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.
Κατά τη διάρκεια της κολεκτιβοποίησης της αγροτικής παραγωγής στη Σοβιετική Ένωση, ο Βασίλης, ένας αγρότης μέλος της κομμουνιστικής νεολαίας, αποκτά ένα τρακτέρ και οργώνει τα ιδιωτικά όρια στα χωράφια των κουλάκων, αλλά αυτός ο ενθουσιασμός θα του κοστίσει ακριβά.
Η «Η Γη» παίζεται σε 1 σινεμά στη Νέα Υόρκη - επόμενη προβολή Δευτέρα 26 Οκτωβρίου στις 18:00 στο Metrograph.
Επόμενες προβολές: Δευτέρα 26 Οκτωβρίου.
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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.
Κατά τη σοβιετική εκστρατεία κολεκτιβοποίησης, ένας νεαρός αγροτικός ακτιβιστής φέρνει ένα τρακτέρ στο χωριό του και αντιμετωπίζει αντίσταση από τους εύπορους γαιοκτήμονες.
Το Earth σκηνοθετήθηκε από τον Ουκρανό κινηματογραφιστή Alexander Dovzhenko το 1930 ως το τελικό μέρος της βουβής τριλογίας του.
Το Earth γιορτάζεται ευρέως ως μία από τις σπουδαιότερες βουβές ταινίες που έγιναν ποτέ και κατατάχθηκε υψηλά σε ιστορικές διεθνείς κινηματογραφικές δημοσκοπήσεις. Ώρες προβολών στο Mood.
