Word: dovzhenko
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...Mosfilm) is the most ambitious Soviet fiction film to reach the U.S. since the war began. It is not to be compared with the dynamitic masterpieces of Eisenstein or Dovzhenko; but even in decline the Russians can show the world a thing or two about movies...
...nation which, for a while, gave them a chance to work as cinema talents have seldom been permitted to work. Even in mangled form, such scenes as the silver blaze of ripe wheat and sunflowers full of struggling men, crazed horses and black explosions (in Director Alexander Dovzhenko's Shors) are still able to make any perceptive U.S. filmgoer who has seen only the best advertised native films wonder, seriously, whether he has ever seen a real moving picture before. These Russian classics shine against the cheap, easy sheen of most films (and much of this film) as nobly...
...crowded halls. The Red Army chorus sang to packed theaters. Factory girls and soldiers held parties and waltzed swiftly to the tootlings of brass bands. A new play, Russian People, by the war poet, Constantino Simenov, was in rehearsal in hundreds of Soviet theaters. Soviet motion-picture Director Alexander Dovzhenko said that all Russian newsreels purposely showed "the visual aspect of war, completely and unflinchingly" (in contrast to U.S. official squeamishness about the facts of war and death...
...Soviet motion-picture industry passed at one stride from making crude propaganda shorts to making cine-masterpieces. Three great directors came up: Sergei Eisenstein, Vsevolod Pudovkin, Alexander Dovzhenko. They and others soon produced such silent film classics as Potemkin, The End of St. Petersburg, Ten Days That Shook the World, and one magnificent documentary film, A Shanghai Document. News of these movie marvels began to leak into the outside world, and business-minded Bolsheviks jumped at the chance to make propaganda and money at once. To distribute Soviet pictures in the U. S. they set up a U. S. company...