When Dovzhenko's 'Zvenigora' was shown in 1928 Pudovkin is alleged to have remarked to Eisenstein: "Now there are three of us."
The trials and tribulations of this talented trio under the Stalinist regime have been well documented and Dovzhenko's diaries express his frustration at unrealised projects. His total of seven films in twenty years says it all. There may not be quantity but the quality is immeasurable.
Set in the director's beloved Ukraine and depicting the struggle between the collectives and the landowners, 'Earth' appeals directly to the emotions and underlines Dovzhenko's belief that it is necessary to love and hate deeply.
When Vasili arrives with a tractor, known symbolically as 'the Iron Horse', his fellow farmers rejoice at a new beginning. This represents an obvious threat to the Kulaks and they resort to murder which merely strengthens the farmers in their resolve.........
Cinematographer Daniil Demutsky, who had previously shot 'Arsenal' for this director and would spend time in a labour camp following the 'Great Purge', has captured incredible images of swaying wheatfields, ripening fruits and stampeding horses whilst his camera seems to almost penetrate the souls of the actors, notably Stepan Shkurat and Semyon Svashenko as father and son. As Vasili's sister we have the director's wife Yulya Solntseva who went on to make films based upon her late husband's infinished scripts.
The central section of the film is one of intense lyricism and the final sequence which is, I am told, a perfect example of 'parallel montage', is mesmerising.
Dovzhenko was obliged to show his film thirty-two times to various organisations before it was shown to the public. Certain scenes had to be cut but happily have been restored. A magnificent score was added by Alexander Popov in 1997.
Although an intellecual Dovzhenko's film are never intellectualised. This is a glorious paean to Nature with its cycle of life, death, rebirth and regeneration. It is this aspect that enables it to transcend its time and to cast its spell over generations of film goers.
Set in the director's beloved Ukraine and depicting the struggle between the collectives and the landowners, 'Earth' appeals directly to the emotions and underlines Dovzhenko's belief that it is necessary to love and hate deeply.
When Vasili arrives with a tractor, known symbolically as 'the Iron Horse', his fellow farmers rejoice at a new beginning. This represents an obvious threat to the Kulaks and they resort to murder which merely strengthens the farmers in their resolve.........
Cinematographer Daniil Demutsky, who had previously shot 'Arsenal' for this director and would spend time in a labour camp following the 'Great Purge', has captured incredible images of swaying wheatfields, ripening fruits and stampeding horses whilst his camera seems to almost penetrate the souls of the actors, notably Stepan Shkurat and Semyon Svashenko as father and son. As Vasili's sister we have the director's wife Yulya Solntseva who went on to make films based upon her late husband's infinished scripts.
The central section of the film is one of intense lyricism and the final sequence which is, I am told, a perfect example of 'parallel montage', is mesmerising.
Dovzhenko was obliged to show his film thirty-two times to various organisations before it was shown to the public. Certain scenes had to be cut but happily have been restored. A magnificent score was added by Alexander Popov in 1997.
Although an intellecual Dovzhenko's film are never intellectualised. This is a glorious paean to Nature with its cycle of life, death, rebirth and regeneration. It is this aspect that enables it to transcend its time and to cast its spell over generations of film goers.