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THE EUROPEAN CINEMA
he is master. Moments in this film achieved again the summits of Arsenal and Earth; intellectually it went deeper than either. Frontier's nationalism stemmed from environment, character and political clash. As much cannot be said for his next film, Shors (1939), a biography of a young revolutionary hero of 1919 cut something to the pattern of Chapaev. Doubtless this resurrection of recent deeds had a powerful suggestive effect on the Soviet public, as has been proposed. Doubtless any film dealing with this material would have a comparable effect. But as an example of Dovjenko's style, or any film style at all, Shors was non-existent. It had very beautiful photography, by Ekelchik; a memorable opening sequence of battle among the sunflower fields; and a few moments reminiscent of the old Dovjenko, especially in the scenes of horses ; but all this was overweighted by the * policy ' line. As in Chapaev, as in them all, the ' development of class character ', the nature of friend and enemy, and even the strategy of the battles, was lost in a maelstrom of words. In this pseudo-epic there was little trace of the passionate poetic creator of Arsenal and Earth.
Lesser directors during this nationalist period concentrated principally on the revolutionary period and the twenty years preceding it. The Gorki trilogy {Childhood of Maxim Gorki 1938, My Universities 1940, Out in the World 1939), beautifully directed by Mark Donskoi, dramatised the coming of political and humanitarian consciousness to the first great writer to be adopted by the Soviets as their own. The Maxim trilogy of Kozintzev and Trauberg traced the development of still another ' class character ', an artisan youth who participates in the pre-revolutionary struggles and achieves full stature in October.1 Alexandrov, one-time collaborator with Eisenstein, seems to have devoted himself to a kind of musical comedy career, with Jazz Comedy (1935), The Circus (1936) and The Bright Path (1940), none of which was
1The Youth of Maxim (1934), The Return of Maxim (1937), and Vyborg Side (1938).
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