Актеры: Viktor Kartashov (as Stepok (as Vitya Kartashov)), Nikolai Khmelyov (as Peasant), Pyotr Arzhanov (as Political Commissioner (as Pavel Ardzhanov)), Yekaterina Teleshova (as President of Kolkhoz), Nikolai Maslov (as Arsonist), Yakov Zajtsev, Boris Zakhava (as Stepok's Father)
Описание: После прекращения съемок «Бежиного луга» Эйзенштейн, что естественно, ругается с начальниками. Больше двух лет он только преподает режиссуру во ВГИКе и занимается теорией. В России его тоже ждут неудачи. Всюду уже идут сталинские репрессии, завинчиваются «идеологические» гайки. Фильм «Бежин луг»,долго и мучительно снимавшийся им, был уничтожен, единственная кассета с недомонтированной лентой погибла от немецкой бомбы. Эйзенштейн коснулся в нем темы коллективизации сельского хозяйства, но не в радужных, а трагических красках.
Рецензии: Possible spoilers.
This remarkable work could have been Eisenstein's crowning
entry into film history. Though the footage no longer survives, what
remains (the still frames that were edited together in the sixties)
mark it as a breathtaking visual experience. Eisenstein's mastery
as a filmmaker shows; every scene is a articulately composed
tableau. His casting is as up-to-par as ever, bringing to us the
faces of real people, non-actors who weren't in anything else ever
again. And the irony of the church destruction scene is gorgeous.
Villagers dismantle the icons and decorations, thus becoming part
of the decor themselves. There's even a scene where the leader
of the group - who is also amazingly sexy - breaks down the alter
area with his own strength, thus recreating the whole story of
Samson. The boys higher up must have sensed this and therefore shut the production down. That they did was a huge
loss, for the film was never seen. Ever. What survives merely
scratches the surface.
Sergei Eisenstein was walking a thin line when it came to making
his films. The veil that he pulled over on the censors were thin.
On the surface, they come across as visually astounding
propaganda. When examined a little more carefully, though, they
seem to harbor more questionable messages. Like I said, the
scene where the villagers destroy the church. Sergei also had a
penchant for casting the most disgustingly beautiful men in all of
the USSR. They're in Potemkin, October, Strike and, yes,
especially in this film. They come across as good actors, though,
not just window dressing. In fact, he makes good use of them as
symbols of the communists, the young, revitalized lifeblood that
stands up against and defeats the old regime, played by character
actors that are either grotesquely overweight or grotesquely old.
The scene on the chapel steps in this film is a good example of
Forget the Battleship movie. This is Eisenstein's crowning
achievement. What is with us now is a tantalizing suggestion of