As majestic as the early films of Eisenstein are, his silent era work cannot hold a candle to the fluid, gorgeous humanism present in Dovzhenko's Earth. This is, perhaps, a little ironic, considering that the film is largely concerned with the benefits of collectivism and the wonder of tractors.
Or is it? Maybe Earth is a subtle undermining of the "Soviet spirit," implying that the collective, which rejoices at the tractor's entrance, is foolish for doing so--foolish for abandoning their joyous, pagan, and, consequently, slightly anarchic past. Does Dovzhenko appreciate the mechanization of agriculture or does he despair at the effects of progress?
Like most Soviet filmmakers, Dovzhenko demonstrates ideology that is never clear and always ambivalent.
Really, though, that is not and should not be the point of this film. What matters are the images. This film is filled with beautiful and poetic visuals--incomparable in early cinema, if you ask me. Nothing comes close to touching the absolute perfection of the shots here. It's amazing. Eisenstein, Griffith, and Murnau may have introduced important elements into the cinematic language, but Dovzhenko made, I think, the first cinematic work of absolute beauty. Fans of Wong Kar Wai or Terrence Malick would do well to visit this film by their forbearer.
Or is it? Maybe Earth is a subtle undermining of the "Soviet spirit," implying that the collective, which rejoices at the tractor's entrance, is foolish for doing so--foolish for abandoning their joyous, pagan, and, consequently, slightly anarchic past. Does Dovzhenko appreciate the mechanization of agriculture or does he despair at the effects of progress?
Like most Soviet filmmakers, Dovzhenko demonstrates ideology that is never clear and always ambivalent.
Really, though, that is not and should not be the point of this film. What matters are the images. This film is filled with beautiful and poetic visuals--incomparable in early cinema, if you ask me. Nothing comes close to touching the absolute perfection of the shots here. It's amazing. Eisenstein, Griffith, and Murnau may have introduced important elements into the cinematic language, but Dovzhenko made, I think, the first cinematic work of absolute beauty. Fans of Wong Kar Wai or Terrence Malick would do well to visit this film by their forbearer.