Collection of Films for the Armed Forces #6
Plot
This wartime anthology film consists of three distinct novellas designed to boost morale and support the Soviet war effort. 'Women of the Air Fleet' follows female pilots and ground crew members as they contribute to the defense of their homeland, showcasing their bravery and dedication. 'Hate' portrays the intense emotions of Soviet citizens as they confront the fascist invasion, emphasizing the righteous anger that fuels resistance. 'Feast in Zhirmunka' depicts a village celebration that becomes a moment of unity and resolve in the face of approaching conflict, demonstrating how ordinary people prepare to defend their way of life. Together, these stories create a powerful portrait of Soviet society mobilizing for war.
About the Production
This film was produced as part of a series of collections specifically created for distribution to armed forces personnel during the early months of World War II. The production was rushed to completion following the German invasion of the Soviet Union in June 1941. The three novellas were directed by different filmmakers under Pudovkin's overall supervision, reflecting the collaborative nature of Soviet wartime production.
Historical Background
This film was produced during the critical early months of the Great Patriotic War (World War II) following Nazi Germany's invasion of the Soviet Union in June 1941. The Soviet film industry was immediately mobilized for war production, with filmmakers being tasked with creating works that would boost morale, encourage resistance, and demonize the enemy. This period saw the emergence of a distinct genre of Soviet wartime cinema that combined artistic merit with clear propaganda purposes. The film reflects the Soviet Union's desperate need to rally its population and military forces in the face of the German advance, which threatened Moscow itself during the fall of 1941. The anthology format was particularly suitable for wartime production as it allowed multiple stories to be told efficiently and could showcase different aspects of the Soviet war effort.
Why This Film Matters
This film represents an important example of Soviet wartime cinema and demonstrates how the country's film industry adapted to the emergency of war. As part of a series specifically created for military audiences, it illustrates the Soviet understanding of cinema as a tool for psychological warfare and morale building. The film's focus on women's contributions to the war effort, particularly in 'Women of the Air Fleet,' was significant in promoting the idea of total mobilization of Soviet society. The anthology format itself influenced later Soviet and international war films, showing how multiple perspectives could be combined to create a comprehensive portrait of wartime experience. The film also serves as a historical document of Soviet propaganda techniques and the official narrative of the war as it was being constructed in real-time.
Making Of
The production of this film occurred during one of the most turbulent periods in Soviet history. Following the German invasion in June 1941, the Soviet film industry was mobilized for war production, with studios like Mosfilm working around the clock to create content that would support the war effort. Pudovkin, already an established master of Soviet cinema, was tasked with overseeing this important propaganda project. The three novellas were filmed simultaneously with different units working on each segment. Aleksandra Danilova, who starred in 'Women of the Air Fleet,' reportedly spent time with real female pilots to prepare for her role. The production faced numerous challenges including limited resources, air raid warnings, and the evacuation of some film personnel from Moscow. Despite these difficulties, the film was completed in record time, demonstrating the remarkable efficiency of the Soviet film industry under wartime conditions.
Visual Style
The film features distinct visual approaches for each novella, reflecting the work of different cinematographers under Pudovkin's supervision. 'Women of the Air Fleet' employs dynamic camera movements and aerial shots to convey the excitement and danger of aviation. 'Hate' uses stark, high-contrast lighting and close-ups to emphasize the emotional intensity of its characters. 'Feast in Zhirmunka' features warmer, more intimate cinematography to capture the sense of community and tradition. Throughout the film, Pudovkin's influence is evident in the careful composition of shots and the effective use of montage to create emotional impact.
Innovations
The film demonstrated remarkable technical achievements given the rushed production schedule and wartime conditions. The aerial sequences in 'Women of the Air Fleet' were particularly notable for their time, combining studio work with location footage. The sound recording techniques used during the feast scenes in 'Feast in Zhirmunka' successfully captured the atmosphere of a large gathering despite limited equipment. The film also employed innovative editing techniques to create continuity between the three distinct novellas while maintaining their individual identities.
Music
The film's score was composed by Dmitri Kabalevsky, who incorporated several patriotic songs and military marches that were popular during the war. The music for each novella has a distinct character: 'Women of the Air Fleet' features soaring, heroic themes; 'Hate' uses dissonant and dramatic passages to convey anger and defiance; 'Feast in Zhirmunka' includes folk-inspired melodies that evoke traditional Russian culture. The soundtrack effectively supports the film's emotional and propaganda purposes while maintaining artistic quality.
Famous Quotes
Our sky belongs to those who defend it - from the cockpit or from the ground.
Hate is not our choice, but our weapon when peace is stolen from us.
Even in feast, we must prepare for famine; even in peace, we must ready for war.
Memorable Scenes
- The graduation ceremony of female pilots in 'Women of the Air Fleet', where young women receive their wings and vow to defend the motherland
- The passionate monologue in 'Hate' where a village elder transforms personal grief into collective resolve
- The final scene of 'Feast in Zhirmunka' where the celebration transforms into a spontaneous pledge of defense
Did You Know?
- This was the sixth installment in a series of film collections specifically produced for Soviet military personnel
- Vsevolod Pudovkin, though credited as director, served primarily as the supervising director for the anthology
- The film was completed and released within months of the German invasion, reflecting the urgent need for wartime propaganda
- Each novella was shot by different cinematographers, resulting in distinct visual styles for each segment
- The film's distribution was initially limited to military units and was not widely shown to civilian audiences
- Several of the actors in the film would later become prominent figures in Soviet cinema
- The film's original negatives were partially damaged during the war years and had to be reconstructed in the 1950s
- Pudovkin used this project to experiment with different narrative approaches within the anthology format
- The film's score incorporated several patriotic songs that became popular during the war
- Despite its propaganda purpose, the film contains several moments of genuine artistic innovation
What Critics Said
Contemporary Soviet critics praised the film for its patriotic content and timely message, with reviews in publications like Pravda and Iskusstvo Kino highlighting its effectiveness in boosting morale. The film was particularly noted for its strong performances and the emotional impact of its three distinct stories. Western critics had little access to the film during the war years, but later film historians have recognized it as an important example of Soviet wartime cinema. Modern scholars have analyzed the film both for its artistic merits and its value as a historical artifact, noting how it reflects the official Soviet narrative of the war while still containing moments of genuine cinematic artistry.
What Audiences Thought
The film was reportedly well-received by its intended military audience, with soldiers and officers particularly appreciating the realistic portrayal of military life and the emphasis on heroism and sacrifice. Veterans later recalled that films like this one helped maintain morale during the difficult early months of the war. Civilian audiences had limited exposure to the film initially due to its military distribution, but it later became part of retrospective programming about the war. The novella 'Women of the Air Fleet' was especially popular among female viewers, who identified with its portrayal of women's contributions to the war effort.
Awards & Recognition
- Stalin Prize, Second Class (1942)
Film Connections
Influenced By
- Soviet montage theory
- Earlier Soviet war films
- Pudovkin's own theoretical writings on cinema
This Film Influenced
- Later Soviet anthology films
- Wartime propaganda films from other countries
- Post-war Soviet war epics
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Film Restoration
The film has been preserved in the Gosfilmofond archive in Russia. A restoration was completed in the 1970s, and a digital remastering was undertaken in 2015 as part of a project to preserve Soviet wartime cinema. Some original footage remains lost due to war damage, but the film is essentially complete and viewable.