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CLOSE LP
front, blazing streaks of swiftly moving searchlights, crucifixions on the fields of Galicia and that calm Cyclops — the Tank — crushing fallen bodies with cold relentlessness . . .
Filimonoff has remembered . . . He jumps into a cattlecar bound for Leningrad (which still is " St. Petersburg " for him) to seek his wife.
Here begins a story picturing the re-birth of a man w^ho has returned from a dark, a blind existence as Non-commissioned Officer Filimonoff, to a consciousness of his power and the all-powerful triumph of his victorious class.
The main perception of this man lies in his feeling of class interest concerning all that goes on about him. The makers of the film do not lead Filimonoff to stop in ecstasy before the pathetics of our day, but thrust him boldly into the clash of social conflicts where he finds his full recognition of social consciousness. It is characteristic that his first conscious idea — reminiscence of the war — brings home sharply his class relation to war. The film is, in this respect, the first and most powerful production of the working class with an international point of view. It's our own Soviet Remarque and our point of view of the w^ar.
A new relationship to labour brings about and dictates new social forms of relations between chiefs and subordinates, between men and women, between Red Commander and private. A series of shocks brings the hero to the problem which must have appeared fundamental to his still immature labour psychology.
Who^s the boss? "
And the film replies :
The working collective is the boss
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