The daily worker. [volume] (Chicago, Ill.) 1924-1958, 1926-06-05

inherent IN the theme, out IL is really
significant and well worth seeing. 1t
is the first picture in this, or probably
any other capitalist country that
shows the Russian Red without horns
and views the revolution from a some
what sympathetic standpoint. Amaz-
ingly, this film not only tolerates the
Red, but makes him its hero. In place
of the wild-eyed, ld-whiskered Boil
shevik dripping gore that the movies
and "Satevepost" magazines love to
show, the Red hero of the "Volga
Boatman' is pictures as a strong,
handsome figure with all the custom
airy movie virtues, and, in addition, a
genuine dignity and something that
while frequently falling into bombast
at moments approaches revolutionary
ardor. And though the films concep-
ton of the revolution is sentimental
and vague, it does seem to be trying
to convey a general impression of
something new and vigorous replacing
something old and decayed.
THE scene is laid along the Volga
4 in the neighborhood of Jaroslav at
the outbreak of the revolution. AS the
picture opens gang of boatmen are
seen hauling a barge up the river.
fhey are harnessed like animals and
their rag-wrapped feet are bleeding
and sore. The fact that the last man
drawn barge must have disappeared
from the Volga some thirty years ago
need not necessarily impair the arts
tic truth Of the picture; the popularity
Of the song has made the Volga boat
men sort of symbol of the Russian
people to Americans. But it is sig
nificant that workers in an occupation
Economically remote are chosen for
this presentation of oppression and re-
volt instead of factory workers or,
say, miners. American producers can
not afford a sympathetic presentation
of anything that might hint at class
struggle as something present and real
7=rbat, might. be reminiscent of our
own Passaic, or Zeigler or, West vir-
ginia.
A S the barge reaches the village
4 car brings Princess Vera, daugh-
ter of the local landowner, and Prince
Dimitri, officer in the cars army,
along the river road. The Princess is
attracted by the singing of the boat
men, particularly of the handsome
broad-shouldered man in the lead
the hero, of course. The Prince, not
liking Vera's romantic Turgenievesque
interest in Russia or the people in
general, and the blonde boatman in
particular, contemptuously points to
The men as they sink down in the
races at the landing place in utter
sxhaustion-" animals" ne exclaims.
At this point occurs the clash between
Dmitri and the boatman that initiates
the theme Of the play. AS the Princess
is speaking to Feodor, drinking at the
well, the Prince, coming up to them,
gets the remains of a dipper of water
accidentally splashed over his pol
ished riding boots. He orders Feodor
to wipe them of; at first the boatman
refuses. then after long moment of
arrogant Impotence on the one side
and restrained menacing fury on the
other, he bends-it is Czarist Russia
and wipes of the boots with the sleeve
OF his blouse. Strengthening up he
points to the mark the leathern thong
of the boat harness has left on his
breast, and says: Some day you will
be forced to wipe this off," The an
swer is a singing blow across Eco
doris face.
As the boatmen are resuming their
Journey that evening q motor boat
flying the red flag comes up the river,
a note weighted down with bullets is
tossed ashore-the revolution has
broken QUITO arms. Up in the castle
the betrothal ceremony Of Vera and
Dmitri Is just at nm end when an order
comes for the oiflcer TO rejoin his reg.
iment,
ENEODOR is made local revolutionary
- 0arnmandar JKyhou ~. III 80