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March 1940
FILM INDIA
C ontd. front page 54) pies capable of being communicated. Creative analysis of film production has been successfully tackled by the Soviet directors, chiefly by Eisenstein and Pudovkin, and is taught in the State Academy of Soviet Cinematography, at Moscow.
"ACTING FILMS" AND "CHRONICLE FILMS"
The Soviet cinema technique is undergoing drastic change. The popular montage stage is over. The 'idea of the evolution of the Soviet cinema can best be conveyed by a [cursory survey of the methods and iworks of important directors.
After Kulesov, Dziga Vertov occupies an important position. Ku|leshov advocated the "acting cinemia" as it was then termed, which bases the picture on script and actting. Vertov on the contrary, fought Ifor documental films, for a picture [without scenario, actors or studios. [From 1922-25, Vertov produced Isuch films. All these were documentary, but neither the connection of time nor place respected. The impulse of didactic construction .leads the composition. His chroni'cle films have retained to this day ithe charm of exceptionally temperaimental documents, the most remarklable of which was the one dedicated to the funeral of Lenin. This reel |was subsequently incorporated in Ithe composite film "Three songs of
Lenin". It is one of the most original and highly effective pieces of work one could imagine.
Chronicle films occupy very important position in Soviet Russia. They are as important as the newspapers. They keep the masses Informed of the gigantic achievements of the new world. Over 150 cinema operators are daily recording the daily happenings (socialist construction) in USSR.
MASTERPIECE SHOT WITH OLD CAMERAS!
Eisenstein's first appearance ir the cinema was in "Strike". His second film "Battleship Potemkin". may be considered as the first great production of revolutionary epics in the cinema. The theme of "Potemkin" concerned the revolt of the crew of a battleship against their officers on account of the bad food: the warm reception of the rebel ship by the people of Odessa; the attack on the latter by the local military: and the final meeting of the battleship with the remainder of Russian fleet, from where instead of exchanging shots, the Red Flag is hoisted and they greet each other. It will have a permanent place in the history of the film as one of the finest examples of this youthful art. and was shot almost exclusively in the open air with antiquated cameras. It took four months and was taken in Odessa itself.
"One could neither conceive nor present this work in the theatre, one can only show it on screen," said Pudovkin in appreciation of it.
A contrast to the Eisenstein school was the trend headed by Pudovkin. While Eisenstein in his "Potemkin" and "October" depicts the masses. Pudovkin in his films (Contrl. on page 61)
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