26 Commissioners

Plot

The film chronicles the tragic fate of the 26 Baku Commissars, Bolshevik revolutionaries who were captured and executed by anti-Bolshevik forces in September 1918 during the Russian Civil War. Set against the backdrop of the chaotic power struggle in Baku following the Russian Revolution, the narrative follows the commissars' attempts to establish Soviet power in the region and their eventual capture by British-backed White forces. The film portrays their final days in captivity, their unwavering commitment to the revolutionary cause, and their heroic martyrdom at the hands of their captors. Through its dramatization of these historical events, the film presents a powerful propaganda piece celebrating Soviet revolutionary ideals and condemning imperialist intervention. The story culminates in the mass execution of the commissars on the shores of the Caspian Sea, cementing their place in Soviet revolutionary mythology.

Historical Background

The film was produced in 1933, a critical year in Soviet history marked by Stalin's consolidation of power and the implementation of the First Five-Year Plan. This period saw intense cultural and political repression, with all artistic works required to conform to the principles of socialist realism. The film's subject matter, the Baku Commissars, was particularly significant as it represented an early martyrdom narrative that the Soviet regime used to legitimize its rule. The early 1930s also saw heightened tensions between the Soviet Union and Western powers, making the film's anti-imperialist message especially relevant. The film's release coincided with the 15th anniversary of the commissars' deaths, providing an opportunity for Soviet authorities to reinforce revolutionary mythology among the population.

Making Of

The production of '26 Commissioners' took place during a politically sensitive period in Soviet cinema history. Director Nikoloz Shengelaia, already an established figure in Georgian cinema, was tasked with creating a film that would serve both as historical documentation and political propaganda. The casting process was particularly challenging, as the filmmakers sought actors who could embody the revolutionary spirit of the historical figures. Many scenes were shot on location in Baku, requiring the film crew to navigate the complex political landscape of the multi-ethnic region. The execution sequence, the film's climactic scene, was filmed over several days using hundreds of extras. Shengelaia employed innovative camera techniques for the time, including low-angle shots to create a sense of heroism around the commissars. The film's score was composed by Iona Tuskia, who incorporated traditional Georgian musical elements into the revolutionary soundtrack.

Visual Style

The cinematography, handled by Aleksandre Digmelovi, employed innovative techniques for its time, including dramatic low-angle shots to emphasize the heroic stature of the commissars and high-angle shots to diminish their captors. The film made extensive use of location shooting in Baku, capturing the distinctive architecture and landscape of the Caspian Sea region. Digmelovi utilized chiaroscuro lighting techniques to create dramatic contrasts between the 'light' of revolutionary idealism and the 'darkness' of counter-revolutionary forces. The execution sequence features sweeping panoramic shots of the Caspian coastline, creating a sense of epic tragedy. The film's visual style combines elements of German Expressionism with emerging Soviet montage techniques, creating a distinctive aesthetic that serves the narrative's emotional and political purposes.

Innovations

For its time, the film demonstrated several technical innovations in Soviet cinema. The production employed advanced sound recording techniques for outdoor scenes, which was particularly challenging given the extensive location shooting. The film's special effects, while modest by modern standards, were sophisticated for 1933, including composite shots for crowd scenes. The cinematography utilized newly developed camera movement techniques, particularly in the execution sequence, where tracking shots create a sense of relentless forward motion. The film's editing style, influenced by Soviet montage theory, creates powerful emotional rhythms through juxtaposition of images. The production also pioneered techniques for recreating historical events with limited resources, using creative set design and strategic camera placement to suggest larger scale action than was actually filmed.

Music

The musical score was composed by Iona Tuskia, one of Georgia's most prominent composers of the Soviet period. Tuskia created a powerful orchestral score that incorporated traditional Georgian folk melodies within the framework of Soviet classical music. The soundtrack features prominent use of revolutionary songs, including 'The Internationale,' which serves as a musical motif throughout the film. The music swells dramatically during key moments, particularly during speeches and the final execution sequence. Tuskia's composition effectively balances patriotic fervor with emotional pathos, enhancing the film's propagandistic impact while maintaining artistic merit. The score was later published separately and performed by Soviet orchestras as a standalone concert piece.

Memorable Scenes

• The final execution sequence on the Caspian Sea shore, where the 26 commissars face their deaths with revolutionary defiance, set against a dramatic sunset and swelling orchestral music
• The passionate speech by Stepan Shaumian in the Baku Soviet, where he rallies support for the Bolshevik cause
• The tense confrontation between the commissars and their British captors, highlighting the film's anti-imperialist themes
• The montage sequence showing the commissars' revolutionary activities across Baku, intercut with images of working class struggle

What Critics Said

Upon its release, '26 Commissioners' received overwhelmingly positive reviews from Soviet critics, who praised its faithful adherence to socialist realism principles and its powerful emotional impact. Official Soviet publications hailed it as a masterpiece of revolutionary cinema, particularly commending Shengelaia's direction and the performances of the lead actors. Western critics had limited access to the film, but those who saw it noted its technical sophistication within the constraints of Soviet propaganda requirements. Contemporary film historians recognize the film as an important example of early Soviet historical cinema, though they also note its propagandistic elements. The film is now studied as a cultural artifact that reveals much about Soviet ideology and artistic practices of the 1930s.

What Audiences Thought

The film was widely popular throughout the Soviet Union upon its release, particularly among audiences in Georgia and Azerbaijan where the historical events were well-known. Soviet audiences responded emotionally to the martyrdom narrative, with many viewers reporting tears during the execution scenes. The film became a regular feature in Soviet cinema repertory for decades, often screened during revolutionary holidays and political education sessions. In Georgia, the film was especially significant as it represented one of the first major Georgian productions to achieve recognition throughout the Soviet Union. Audience reception in later years remained positive, though younger viewers sometimes found the propagandistic elements apparent. The film continues to be shown in retrospectives of Soviet cinema, where it generates discussion about the intersection of art and politics.

You Might Also Like