Ivan Mozzhukhin - Career in France

Career in France

At the end of 1919 Mozzhukhin arrived in Paris and quickly established himself as one of the top stars of the French silent cinema. Using the French spelling of his name, Mosjoukine, he starred in one successful film after another. Handsome, tall, and possessing a powerful screen presence, he won a considerable following as a mysterious and exotic romantic figure.

The first film of his French career was also his final Russian film. L'Angoissante Aventure (The Harrowing Adventure) was a dramatized record of the difficult and dangerous journey of Russian actors, directors and other film artists as they made their way from Crimea into the chaos of Ottoman Turkey in the midst of the post-World War I fall of the Sultanate. The group was headed by the renowned director Yakov Protazanov and included Mozzhukhin's frequent leading lady Natalya Lisenko (billed in France as Nathalie Lissenko), whom he married and later divorced. Their ultimate destination was Paris, which became the new capital for most of the exiled former aristocrats and other refugees escaping the civil war and Bolshevik terror gripping Russia. The film was completed and released in Paris in November 1920.

Mozzhukhin's film stardom was assured and during the 1920s, his face with the trademark hypnotic stare appeared on covers of film magazines all over Europe. He wrote the screenplays for most of his starring vehicles and directed two of them, L'Enfant du carnaval (Child of the Carnival), released on 29 August 1921 and Le Brasier ardent (The Blazing Inferno), released on 2 November 1923. The leading lady in both films was the then-"Mme Mosjoukine", Nathalie Lissenko. Brasier, in particular, was highly praised for its innovative and inventive concepts, but ultimately proved too surreal and bizarre to become financially successful. Styled like a semi-comic Kafkaesque nightmare, the film has him playing a detective known only as "Z" hired by an older husband to follow his adventurous young wife. The plot, however, was only the device which Mozzhukhin and his assistant director Aleksandr Volkov (billed in France as Alexandre Volkoff) used to experiment with the audience's perception of reality. Many of the scenes seem to be taking place on sets that are disconcertingly larger than normal and one particularly striking staging has the husband entering the detective agency to find a synchronized line of men, presumably detectives, all wearing tuxedos and gliding about in formation. Mozzhukhin received praise for his enthusiastic acting and display of emotion.