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EARTH 139
interesting, moreover, because Dovjenko's method of working provides a sharp contrast to those of the more exhibitionist directors of the left-wing. Earth affords an excellent comparison between the violent, feverish styles of Pudovkin and Eisenstein and the peaceful, slow, yet strongly dramatic style of Dovjenko.
Not only this but Earth, as well as the earlier work of the same director, marks a fresh outlook in Soviet production, for it attempts the philosophical rather than the sociological or political thematic content. Whilst the subject-matter deals to a certain extent with the contemporary Soviet problem of the adoption of collective farming, as did The General Line, the real intent of Earth is the cinematic representation of nature and the expression of a new attitude towards birth, life and death, set in an environment of extreme natural beauty. The age-old theme of the supremacy of the new over the old, the Soviet methods overthrowing the ancient privileges of the Kulaki (the rich farmers), and the superiority of the machine over the animal, these are all present, but they are subservient to Dovjenko's beautiful rendering of nature and ingenuousness of the peasant mind. A crude form of propaganda is overcome by a visionistic outlook — an outlook that seeks to express the richness and materialism of life. There is nothing glorifying in the coming of the tractor in Earth, rather does Dovjenko evoke our sympathy and love for the graceful horses and milkwhite oxen whose tasks are now at an end. Earth gives us something new in cinema, something which — although slightly similar in technical methods of approach — is a thousand removes distant from the