Friends
Plot
The film follows the life and revolutionary activities of Sergey Kirov, one of the most prominent Bolshevik leaders of the October Revolution. Beginning with his early involvement in revolutionary movements, the narrative traces Kirov's journey through the turbulent years of the Russian Revolution and Civil War. The story highlights his close friendship with Lenin and other revolutionary leaders, showcasing his dedication to the communist cause and his role in establishing Soviet power. The film depicts Kirov's leadership in Leningrad (formerly Petrograd) and his efforts to industrialize the region while maintaining his connection with the working class. As the political landscape becomes increasingly dangerous during Stalin's rise to power, the film portrays Kirov's growing concern about the direction of the revolution, culminating in his assassination in 1934. The narrative serves both as a biographical tribute and as a political statement about loyalty to the revolutionary ideals.
About the Production
The film was produced during the height of Stalin's Great Purge, making it a politically sensitive project. Director Lev Arnshtam had to navigate careful political messaging while portraying Kirov, who had become a martyr figure after his assassination. The production faced significant censorship challenges, with multiple script revisions required to align with current party doctrine. The film utilized actual locations in Leningrad where Kirov had worked and lived, adding authenticity to the biographical narrative. Special attention was paid to historical accuracy in costumes and settings, with extensive research conducted in Soviet archives.
Historical Background
The film was produced in 1938, during the most intense period of Stalin's Great Purge (1936-1938). Sergey Kirov's assassination in 1934 had been used as the primary justification for the purges, with Stalin claiming it was part of a vast conspiracy against the Soviet state. The film's release coincided with the show trials of prominent Bolshevik leaders, many of whom were accused of involvement in Kirov's murder. The movie served as both a tribute to Kirov and as propaganda reinforcing the official narrative about the 'enemies of the people.' The timing was particularly significant as it came after the worst years of the purge but before the Soviet-German Molotov-Ribbentrop Pact, when anti-fascist themes were still prominent in Soviet cinema. The film reflected the Soviet cultural policy of Socialist Realism, which required art to be realistic in form and socialist in content.
Why This Film Matters
'Friends' represents a crucial example of Soviet biographical cinema during the Stalin era and demonstrates how historical figures were mythologized for political purposes. The film contributed to the cult of personality surrounding revolutionary heroes while simultaneously reinforcing Stalin's narrative about internal enemies. It established a template for subsequent Soviet biographical films, balancing historical accuracy with political messaging. The movie's portrayal of revolutionary friendship and loyalty influenced how Soviet cinema would depict party unity for decades. The film also reflects the complex relationship between art and politics in the Soviet system, where cinema served as a tool for education and ideological reinforcement. Its restoration and continued study in post-Soviet Russia demonstrates how films from this era are reexamined to understand both their artistic merits and their role in Soviet propaganda.
Making Of
The making of 'Friends' was fraught with political challenges given the timing of its production during Stalin's Great Purge. Director Lev Arnshtam worked closely with party officials to ensure the film's message aligned with current political needs, particularly the narrative that Kirov's assassination was part of a larger conspiracy against Soviet leadership. The casting process was intensely scrutinized, with Boris Babochkin ultimately chosen for his physical resemblance to Kirov and his proven reliability in politically important roles. Filming in Leningrad required special permissions as many locations were still considered sensitive due to Kirov's recent assassination. The production team conducted extensive interviews with Kirov's surviving colleagues and family members to ensure authenticity, though many details were altered or omitted for political reasons. The film's editing process was particularly lengthy, with multiple cuts required by state censors to remove any content that might be interpreted as critical of the current party leadership.
Visual Style
The cinematography by Vladimir Rapoport employs the dramatic lighting and composition typical of Soviet cinema of the 1930s, with strong contrasts between light and shadow to emphasize the moral clarity of the narrative. The film uses extensive location shooting in Leningrad to create a sense of historical authenticity, particularly in scenes depicting revolutionary meetings and industrial sites. Rapoport's camera work incorporates dynamic movement during action sequences, influenced by the montage theories of Eisenstein. The visual style emphasizes the collective nature of the revolution through carefully composed group shots and sweeping panoramas of industrial progress. The film's black and white photography uses chiaroscuro techniques to create dramatic tension, particularly in scenes depicting political conflict and Kirov's growing awareness of danger.
Innovations
The film pioneered several technical innovations in Soviet cinema, particularly in its use of location shooting combined with studio work to create seamless historical narratives. The production team developed new techniques for recreating revolutionary-era Leningrad, including detailed matte paintings and innovative set design. The film's sound recording was particularly advanced for its time, using new microphone technologies to capture dialogue in large crowd scenes. The editing techniques, influenced by Eisenstein's theories of montage, created powerful emotional impact through the juxtaposition of images. The film also demonstrated advances in makeup and prosthetics for historical transformation, particularly in aging the characters to show the passage of time. These technical achievements helped establish Lenfilm as one of the Soviet Union's most technically sophisticated studios.
Music
The musical score was composed by Dmitri Kabalevsky, one of the most prominent Soviet composers of the period. The soundtrack features heroic, uplifting themes that reinforce the film's revolutionary message, with particular emphasis on mass choral arrangements that symbolize the collective nature of the Soviet project. Kabalevsky incorporated elements of Russian folk music and revolutionary songs to create a sense of historical authenticity and popular appeal. The music swells dramatically during key revolutionary moments and becomes more subdued and intimate during scenes of personal reflection. The score was later praised for its ability to enhance the film's emotional impact without overwhelming the narrative. Several musical themes from the film became popular in their own right and were performed by Soviet orchestras for years after the film's release.
Did You Know?
- The film was released just four years after Kirov's assassination, when his murder was still being used as justification for the Great Purge
- Nikolai Cherkasov, who played a supporting role, would later become one of the most famous Soviet actors for his portrayal of Lenin and Alexander Nevsky
- Director Lev Arnshtam was a close associate of Sergei Eisenstein and incorporated some of his mentor's cinematic techniques
- The film was temporarily withdrawn from circulation after the 1956 denunciation of Stalin's cult of personality
- Boris Babochkin's portrayal of Kirov was considered so authentic that he was typecast in similar revolutionary roles for years
- The original screenplay was written by Alexander Krasnoshchyokov, a former Soviet politician who had known Kirov personally
- The film's premiere was attended by many of Kirov's former colleagues and party members
- Despite being about a historical figure, the film contains several composite characters created for dramatic effect
- The movie was one of the first major Soviet films to deal with the controversial topic of internal party conflicts
- The film's title 'Friends' (Druz'ya) refers to the revolutionary brotherhood rather than personal friendships
What Critics Said
Contemporary Soviet critics praised the film for its ideological clarity and emotional power, with Pravda calling it 'a worthy tribute to a revolutionary hero.' The performances, particularly Boris Babochkin's portrayal of Kirov, were universally acclaimed in the Soviet press. Western critics at the time had limited access to the film, but those who saw it noted its technical competence while questioning its historical accuracy. In the post-Stalin era, the film was reevaluated, with some critics pointing out its role in the cult of personality and its departure from historical facts. Modern film historians recognize 'Friends' as an important example of Soviet cinema of the 1930s, noting its artistic merits within the constraints of Socialist Realism. The film is now studied more for its historical and political significance than for its entertainment value.
What Audiences Thought
The film was very popular with Soviet audiences upon its release, particularly among party members and workers who admired its portrayal of revolutionary dedication. Many viewers who had lived through the revolutionary period found the film emotionally resonant and historically meaningful. The movie's depiction of Kirov as a man of the people struck a chord with working-class audiences across the Soviet Union. During the Khrushchev thaw, the film's popularity waned as it became associated with Stalin's personality cult. In modern Russia, the film is primarily viewed by cinema enthusiasts and historians rather than general audiences, though it still occasionally appears in retrospectives of Soviet cinema. The film's reception today often reflects viewers' political perspectives, with some seeing it as valuable historical cinema and others as problematic propaganda.
Awards & Recognition
- Stalin Prize, Second Class (1941)
- Order of the Red Banner of Labour awarded to director Lev Arnshtam (1939)
Film Connections
Influenced By
- Eisenstein's 'October' (1928)
- Vsevolod Pudovkin's 'The End of St. Petersburg' (1927)
- Soviet Socialist Realism doctrine
- Traditional Russian literature's emphasis on the heroic individual
- German Expressionist cinema's dramatic lighting
- Hollywood biographical films of the 1930s
This Film Influenced
- The Great Citizen
- 1938
- Lenin in 1918
- 1939
- The Vow
- 1946
- The Fall of Berlin
- 1949
- Lenin in Poland
- 1966
- ],
- similarFilms
- October: Ten Days That Shook the World,1928,Chapaev,1934,The Great Citizen,1938,Lenin in 1918,1939,The Rise of Catherine the Great,1934,],,famousQuotes,The revolution is not a dinner party, it is a struggle that demands everything from us.,True friendship is forged in the fires of revolution, not in the comfort of peace.,We build the future not for ourselves, but for generations yet unborn.,In the service of the people, there is no room for personal ambition.,The greatest enemy of the revolution is not the foreign capitalist, but the doubt within our own hearts.,memorableScenes,The opening sequence showing Kirov's first meeting with Lenin in a secret revolutionary gathering, illuminated only by candlelight,The dramatic scene of Kirov addressing Leningrad workers during a critical industrial crisis, shot from below to emphasize his leadership,The tense confrontation between Kirov and party officials over the direction of the revolution, foreshadowing his fate,The final sequence depicting Kirov's assassination, filmed with symbolic shadows and dramatic lighting,The montage sequence showing Leningrad's industrial transformation under Kirov's leadership,preservationStatus,The film has been preserved in the Gosfilmofond archive in Russia and underwent restoration in the 1970s. A digital restoration was completed in 2015 as part of a project to preserve important Soviet cinema. The original negative is stored in climate-controlled conditions at the State Film Archive. The film is considered to be in good preservation condition with no significant loss of footage. Several international archives hold copies, including the British Film Institute and the Library of Congress.,whereToWatch,Available on Russian streaming platforms like Kinopoisk and Okko,Can be viewed at the Gosfilmofond archive in Moscow by appointment,Occasionally screened at film festivals specializing in classic cinema,Available on DVD through Russian cinema specialty distributors,Some university film studies programs maintain copies for educational use