The daily worker. [volume] (Chicago, Ill.) 1924-1958, 1933-10-03
Moscow Letter:
PudoVkin Directs
NeeV Soviet Film
BY ALBERT LEWIS.

MOSCOW, U.S.S.R.-"Ihe De
serter," Pudovkin's new talking pic
ture, soon to be released by Mejra-
pofilm, is one of the greatest
events in the history of the Soviet
motion picture. The Soviet mastery
of the silent film was unquestioned,
but the last year has witnessed the
problems, particularly of technique,
Of the talking picture, a stumbling
block. With one leap, Pudovkin
has not only mastered these diff
culties, but with true Bolshevik
spirit has gone far beyond all other
achievements here and abroad.
The story Of the new picture is
simple and timely. Carl Rem, a
metallist in the Hamburg dry
docks, is a class conscious worker.
A strike is declared. Long months
of picketing, starvation, rallying
forces. Social Democrats and re-
formist elements demand capitula-
ton. Strikebreakers heavily guard
ed by the militia are recruited.
Clashes with the police. Carl loses
heart. At a meeting of the left
trade union organization, he is sent
with three other delegates to the
Soviet Union. Once there, the thrill
and joy Of being in the proletarian
republic induces him to remain
there and work. .
Later he reads of the death of
the Communist leader of the Ham,
burg workers, just when Rem him
self is being rewarded for being
the best udarnik. He realizes he
has deserted. He goes back to
Hamburg and leads the striking
workers in their struggle. The
theme thus brilliantly exposes the
need for eliminating Social Demo-
cratic elements in the labor move
ment, the achievements Of the So
Wet workers, and the necessity for
great courage in the bitter fight
against the capitalist.
In addition, from the point Of
view of composition and technique,
Pudovkin, whose earlier successes,
"The End of st. Petersburg"
Storm Over ASIA" and Mother"
stamped him as an undoubted mas
ter, has achieved even a greater
success. In the early scenes we see
the grim, gaunt faces of the work
ers, the cruel coarse lines of the
police; the roar and fire of the
hammers and furnaces, the cool
calm residences of the rich; the
slow, weary tread homeward of the
laborer; the bored nonchalance of
the bourgeoisie; the strength and
energy of construction of workers,
the pudgy effete dissipation of the
idle.
One shot Was unforgettable,
Changing hammers, heavy cranes,
coulded steel, roar of the blast
worked at terrific speed in com
plicated montage, music high FORTS
simo, suddenly shift into a dreamy
waltz, the residential section, a
giant figure of a policeman atop a
pedestal, stereotyped face, waving
his arms in graceful gestures d.
recting traffic to the rhythm of
the music. The second part offers
an opportunity to show the First
of May in Moscow and the process
of Socialist construction.
Throughout the picture, Pudovkin
uses dynamic contrast-of faces,
movements, places and even of
sounds. There are moments when,
after a terrific crescendo, there is
absolute silence, the application of
the pause or rest in music. Like
wise, he uses actual conversation
only when it advances the move
ment or is necessary for the de-
velopment Of the story.
Those of US who were privileged
to see the preview will never for
get the surge of triumphant ex-
citement which welled up within
us at the conclusion of a great
work of art-a milestone on the
cultural achievements of the pro-
letarian revolution.