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140 CELLULOID
revolutions of an Eisenstein and a Pudovkin, or the shutdecock activities of a Dziga-Vertov.
The slight narrative interest which Dovjenko has written for the theme of Earth is remarkable for its simplicity, since any complexity of plot would have impaired the main purpose of the interpretation of nature. In a small village in the Ukraine, the peasants and Kulaki are quarrelling. The youth of the peasants seek to further the setting up of communal farms while the youth of the Kulaki seek to protect the land which is theirs by ancient privilege and right to possession. The fathers of both, rich in experience of toil, watch on, mistrusting the new inventions and at the same time jealous of each other. A tractor is sent by the Government, and Vassily, a young peasant, brings it in triumph into the village. In his joy he drives it across the lands of a Kulak, as the result of which he is shot by Thomas, a Kulak's son, as he returns to his home in the quiet of the night. At the urge of his father, Vassily is buried by his friends, not with the customary ceremonies of religion, but with the spirit of the new faith, with fruit and songs and joyous belief in this new philosophy; whilst Thomas, his murderer, admits his guilt, but is ignored by the singing peasants. That is all.
A calm, slow, measured development distinguishes the opening sequence as Dovjenko gradually absorbs us into his mood. Great expanses of corn and wheat ripple in the wind. There is fruit on the trees, great clusters of apples and pears. We are aware of the luxuriant fertility of the soil, of the sun that ripens and the rain that softens. There are smiling faces,