Dzhyabzha

Plot

A young Nanai girl living in the Siberian forest is captured by the evil old witch Dzhyabzha, who keeps her prisoner in her dark hut. The girl befriends various forest animals who help her plan an escape from the witch's clutches. One moonlit night, the girl and her animal companions execute their daring escape plan, deciding to flee all the way to the Moon to ensure their safety from Dzhyabzha's pursuit. The film follows their magical journey through the enchanted forest as they overcome obstacles and outsmart the witch, ultimately reaching their lunar destination where they can live freely without fear.

Historical Background

The film was produced in 1938 during one of the darkest periods of Soviet history - the Great Purge under Stalin's regime. This was a time of intense political repression, artistic censorship, and widespread fear. Despite this, the Soviet government was investing in cultural industries, including animation, as tools for education and propaganda. The animation industry was still in its infancy in the USSR, with Soyuzmultfilm having been established only two years earlier in 1936. The film's focus on indigenous Nanai folklore reflected the Soviet policy of promoting the diverse cultures within the union while also assimilating them into the broader Soviet identity. The inclusion of space travel elements coincided with growing Soviet interest in rocketry and space exploration, which would eventually lead to the Space Race decades later.

Making Of

The film was created during a formative period for Soviet animation, as the industry was establishing its identity separate from Western influences. Director Mstislav Pashchenko worked with a small team of animators at the newly formed Soyuzmultfilm studio. The production team conducted research into Nanai folklore to ensure authentic representation of the cultural elements. The animation process involved hand-drawing each frame on paper, then transferring to cels for coloring and filming. The political climate of 1938 Soviet Union meant that all artistic works had to align with socialist principles, though folklore themes were generally acceptable as they represented the diverse cultures within the USSR. The film's combination of traditional folklore with the fantastical element of space travel reflected the Soviet Union's growing interest in science and technology during this period.

Visual Style

The film utilized traditional cel animation techniques common in the 1930s, with hand-drawn characters and backgrounds. The visual style reflects the aesthetic of early Soviet animation, which was influenced by Disney but developing its own distinctive characteristics. The animation likely featured limited movement due to budget constraints and technical limitations of the era. Color was used sparingly, as full-color animation was expensive and technically challenging in the Soviet Union during this period. The forest scenes would have featured lush, detailed backgrounds while the witch's domain would have been rendered in darker, more menacing tones to create visual contrast. The Moon sequences would have allowed for more fantastical and experimental visual designs.

Innovations

While not technically groundbreaking for its era, the film demonstrated the growing capabilities of the Soviet animation industry just two years after Soyuzmultfilm's establishment. The combination of folklore with science fiction elements was relatively innovative for the time. The film's representation of indigenous Nanai culture in animation was pioneering for Soviet cinema. The animation techniques used, while standard for the period, showed the increasing sophistication of Soviet animators in creating expressive character animation and atmospheric backgrounds. The production would have used the latest animation equipment available in Soviet studios of the late 1930s, including rostrum cameras and optical printers for special effects.

Music

The film would have featured a musical score typical of Soviet animation of the 1930s, combining folk-inspired melodies with orchestral arrangements. The music likely incorporated elements of traditional Nanai or Siberian folk music to enhance the cultural authenticity of the story. Sound design would have been created using the audio technology available in Soviet studios during this period, with sound effects created manually. The film probably included minimal dialogue, relying more on visual storytelling and musical cues to convey the narrative. The score would have been performed by Soviet studio musicians, possibly incorporating traditional instruments to evoke the Siberian setting.

Memorable Scenes

• The dramatic moonlit escape sequence where the girl and her animal friends flee the witch's hut, using the light of the full moon to guide their path through the enchanted forest
• The magical transformation scene as the animals help the girl prepare for their journey to the Moon, gathering special items and creating their means of flight
• The witch Dzhyabzha's first appearance, emerging from the shadows of her dark hut with her distinctive animated movements and menacing presence

What Critics Said

Contemporary critical reception of the film is difficult to document due to the passage of time and limited archival materials from the era. Soviet film critics of the late 1930s generally evaluated animated works based on their educational value and alignment with socialist principles. Modern film historians and animation scholars view the film as an important example of early Soviet animation's efforts to incorporate diverse cultural elements. The film is now appreciated for its historical significance rather than its technical merits, as it provides insight into the early development of Soviet animation and the representation of indigenous cultures in Soviet media.

What Audiences Thought

Information about contemporary audience reception in 1938 is not well-documented. Soviet audiences of the era had limited exposure to animation, so most animated shorts were received with curiosity and interest. The film's folklore elements would have been familiar to audiences familiar with Russian and Siberian folk tales, while the science fiction aspect of traveling to the Moon would have been novel and exciting. Modern audiences rarely have the opportunity to see this film due to its rarity, but when screened at animation festivals or archival presentations, it is generally viewed as a fascinating historical artifact that provides insight into early Soviet animation.

You Might Also Like