Geněralnaja linija
Cámara:
Vladimir PopovSinopsis(1)
Una campesina, ante las dificultades de la sociedad, se decide a cambiar de sistema y a sustituir su posibilidad de trabajo individual por uno colectivo. Con la colaboración del consultor agrícola de la región y de unos campesinos tan pobres o más que ella misma, se pone en marcha. Pero los éxitos conseguidos molestan a las autoridades y a los kulaks, que intuyen el peligro de la cooperación, alineando contra ella toda su fuerza, a fin de aniquilar el espíritu luchador de Marfa. Todo es inútil: los cuadros luchadores de la comunidad se cierran alrededor de la mujer, que consigue algo por entonces inaudito: hacerse con un tractor. La imagen de éste se encadena con una enorme multitud de tractores avanzando por las amplias llanuras. (Divisa Home Video)
(más)Reseñas (2)
I love Marfa Lapkina.
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To be able to capture things beautifully, originally, and suggestively is an art, but discovering new, previously unsuspected, or unnoticed relationships among things is mastery. Eisenstein was able not only to capture the motionless beauty of things, nature, and masculine faces (otherwise terrifying...), but he was also able to capture the relationships between them. It is in the relationship between two or more things that tension and movement arise, which he was able to not only breathe life into but also capture with his dexterity. That is why there are both beautiful details and the dynamism of scenes in such situations, which would bore a different filmmaker capturing the construction of an agricultural cooperative in two silent hours. The analogy with humor and seriousness, the ability to create a visually breathtaking experience from the most ordinary scenes of haymaking or the operation of a milk centrifuge, is simply mastery, in my opinion. There is no choice but to agree with another master of the silent era, Griffith: "What the modern movie lacks is beauty – the beauty of moving wind in the trees, the little movement in a beautiful blowing on the blossoms in the trees. That they have forgotten entirely. In my arrogant belief, we have lost beauty." Considering the historical context of the film in the context of Russian history and the betrayal of the author's commitment to Stalinism, it is a tragic beauty.
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