealthy Paramount stockholder did the studio relent and distribute the film. This was the "only time in his career that Sternberg confronted his own craft as a subject."[21][22]

Reception edit

Despite opening to “remarkable critical success” and eliciting “ecstatic reviews”, the box-office profits never materialized.[23]

American playwright and filmmaker Preston Sturges declared The Last Command "perhaps the only perfect picture he had ever seen."[24]

Despite its "commercial failure" the movie garnered a nomination for Best Original story, and Emil Jannings took the Oscar for Best Performance at the 1st Academy Awards.[25][26]

Author and film critic Leonard Maltin awarded The Last Command four out of four stars, calling it "A fascinating story laced with keen perceptions of life and work in Hollywood.[27]

Theme edit

The Last Command remains the greatest of the late silent films, more sophisticated, daring, and pitiless than any other save Greed (1923). And more than any other silent film, it pointed the way to the new harshness, the New York-inspired realism that was to come with the talkies…” —Biographer Charles Higham in The Art of the American Film (1973).[28]

The themes presented in The Last Command reflect Sternberg’s obsession as a film poet, exhibiting “a continuous stream of emotional autobiography” and “ most strikingly defines the importance for Sternberg of the intertwined themes of desire, power and instability of identity.” [29]

Jannings’ General Sergius Alexander, an imperious member of the Russian Czar's royal family, is punished for his arrogance – not once, but twice: first stripped of prestige and power by the Bolshevik Revolution, and then reduced to a Hollywood extra performing a burlesque of his former stature. Flashback sequences reveal his precipitous descent, a fate that provided Jannings with the opportunity to exhibit “the extremes of his talent.”[30]

In this “saga of decline and fall” – the most "Pirandellian" of Sternberg's films – the characters engage in a “desperate struggle for psychic survival [which] grants them a measure of heroic stature and stoic calm.”[31]

In a “performance of remarkable depth”, Evylen Brent's Bolshevik Revolutionary Natacha Dabrova develops “a relationship with Jannings as complex as anything in modern cinema.” [30] On Sternberg's handling of Brent's Natacha, Film historian Andrew Sarris wrote: “[She], like all Sternbergian women, remains enigmatic beyond the demands of the plot. Her perverse nature operates beyond good and evil, beyond the convenient categories of virgins and vamps. What is unusual about Sternberg’s direction is that…he seeks to control performances not for the sake of simplicity, but for the sake of complexity.” [32]

Sarris concludes his thematic analysis with this paradox:

”...It becomes impossible to tell what The Last Command means…The personal, the political, the aesthetic are all intertwined influences for Sternberg. We are left with no moral, no message, but only a partially resolved melodrama of pride and punishment, a work of art rich in overtones but pitched at too many different keys of interpretation. As a stylistic exercise, The Last Command is almost too much of a good thing.” [33]

Home media edit

In 2010, The Criterion Collection released a DVD set titled, "3 Silent Classics by Josef von Sternberg" containing The Last Command, Underworld and The Docks of New York.[34]

The film's copyright was renewed, and therefore will not fall into the public domain until January 1, 2024.[35]

References edit

Footnotes edit

  1. ^ "The 1st Academy Awards (1929) Nominees and Winners". Academy of Motion Pictures Arts and Sciences. Retrieved May 19, 2019.
  2. ^ "Librarian of Congress Adds Home Movie, Silent Films and Hollywood Classics to Film Preservation List". Library of Congress. Retrieved November 18, 2020.
  3. ^ "Complete National Film Registry Listing". Library of Congress. Retrieved November 18, 2020.
  4. ^ Sarris, 1966. P. 13
  5. ^ Baxter, 1971. P. 43-44: “Paramount [was] willing to give him anything he wanted…”
  6. ^ Baxter, 1971. P 52-53
  7. ^ Baxter, 1971. P. 44, 45: “To Sternberg, the chance to manipulate the work of his greatest influence [i.e. Stroheim] must have been a triumph...[the editing] was completed with professional courtesy on both sides... [however] it is widely known that Stroheim never spoke to Sternberg again.”
  8. ^ a b Sarris, 1966. P. 16
  9. ^ Weinberg, 1967. p. 35
  10. ^ a b Swan, Gilbert (May 7, 1929). "In New York". Pittsburgh Press.
  11. ^ "Silent Era: The Last Command". silentera.com. Retrieved September 24, 2011.
  12. ^ Theodore Lodi at AllMovie
  13. ^ Theodore Lodi at IMDb
  14. ^ a b Baxter, 1971. P. 44
  15. ^ Sarris, 1966. P. 16: “Sternberg’s first assignment after Underworld was to direct Emil Jannings, the eminent German star Paramount had imported to join Ernst Lubitsch and Pola Negri in Hollywood."
  16. ^ Weinberg, 1967. p. 37: "Emil Jannings...his best American role..."
  17. ^ Baxter, 1971. P. 49-50: The Last Command “is so obviously Sternberg’s work it is idle to contest the authorship. He re-ordered and added to it during the pre-production period... [and] he adapted material to change the emphasis of the characters...it is difficult to assess Bíró’s contribution” and p. 52: "[I]t is only Sternberg's additions and changes of emphasis that make it a masterpiece."
  18. ^ Sarris, 1966. P. 16: “The director has laid claim to the plot despite the official credit assigned to Lajos Bíró.”
  19. ^ Baxter, 1993. p. 98
  20. ^ Baxter, 1971. P. 52
  21. ^ Baxter, 1971. p. 48 and p. 52: Sternberg “inserted attacks on the heartlessness and cynicism of Hollywood…”
  22. ^ Sarris, 1998. p. 215
  23. ^ Baxter, 1971. P. 52: “...the commercial failure of The Last Command...[it] made only a small profit.”
  24. ^ Weinberg, 1967. p. 39 and p. 37: Weinberg provides numerous accolades for US and Europe on the film
  25. ^ Baxter, 1993. P. 90: “...his [Sternberg’s] popular and critically successful silent film, The Last Command.”
  26. ^ Baxter, 1971. P. 52: “...the commercial failure of The Last Command…[it] made only a small profit.”
  27. ^ Maltin, Leonard; Green, Spencer; Edelman, Rob (January 2010). Leonard Maltin's Classic Movie Guide. New York City: Plume. p. 361. ISBN 978-0-452-29577-3.
  28. ^ Higham, 1973 p. 80
  29. ^ Baxter, 1993. P. 97
  30. ^ a b Baxter, 1971. P. 46-47
  31. ^ Sarris, 1966. P. 8, p. 16
  32. ^ Sarris, 1966. P. 18
  33. ^ Sarris, 1998. P. 216
  34. ^ Kehr, Dave (August 20, 2010). "Sternberg: Chief Director of Private Dream Factory". The New York Times. New York City.
  35. ^ "Catalog of copyright entries. Ser.3 pt.12-13 v.9-12 1955-1958 Motion Pictures".

Sources edit

  • Baxter, John. 1971. The Cinema of Josef von Sternberg. The International Film Guide Series. A.S Barners & Company, New York.
  • Baxter, Peter, 1993. Just Watch! Paramount, Sternberg and America. British Film Institute, BFI Publishing. ISBN 0-85170-387-9
  • Higham, Charles. 1973. The Art of the American Film: 1900-1971. Doubleday & Company, Inc. New York. ISBN 0-385-06935-9. Library of Congress Catalog Card Number 70-186026.
  • Sarris, Andrew, 1966. The Films of Josef von Sternberg. New York: Doubleday. ASIN B000LQTJG4
  • Sarris, Andrew. 1998. “You Ain’t Heard Nothin’ Yet.” The American Talking Film History & Memory, 1927–1949. Oxford University Press. ISBN 0-19-513426-5
  • Weinberg, Herman G., 1967. Josef von Sternberg. A Critical Study. New York: Dutton.

External links edit

last, command, 1928, film, last, command, 1928, silent, romantic, drama, film, directed, josef, sternberg, written, john, goodrich, herman, mankiewicz, from, story, lajos, bíró, film, stars, emil, jannings, first, academy, award, best, actor, leading, role, 19. The Last Command is a 1928 silent romantic drama film directed by Josef von Sternberg and written by John F Goodrich and Herman J Mankiewicz from a story by Lajos Biro The film stars Emil Jannings who won the first Academy Award for Best Actor in a Leading Role at the 1929 ceremony for his performances in this film and The Way of All Flesh 1 the only year multiple roles were considered Evelyn Brent and William Powell co star The Last CommandDirected byJosef von SternbergWritten byJohn F Goodrich Herman J Mankiewicz titles Story byLajos Biro Josef von SternbergProduced byAdolph Zukor Jesse L LaskyStarringEmil Jannings Evelyn Brent William PowellCinematographyBert GlennonEdited byWilliam SheaProductioncompanyParamount Famous Lasky Corp Distributed byParamount PicturesRelease dateJanuary 22 1928 1928 01 22 Running time85 minutesCountryUnited StatesLanguagesSilentEnglish intertitlesIn 2006 the film was deemed culturally historically or aesthetically significant by the United States Library of Congress and selected for the National Film Registry 2 3 Contents 1 Plot 2 Cast 3 Background 4 Production 5 Reception 6 Theme 6 1 Home media 7 References 7 1 Footnotes 8 Sources 9 External linksPlot editIn 1928 Hollywood director Leo Andreyev looks through photographs for actors for his next movie When he comes to the picture of an aged Sergius Alexander he pauses then tells his assistant to cast the man Sergius shows up at the Eureka Studio with a horde of other extras and is issued a general s uniform As he is dressing another actor complains that his continual head twitching is distracting Sergius apologizes and explains that it is the result of a great shock he once experienced The film then flashes back ten years to Czarist Russia which is in the midst of the Revolution Grand Duke Sergius Alexander the Czar s cousin and commander of all his armies is informed by his adjutant that two actors entertaining the troops have been identified as dangerous revolutionists during a routine passport check He decides to toy with them for his amusement When one of them Leo Andreyev becomes insolent Sergius whips him across the face and has him jailed Leo s companion the beautiful Natalie Dabrova is an entirely different matter She intrigues Sergius Despite the danger she poses he takes her along with him After a week he gives her a pearl necklace as a token of his feelings for her She comes to realize that he is at heart a man of great honor who loves Russia as deeply as she does When she invites him to her room he spots a partially hidden pistol but deliberately turns his back to her She draws the weapon but cannot fire Despite their political differences she has fallen in love with him When the Bolsheviks capture the train on which they are traveling she pretends to despise him Instead of having him shot out of hand like his officers she suggests they have him stoke coal into the locomotive all the way to Petrograd where he will be publicly hanged This is a ruse to keep him alive and when everyone on board is drunk she helps him escape giving him back the pearl necklace to finance his way out of the country Sergius jumps from the train then watches in horror as it tumbles off a nearby bridge into the icy river below taking Natalie with it This moment is when Sergius develops his head twitch Ten years later Sergius is reduced to poverty eking out a living as a Hollywood extra When he and the director finally meet Sergius recognizes him Leo in an ironic act calculated to humiliate him casts him as a Russian general in a battle scene He is directed to give a speech to a group of actors playing his dispirited men When one soldier tries to incite a mutiny telling the general that you ve given your last command he whips the man in the face as instructed just as he had once struck Leo Losing his grip on reality he imagines himself genuinely on the battlefield besieged by enemies and passionately urges his men to fight for Russia Overstraining himself he dies inquiring with his last words if they have won Moved Leo tells him they have The assistant remarks That guy was a great actor Leo replies He was more than a great actor he was a great man Cast editEmil Jannings as Grand Duke Sergius Alexander Evelyn Brent as Natalie Natacha Dabrova William Powell as Leo Andreyev Jack Raymond as the Assistant Director Nicholas Soussanin as the Adjutant Michael Visaroff as the Bodyguard Fritz Feld as A revolutionist Background edit nbsp The Last Command Evelyn Brent left and Emil Jannings Proving the Hollywood adage that movie directors are only as good as their last picture Sternberg was given a free hand by Paramount when Underworld 1927 proved to be an instant success 4 5 The following three years experienced the industry wide transition from silent to sound technology during which Sternberg completed The Last Command 1928 The Drag Net 1929 and The Case of Lena Smith 1929 his last silent works and his first talkie Thunderbolt in 1929 Though these films were praised by critics for their distinct style none achieved great box office success 6 Before embarking on The Last Command Paramount tasked Sternberg with editing portions of director Erich von Stroheim s The Wedding March 1928 as well as writing the screenplay for director Mauritz Stiller s The Street of Sin 7 8 Ernst Lubitsch told newspaper columnist Gilbert Swan that the background story for The Last Command had a real life inspiration 9 a General in the Imperial Russian Army named Theodore A Lodigensky whom Lubitsch had met in Russia and again in New York where he had opened a Russian restaurant after fleeing the communist revolution 10 Lubitsch encountered the ex general once more when the latter appeared in full uniform looking for work as an extra at 7 50 a day 10 the same rate as Sergius Lubitsch later told Lajos Biro the anecdote 11 Under the name Theodore Lodi Lodigensky went on to play a handful of roles between 1929 and 1935 including Grand Duke Michael a Russian exile who is forced to work as a hotel doorman in the 1932 film Down to Earth 12 13 Production editIn 1927 Paramount s sister film company in Germany Ufa yielded its foremost actor Emil Jannings and producer Erich Pommer to make a number of movies in Hollywood Sternberg and Jannings had established a friendly rapport when they met in Berlin in 1925 14 15 Jannings starred in director Ernst Lubitsch s The Patriot and in Victor Fleming s The Way of All Flesh but his performance in The Last Command surpassed these two productions 8 14 16 The source of the script for the film has been termed somewhat controversial Paramount attributed the original story entitled The General to screenwriter Lajos Biro the scenario to John S Goodrich and the titles to Herman J Mankiewicz Nevertheless Sternberg s significant additions and alterations to the plot are incontestable and form the basis of his claim to ultimate authorship of this cinematic masterpiece 17 18 19 The Last Command was among the most ambitious Sternberg ever shot The shooting was completed in five weeks 20 The release of The Last Command was stalled when Paramount executives reviewed the film and discovered that Sternberg had inserted material portraying Hollywood as heartless and cynical They further complained that he had historically misrepresented the Russian Revolution including recognizable portraits of Trotsky and the young Stalin Only under duress from a wealthy Paramount stockholder did the studio relent and distribute the film This was the only time in his career that Sternberg confronted his own craft as a subject 21 22 Reception editDespite opening to remarkable critical success and eliciting ecstatic reviews the box office profits never materialized 23 American playwright and filmmaker Preston Sturges declared The Last Command perhaps the only perfect picture he had ever seen 24 Despite its commercial failure the movie garnered a nomination for Best Original story and Emil Jannings took the Oscar for Best Performance at the 1st Academy Awards 25 26 Author and film critic Leonard Maltin awarded The Last Command four out of four stars calling it A fascinating story laced with keen perceptions of life and work in Hollywood 27 Theme edit The Last Command remains the greatest of the late silent films more sophisticated daring and pitiless than any other save Greed 1923 And more than any other silent film it pointed the way to the new harshness the New York inspired realism that was to come with the talkies Biographer Charles Higham in The Art of the American Film 1973 28 The themes presented in The Last Command reflect Sternberg s obsession as a film poet exhibiting a continuous stream of emotional autobiography and most strikingly defines the importance for Sternberg of the intertwined themes of desire power and instability of identity 29 Jannings General Sergius Alexander an imperious member of the Russian Czar s royal family is punished for his arrogance not once but twice first stripped of prestige and power by the Bolshevik Revolution and then reduced to a Hollywood extra performing a burlesque of his former stature Flashback sequences reveal his precipitous descent a fate that provided Jannings with the opportunity to exhibit the extremes of his talent 30 In this saga of decline and fall the most Pirandellian of Sternberg s films the characters engage in a desperate struggle for psychic survival which grants them a measure of heroic stature and stoic calm 31 In a performance of remarkable depth Evylen Brent s Bolshevik Revolutionary Natacha Dabrova develops a relationship with Jannings as complex as anything in modern cinema 30 On Sternberg s handling of Brent s Natacha Film historian Andrew Sarris wrote She like all Sternbergian women remains enigmatic beyond the demands of the plot Her perverse nature operates beyond good and evil beyond the convenient categories of virgins and vamps What is unusual about Sternberg s direction is that he seeks to control performances not for the sake of simplicity but for the sake of complexity 32 Sarris concludes his thematic analysis with this paradox It becomes impossible to tell what The Last Command means The personal the political the aesthetic are all intertwined influences for Sternberg We are left with no moral no message but only a partially resolved melodrama of pride and punishment a work of art rich in overtones but pitched at too many different keys of interpretation As a stylistic exercise The Last Command is almost too much of a good thing 33 Home media edit In 2010 The Criterion Collection released a DVD set titled 3 Silent Classics by Josef von Sternberg containing The Last Command Underworld and The Docks of New York 34 The film s copyright was renewed and therefore will not fall into the public domain until January 1 2024 35 References editFootnotes edit The 1st Academy Awards 1929 Nominees and Winners Academy of Motion Pictures Arts and Sciences Retrieved May 19 2019 Librarian of Congress Adds Home Movie Silent Films and Hollywood Classics to Film Preservation List Library of Congress Retrieved November 18 2020 Complete National Film Registry Listing Library of Congress Retrieved November 18 2020 Sarris 1966 P 13 Baxter 1971 P 43 44 Paramount was willing to give him anything he wanted Baxter 1971 P 52 53 Baxter 1971 P 44 45 To Sternberg the chance to manipulate the work of his greatest influence i e Stroheim must have been a triumph the editing was completed with professional courtesy on both sides however it is widely known that Stroheim never spoke to Sternberg again a b Sarris 1966 P 16 Weinberg 1967 p 35 a b Swan Gilbert May 7 1929 In New York Pittsburgh Press Silent Era The Last Command silentera com Retrieved September 24 2011 Theodore Lodi at AllMovie Theodore Lodi at IMDb a b Baxter 1971 P 44 Sarris 1966 P 16 Sternberg s first assignment after Underworld was to direct Emil Jannings the eminent German star Paramount had imported to join Ernst Lubitsch and Pola Negri in Hollywood Weinberg 1967 p 37 Emil Jannings his best American role Baxter 1971 P 49 50 The Last Command is so obviously Sternberg s work it is idle to contest the authorship He re ordered and added to it during the pre production period and he adapted material to change the emphasis of the characters it is difficult to assess Biro s contribution and p 52 I t is only Sternberg s additions and changes of emphasis that make it a masterpiece Sarris 1966 P 16 The director has laid claim to the plot despite the official credit assigned to Lajos Biro Baxter 1993 p 98 Baxter 1971 P 52 Baxter 1971 p 48 and p 52 Sternberg inserted attacks on the heartlessness and cynicism of Hollywood Sarris 1998 p 215 Baxter 1971 P 52 the commercial failure of The Last Command it made only a small profit Weinberg 1967 p 39 and p 37 Weinberg provides numerous accolades for US and Europe on the film Baxter 1993 P 90 his Sternberg s popular and critically successful silent film The Last Command Baxter 1971 P 52 the commercial failure of The Last Command it made only a small profit Maltin Leonard Green Spencer Edelman Rob January 2010 Leonard Maltin s Classic Movie Guide New York City Plume p 361 ISBN 978 0 452 29577 3 Higham 1973 p 80 Baxter 1993 P 97 a b Baxter 1971 P 46 47 Sarris 1966 P 8 p 16 Sarris 1966 P 18 Sarris 1998 P 216 Kehr Dave August 20 2010 Sternberg Chief Director of Private Dream Factory The New York Times New York City Catalog of copyright entries Ser 3 pt 12 13 v 9 12 1955 1958 Motion Pictures Sources editBaxter John 1971 The Cinema of Josef von Sternberg The International Film Guide Series A S Barners amp Company New York Baxter Peter 1993 Just Watch Paramount Sternberg and America British Film Institute BFI Publishing ISBN 0 85170 387 9 Higham Charles 1973 The Art of the American Film 1900 1971 Doubleday amp Company Inc New York ISBN 0 385 06935 9 Library of Congress Catalog Card Number 70 186026 Sarris Andrew 1966 The Films of Josef von Sternberg New York Doubleday ASIN B000LQTJG4 Sarris Andrew 1998 You Ain t Heard Nothin Yet The American Talking Film History amp Memory 1927 1949 Oxford University Press ISBN 0 19 513426 5 Weinberg Herman G 1967 Josef von Sternberg A Critical Study New York Dutton External links edit nbsp Wikimedia Commons has media related to The Last Command The Last Command at IMDb The Last Command at the TCM Movie Database The Last Command at AllMovie The Last Command at the American Film Institute Catalog The Last Command at Virtual History The Last Command Illusions and Delusions an essay by Anton Kaes at the Criterion Collection The Last Command essay by Daniel Eagan in America s Film Legacy The Authoritative Guide to the Landmark Movies in the National Film Registry Bloomsbury Academic 2010 ISBN 0826429777 pages 138 139 1 Retrieved from https en wikipedia org w index php title The Last Command 1928 film amp oldid 1179584784, wikipedia, wiki, book, books, library,

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