The daily worker. [volume] (Chicago, Ill.) 1924-1958, 1926-06-05
A PEEK EACH WEEK AT
MOTION PICTURES

servants are seated at table, the ards
tocrats forced to serve for change.
A real old movie faithful servitor
tries to shoot Feodor for this indigntty
to his beloved bosses, but the bullet
hits youthful comrade of the revolu-
zionist who throws himself in front
Of his friend. A life is demanded for
a life-the Princess insists it shall be
she instead of her father, and pro-
ceeds to vamp the commander into
sparing her. He pretends to shoot
her, substitutes wine for her blood
the gypsy girl who loves him discovers
the deception-and escapes with her
into the night.
The inn where the two are shelter
ing is captured by the Writes, natu-
rally with Vera's officer sutton in com
mand. Feodor is recognized and SEN
fenced to be shot, despite Vera's pro-
testations of his perfect gentlemanli-
ness. The scene changes to the great
palace at Taroslavl. A state ball is In
Representations dancing on the
brink of destruction. Out in the court
yard of the palace the boatman is
shown trussed TO the immense iron
ratings, face toward the ballroom. He
is very evidently meant to arouse the
sympathies Of the audience, this bound
figure with arms outspread in the atti-
tude of Christ crucifed. AS the firing
squad lines up Vera rushes to the
chained man and covers him with her
body despite the entreaties of the
Prince, who says that the firing squad
must carry OUT orders, even if she re-
mains.
OUDDENLY the Song of the Volga
~ Boatmen is heard. The scene shifts
to the river bank. A corner of the
canvas covering the loaded barge that
is being pulled up the river is lifted.
revealing a cargo of armed Reds. At
the same moment more armed men
crawl out of Misunderstanding peas
ant wagon passing the palace gates,
oVerpower the sentries and send up
rockets to signal their comrades on
the river. Reinforcements pour in
from the barge and gun stationed
on the river bank begins bombarding
the palace.
Feodor, rescued and brought to the
commander of the attacking force, is
charged by the villagers with betrayal,
but somehow or other movie provi-
dence fixes it up so that his desertion
of his post to help an enemy woman to
escape is easily condoned by the
authorities. The Whites are forced
to drag the barge up the river to the
seat of the revolutionary tribunal.
What happens to the rest is not told,
but, on Feeders plea, the Prince and
the Princess are given the choice of
supporting the revolution or exile.
The Prince chooses exile, but Vera
chooses the new Russia" and. Feodor
or, rather, Feodor and the new Rus
STA.
TT is all queer mixture of finely
L conceived scenes and sloppy bour-
geois bunk. On the one hand, the
boatman addressing a meeting before
the revolution rather real glimpse
of listening peasant faces; the attack
on the palace from the barge, the
lights Of the village across the Volga.
On the other, the Red commander lay
ing aside his revolver when the whites
are breaking into the room at the inn.
because the Princess asks him not to
shoot at her people, silly clown-like
representation of the revolving peas
ants, and much Of the same sort. But
the fact remains, that though the hero
is, of course, fashioned by the bour-
geoisie in their own image, he is
meant to be revolutionist, and the
heroine is made to choose the Russia
of the future instead OF going of to
New York to be entertained by the
Four Hundred and bewail the destruc-
ton of "her" Russia by the bloody
Bolsheviks. Amy Sehechter.