It's a shame that the film this grand and well developed in every aspect is so unknown. It makes one wonder if there are dozens or maybe hundreds of films from film-making's infancy that are lost or under-appreciated. Hotel Imperial is not available for purchase, apparently, on Amazon dot com, so perhaps it is a question of availability that keeps films like these from receiving their due credit and appreciation.The film, briefly, concerns an escaped Hungarian officer who falls behind the advancing Russian forces. While disguised as a waiter at the Hotel Imperial, he befriends and falls in love with a servant girl, and slyly attempts to block the secret plans of the Russian forces, who have occupied the hotel as the headquarters for the Russian general.The main draw of this film for film aficionados is the main actress, Pola Negri. But all the performances in this movie are first rate, meaning that they are universal. While there is a minor predilection apparent towards the "silent film style" of acting, even though the performances are more grand than we're used to seeing, most every performance is nevertheless just as real as the finest contemporary performances. Indeed most all the performances in this film are of such subtlety and truthfulness that one cannot say any improvements have been made in the last 80 years. That's what I mean what I say a kind of universality, in that of you were watching the film so many decades later can be just as moved.The only flaw of this picture is that it's not longer. I would like to have seen more development after the departure of the soldier, in order to find out just how he's able to rescue his forces from the invading Russians. But up until that point, we've had such brilliant film-making that it's really a footnote to my response.I'd like to mention that the cinematography, by Bert Glennon, is first rate. The camera moves, swoops, anticipating Hitchcock, elegantly during the dancing seems. This film is highly cinematic, and makes intelligent use of frightening and subtle montages of war and destruction. The cinematographer allows his actors to go in and out of focus, in near total darkness, such as after the soldier has murdered the spy and is waiting to escape. Pola Negri looks like an icon with Mr. Glennon's photography. The images are less a film and more a kind of memory.James Hall, who plays the soldier, is beautifully stoic and idealistic. His eyes especially are highlighted by the cinematography, being big sensitive yet brave eyes. But the most brilliant performance of all maybe by George Siegmann, who plays a Stalin-esquire general who attempts to woo Pola Negri's servant girl. A lesser filmmaker would have made the general appear simply tyrannical; and indeed he is, but is also a three dimensional figure, and is likable while being the definite villain.Finally, the direction, is top notch. Note the brilliant execution of the scene in which the general and a servant girl how a loud and violent argument in front of all the soldiers and officers, in the hotel lobby. The editing and performances are perfect.

I was lucky enough to see this film at a recent screening at the Museum of Modern Art. The print was beautiful, it was accompanied with live music, and the audience was large and enthusiastic. When the show was over people were buzzing, and I couldn't help but wonder: why isn't Mauritz Stiller's Hotel Imperial better known? It's a stylistic triumph that should be remembered and celebrated for first-rate direction, cinematography and sets. True, there are a couple of unlikely plot twists along the way, and the ending is a little more schmaltzy than one might like, but over all this film's virtues far outweigh its flaws. And notably, it features an excellent performance by Pola Negri, an actress better remembered for her off-screen eccentricities and diva-like behavior than for any of her movies. Here she proves she could give a nuanced, convincing performance as a chambermaid who shows genuine valor in wartime.Viewers familiar with Billy Wilder's 1943 drama Five Graves to Cairo will find that Stiller's film provided Wilder's source material. The original story is set in an Austrian village during the early days of the First World War. A wounded Austrian lieutenant named Almasy stumbles into a nearly deserted hotel, where Anna the chambermaid (Negri) chooses to give him refuge despite the danger to herself. At her behest he disguises himself as the hotel's waiter, and stays on when Russian troops take over the town and commandeer the hotel. Because of his close proximity to the enemy the lieutenant is able to interfere with the Russians' plans -- with Anna's help -- and alter the course of the battle.What happens in this film isn't as important as how it is presented. Here, atmosphere is more important than plot. Like all the best silent films this one utilizes very few title cards; remarkably, there are none at all for the first ten minutes or so. The camera smoothly follows a group of exhausted soldiers on horseback as they make their way across the smoking wasteland. No one speaks; there's nothing to be said. Stiller conveys a great deal with evocative imagery, sharp editing, and the understated performances of his players. You won't find any exaggerated emoting here. Once the lieutenant has assumed his false identity the suspense builds and our empathy with the central couple deepens. The leading lady is especially impressive in a scene where she must pretend to enjoy the lecherous advances of a Russian general in order to buy time for the lieutenant, who she loves; her forced gaiety and the dead look in her eyes perfectly express her feelings. Leading man James Hall is forgotten today (sadly, his life and career were blighted by acute alcoholism) but he is memorable as Lieutenant Almasy and pairs well with Negri. We care about this couple, fear for them, and root for them.I'd say this movie deserves to be ranked with the strongest dramas of the late silent era, perhaps not in the very top tier with The Docks of New York and The Man Who Laughs, but not far behind. It certainly deserves to be as well remembered as such war dramas as Wings and Seventh Heaven. There's little else to add except that silent film buffs should seek it out, and see it with an audience if at all possible.

Seeing this film, Pola Negri is a definite feast for my eyes as she fills the screen with a fine performance. I viewed this recently with a live audience and one of our elder viewers was from Eastern Europe. His comments resonate on the qualities in this film."The World War 1 uniforms were very accurate in the film, and it is the first time I have ever seen a film which portrayed the Eastern Europe government in a positive light politically. This film stunned me in the political accuracy of that portrayal." This speaks reams for this film. Not only is Pola Negri super, but a person who lived in Eastern Europe applauds the excellent film making involved.This is one of a very small handful of films made about this front in World War 1. The history is just as important as Pola Negri's performance.

Set early in World War I, Lieutenant Paul Almasy tries to escape to the Austrian army lines from Russian occupied Austria, but ends up in a small hotel, saved by chambermaid Anna Sedlak (Pola Negri). A Russian general makes the hotel his headquarters and chases Anna, who has fallen for the Paul. They must stop a dangerous spy and save the Austrian army and Paul's life.Starts slowly and has a lot of filler, especially stock footage of WW I action. They could also have left off the Hollywood ending, which is obvious once it starts. The action in the middle is somewhat better done, especially the scenes with Anna and the General.Thought to be the only Hollywood work by Mauritz Stiller to have survived.The same play was also filmed in 1936 as I Loved a Soldier, in 1939 and in 1943 as Five Graves to Cairo.