Sinopsis(1)
A melodramatic film with lots of ironic allusions, and Jewish melodies, shifting between comedy and tragedy. The story is borne entirely by the cheerful, nonchalant opportunism of the hero, Ljowa, played by the star of the day, Nikolay Batalov, who, with character and charm, wanders through an extremely varied illustrated broadsheet: from Tsarist Russia to New York, and back to the young Soviet Union. He feels safe and secure with his Jewish friends, although he does not practise religion himself. Despite all his efforts, and being constantly motivated by a creative and pristine sense of justice, he never succeeds in pursuing a social career. In the end, after many years, he is glad that he has at least become an engine driver.
Entertaining sound material with sensitive genre paintings from New York, as people imagined them at the time, from the perspective of Moscow: public authorities and bosses, expressively staged scenes of violence and looting. An unconventional film by Lev Kuleshov. The title can be seen as a symbol.
(Berlinale)
Reparto
Nikolai Batalov
Imperio ruso
Las mejores películas:
La madre (1926)
Treťja měščanskaja (1927)
Aelita (1924)
Dmitriy Kara-Dmitriev
Imperio ruso
Porfiriy Podobed
Las mejores películas:
Po zakonu (1926)
Der lebende Leichnam (1929)
Neobyčajnyje priključenija mistera Věsta v straně bolševikov (1924)
Иван Бобров
Las mejores películas:
El acorazado Potemkin (1925)
La madre (1926)
Pjatnadcatiletnij kapitan (1946)
Nikolay Kryuchkov
Imperio ruso
Las mejores películas:
La balada del soldado (1959)
Maratón de otoño (1979)
El cuarenta y uno (1956)
Mikhail Doronin
Imperio ruso
Sergey Komarov
Imperio ruso
Las mejores películas:
Po zakonu (1926)
El fin de San Petersburgo (1927)
Dezertir (1933)
Nikolay Gladkov
Imperio ruso
Las mejores películas:
Dersu Uzala (1961)
Tri topolja na Pljuščiche (1967)
La espada y el dragón (1956)
Yelena Kuzmina
Imperio ruso
Las mejores películas:
Odna (1931)
U samogo siněgo morja (1936)
Novyj Vavilon (1929)
Konstantin Khokhlov
Imperio ruso