The Cossack Whip

Name: The Cossack Whip
Genre: Drama
Released: 1916-11-13
Duration: 1 h 1 min
Rating: 7.8
Cast: Viola Dana, Grace Williams, Robert Walker

1916
1h 1m

IMDb RATING

7.8/10

YOUR RATING

Drama

Feodor Turov, chief of the Russian Czar's secret police, orders his Cossacks to attack a village he believes to be infested with rebels. The Cossacks attack the village and massacre almost e... Read allFeodor Turov, chief of the Russian Czar's secret police, orders his Cossacks to attack a village he believes to be infested with rebels. The Cossacks attack the village and massacre almost everyone, and the young Katerina is whipped to death. Before escaping to England, her siste... Read allFeodor Turov, chief of the Russian Czar's secret police, orders his Cossacks to attack a village he believes to be infested with rebels. The Cossacks attack the village and massacre almost everyone, and the young Katerina is whipped to death. Before escaping to England, her sister Darya swears to avenge her sister's death. Years later--now one of the world's most famo... Read all

See production info at IMDbPro

IMDb RATING

7.8/10

YOUR RATING

See production info at IMDbPro

Trivia
A limited edition DVD was produced and issued by Edward Lorusso in 2018.

User reviews4

Review

Featured review

6/10

Strong beginning and end in film from career cut short

Report from Cinesation 2006: THE COSSACK WHIP (***) Viola Dana versus the Tsar's secret police, leading up to a climax that prompted inevitable comparisons among this silents-savvy crowd to the legendary Behind the Door. This 1916 melodrama was directed by her husband, John Collins, who died in the influenza epidemic in 1918, and was just far enough ahead of the actual Russian Revolution to treat revolutionaries sympathetically; it sags badly with a soapy middle, when she's torn between revenge and a career in the west as a dancer, but the vividness of the opening scenes (the Cossacks attack her village) and the climax, and Collins' generally lively and inventive staging, make it a strong and memorable film. (Eastman House archivist Ed Stratmann's intro was interesting, talking about how the film was reconstructed from different versions around the world, each containing different censor cuts within a film with, apparently, something to offend everyone.)