Film Review: Volga-Volga (1938)
It never hurts for a film maker to enjoy the favour of people at the top level of government. During the Great Purge in Soviet Union it was not only a matter of career advancement but actually a matter of phsyical survival. One of those fortunates was Grigori Aleksandrov, whose 1938 musical comedy Volga-Volga is known as Stalin’s favourite film.
The plot begins in Melkovodsk, fictional small town somewhere at Urals, which is run by Ivan Ivanovich Byvalov (played by Ivan Ilynsky), manager of local handicraft factory and pompous bureaucrat who eagerly awaits telegram about his promotion and transfer to Moscow. Such telegrams are handed by local letter carrier Dunya “Strelka” (“Arrow”) Petrova (played by Lybov Orlova), who is having romantic relationship with Alyosha Trubishkin (played by Andrey Tutyshkin), member of the local music orchestra. Byvalov receives the telegram but it, instead of promotion, asked for local talents to “Music Olympics” that are to be held in Moscow. Byvalov is at first sceptical, but changes his mind when he realises that he could make the trip to Moscow as “supervisor” of the talent. He, however, insists that only Alyosha’s orchestra, specialised in “proper” classical music, takes board the paddle-wheel steamer for Moscow. Dunya, who, with her friends, had specialised in playing folk music, is left behind, but instead decides to board another boat at take part in competition. During the ensuing boat race on the River Volga Dunya composes new song dedicated to the river, unaware that it would become great hit among Soviet masses.
Like Jolly Fellows and Circus, two previous musical comedies by Grigori Aleksandrov, Volga-Volga was very popular, which is often explained by providing Soviet audience with feather-light escapist entertainment. And in the very dark time the film was made there was even more need for escapism. Production was under large menacing shadow of ongoing Great Purge and even some of the crew members became its victims, like assistant cinematographer Vladimir Nilsen, who was arrested and summarily executed shortly before film’s premiere. But this didn’t reflect on the content of the film that shows Soviet Union as place of happy, relaxed workers and peasants who live simple, fulfilling lives and, regardless of their profession (whether they are postmen, accountants, lumberjacks, waiters, cook or even policemen) have time and inclination to pursue their artistic ambition and even can indulge in friendly rivalries. Although burdened by the dogmas of Socialist Realism, Soviet official art doctrine, Aleksandrov, who originally got inspiration for film by his friend Charles Chaplin during tour in USA few years earlier, allowed himself a little experimentation. This is best seen in opening titles that are partly shown on screen and partly sung, as well as end credits when the cast breaks fourth wall. There is plenty of physical humour in the film, obviously inspired by slapstick works of Hollywood silent era. The music composed by Isaak Dunayevsky, on the other hand, isn’t particularly memorable, at least in comparison with music used in two previous Alekandrov’s films, with the possible exception of main song. Some of the jokes are repetitive and many cast members, including Aleksandrov’s wife and muse Lyubov Orlova, often succumb to overacting. Alekandrov’s direction is, on the other hand, very good and he maintains quick tempo, with finale that takes at recently finished Moscow-Volga Canal and features modern ships and various modes of transportation, provides the most explicit piece of propaganda for the regime in the film.
Somewhat ironically, the best performance in the film is in the role that could have been the most dangerous. Igor Ilynsky plays character of pompous, incompetent bureaucrat whose presence could, to more perceptive viewers, suggest that not everything is perfect in new Soviet socialist utopia. It was Ilynsky’s performance that won Stalin’s favour and he later liked to jokingly compare his subordinates, including future Soviet leader Nikita Khrushchev, with their fictional counterpart. Volga-Volga, with all of its flaws, remained popular among Soviet audiences. In 1961, during Destalinisation campaign, some of the scenes featuring name of Stalin were cut, and film was restored into original state only in post-Soviet Russia. In 2010 Russian state television aired another version with digital colourisation.
RATING: 5 /10 (++)
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