There are some real gems of the period here that have long been unavailable on DVD. One of the most notable inclusions is the first film to come out of Lev Kuleshov's Cine-lab, The Extraodinary Adventures of Mr. West in the Land of the Bolsheviks (1924), a buoyant satire about an American businessman who comes to Russia with his trigger happy cowboy bodyguard in tow, expecting the Bolsheviks to be bloodthirsty barbarians. When a group of fallen aristocrats learn of his arrival, they pose as proletarians and kidnap him, in hopes of getting ransom money that will return them to their former lavish lifestyle. They are, of course, defeated by real Bolsheviks, and Mr. West learns that they aren't the monsters they have been portrayed as. It's clearly a propaganda piece (as were most Soviet films of the period), simultaneously poking fun at Americans and glorifying the Soviet ideal.
|A scene from Sergei Eisenstein's OLD AND NEW.|
Eisenstein's particular embracing of the technique is on full display in Old and New (1929), the director's last silent film before his Siberian exile. The now famous scene in which Eisenstein juxtaposes footage of a newly working milk machine with a gushing water fountain is a kind of visual symbolism that Eisenstein employs frequently throughout his films, even if the overall effect here seems almost truncated when compared to his more passionate films like Battleship Potemkin and Strike. Originally conceived as an exultant demonstration of the Communist Party's plans for modernizing country life, Old and New began shooting in 1926 under the name The General Line, but was put on hold when Eisenstein was commissioned to direct October: Ten Days that Shook the World to celebrate the 10th anniversary of the Bolshevik Revolution. When he finally returned, the Party's policy was beginning to shift, and Eisenstein's grand vision of communal living was no longer in step with the government's vision, which was shifting away from revolutionary politics. Eisenstein was ordered to re-edit the film, and the result focuses more on the act of industrial progress, although communes still play a major role, which resulted in the film being booed by the press upon its release.
|A scene from Boris Barnet's THE HOUSE ON TRUBNAYA.|
Even in Viktor Turin's Turksib (1929), the propagandist elements feel less overt even while hitting on the common Soviet theme of technological progress. A direct precursor to the muckracking documentaries we know today, Turksib focuses on the need for a railroad traversing the desert between the resource rich Siberia and the impoverished regions of Turkistan (a project that was a part of Stalin's first Five Year Plan). Turin is clearly influenced by the editing techniques of Eisenstein and Vertov, but he is less interested in grand political statements as he is a more personal look at the effect the railroad will have on the people, something that Eisenstein often missed in revolutionary fervor, where characters were often more symbols than people. The result was a surprise hit around the world, one of the few Soviet films that was greeted with praise by both critics and audiences.
|A scene from Mikhail Kalatozov's SALT FOR SVANETIA.|
Shub's film is the ultimate form of realism, albeit with an editorial slant. By the time he made By the Law (1926), Kuleshov had put aside the affectations of American films for something more naturalistic. An adaptation of Jack London's short story, "The Unexpected," By the Law tells the story of five prospectors in the Yukon whose isolation leads to madness and eventually murder. While the surviving members of the team try to deal with the murderer according to the law (an ideal held to a high standard, even in the remote Yukon), they descend into paranoia and hysteria. While the film contains some of the more exaggerated performances that were a staple of Kuleshov's work, it's a remarkably grim and naturalistic work, dealing in a haunting sense of lonely dread. The score by Robert Israel included on the DVD release, however, is completely incongruous with the film, which is a shame, because Kuleshov's craft is impeccable.
|A scene from Lev Kuleshov's BY THE LAW.|
The presentation by Flicker Alley is stellar, even if some of the films are a little worse for wear. The Fall of the Romanov Dynasty especially looks like it was transferred from VHS and the intertitles look like Jeopardy questions. While several of the films would benefit from a full-on restoration, we're lucky to have them on DVD at all, and this set is a veritable treasure trove for movie lovers. Included with the set is a highly informative booklet that details the history and production of each film, providing each of them with their proper historical context. While the DVDs themselves have no special features, it's serendipitous that this set was released so soon after Kino's excellent blu-ray release of Eisenstein's Strike, as the special features there spend quite a bit of time discussing some of the films included here. It's a stellar and essential release, offering a tantalizing glimpse into an exciting era of film history that has paved the way for many of the techniques we take for granted today. This is truly a release to be celebrated.
BY THE LAW - ★★★½
THE EXTRAORDINARY ADVENTURES OF MR. WEST IN THE LAND OF THE BOLSHEVIKS - ★★★
THE HOUSE ON TRUBNAYA - ★★★★
OLD AND NEW - ★★★½
SALT FOR SVANETIA - ★★★★
STRIDE, SOVIET! - ★★★
TURKSIB - ★★★
Landmarks of Early Soviet Film is now available from Flicker Alley.