Though I am a staunch collectivist, I could not help thinking how funny it would be if, as the priest curses the collectivists in the name of God, the giant foot of Monty Python just smashed them all in a moment of holy wrath.
Regie Alexander Dovzhenko
Земля
Ein von der Kritik gefeiertes, atmosphärisches Drama.
In einem ukrainischen Dorf hat die Kooperative einen Traktor angeschafft. Der junge Traktorist Wassil überquert mit dem Pflug die Grenze eines Feldes, das seit Generationen in Besitz von Kulaken ist, d.h. landbesitzenden Bauern, die im Zuge der Kollektivierung der Landwirtschaft ihr Land aufgeben mussten.
Earth läuft in 1 Kino in New York City - nächste Vorstellung Montag, 26. Oktober um 18:00 im Metrograph.
Nächste Vorstellungen: Montag, 26. Oktober.
Vollständiger Spielplan
Spielzeiten zu Earth, jeden Morgen aktualisiert
Wähle dein Kino und bekomm einen Hinweis, bevor der Film aus dem Programm fällt.
Though I am a staunch collectivist, I could not help thinking how funny it would be if, as the priest curses the collectivists in the name of God, the giant foot of Monty Python just smashed them all in a moment of holy wrath.
To view as a critique is quite tempting, but it's really just an incredibly beautiful work. But it's a film as much about montage and Kuleshov-ian dialectic as it is about the difficulties of collectivization and the process of turning grain into bread. Yet, what the hell, it's just one of the most poetic films of them all. What matters most are the faces of these "actors," the faces of these people. A Cinema of Portraiture: now I understand what P. Costa meant when he told me he was thinking more of the Soviets than John Ford when he made Horse Money.
There's an abstract quality to Dovzhenko's montage that seems to work against narrative rhythms; his story moves forward somehow or other, but at any given moment, he's likely to organize tableaus that illustrate his moment in a way that looks like folk art (tapestries, stained glass windows, Byzantine painting) while doing nothing to maintain narrative momentum. Best example of this is toward the end, when he crosscuts between 4 or 5 separate locations in a way that does none of the work of advancing a story, or even implying a sequence of events. The priest is denouncing, the widow is grieving, the pregnant woman is in labor, the murderer is going nuts, the funeral-goers are holding their service... Oh, and the way he chooses to illustrate his character-moments is often wildly expressionist-theatre inflected, sometimes to the point of looking like Artaud-le-momo performance choices, like the guy dancing around in a circle and trying to bury his head in the dirt to express his character's emotional reality at that moment. PS: Even though one of the plot-points is that the collective is renouncing Christianity, the remorse and guilt of the kulak-dude that killed the other dude is conveyed in a way that totally evokes Judas after the Crucifixion. Folk art.
Während der sowjetischen Kollektivierungskampagne führt ein junger bäuerlicher Aktivist seiner Gemeinde einen Traktor vor und stößt auf Widerstand von wohlhabenden Landbesitzern.
Earth wurde 1930 vom ukrainischen Filmemacher Alexander Dovzhenko als letzter Teil seiner Stummfilmtrilogie inszeniert.
Earth wird weithin als einer der größten Stummfilme aller Zeiten gefeiert und rangiert in historischen internationalen Filmumfragen hoch. Spielzeiten auf Mood.
