Happiness

Plot

Happiness follows the misadventures of Prokhor Loser, a hapless peasant whose very name seems to doom him to failure in pre-revolutionary Russia. After years of suffering under the old regime, where he's exploited by greedy priests and landowners, Loser dreams of finding happiness through various schemes including marrying into wealth and finding treasure. The film chronicles his journey through the Russian Revolution and into the early Soviet period, where he continues to face absurd challenges including encounters with a walking granary and a perpetually exhausted horse. Eventually, Loser discovers that true happiness lies not in individual wealth or status but in collective farming and the socialist way of life. The film serves as both a personal journey of transformation and a broader allegory for the Soviet Union's transition from individualism to collectivism.

Historical Background

Happiness was produced during the height of Stalin's collectivization campaign (1928-1937), a period of massive social and economic transformation in the Soviet Union. The film emerged at a time when the Soviet government was using cinema as a powerful tool for propaganda and social engineering. 1935 was particularly significant as it marked the height of the First Five-Year Plan, with the Soviet leadership promoting the supposed successes of collectivization despite the widespread famine and suffering it caused. The film's production coincided with the establishment of Mosfilm as the Soviet Union's premier film studio, and it represents one of the more artistically ambitious works of early Stalinist cinema. The film's satirical elements were particularly daring given the increasing artistic censorship of the period, especially following the 1932 decree 'On the Reconstruction of Literary and Art Organizations' which demanded socialist realism in all artistic works.

Making Of

Aleksandr Medvedkin approached Happiness with his characteristic blend of satire and socialist optimism. The film was made during a challenging period in Soviet cinema when artistic freedom was increasingly restricted. Medvedkin had to navigate careful censorship while still delivering his satirical vision. The casting of Pyotr Zinovyev, a real collective farm worker, as the lead was controversial but ultimately praised for its authenticity. The production team invented creative solutions for the film's more fantastical elements, particularly the famous walking granary sequence, which combined practical effects with early animation techniques. Medvedkin's background as a Red Army veteran influenced his approach to filmmaking, treating each production like a military campaign with careful planning and execution.

Visual Style

The cinematography of Happiness, handled by Grigory Giber, employs innovative techniques that were ahead of their time for Soviet cinema. The film uses dynamic camera movements and unusual angles to create a sense of both realism and fantasy. The walking granary sequence showcases sophisticated special effects combining matte paintings, miniatures, and stop-motion animation. The visual style transitions from the darker, more chaotic scenes of pre-revolutionary life to the brighter, more ordered compositions of collective farm life, visually representing the film's thematic journey. Giber's use of deep focus and composition creates rich visual storytelling that complements Medvedkin's satirical approach. The film's black and white photography demonstrates mastery of light and shadow, particularly in scenes contrasting the old and new ways of life.

Innovations

Happiness was technically innovative for its time, particularly in its use of special effects to create the famous walking granary sequence. The film employed early forms of stop-motion animation combined with practical effects to achieve its surreal visual elements. The sound recording techniques were advanced for Soviet cinema of 1935, featuring clear dialogue and well-balanced musical numbers. The production team developed new methods for location shooting in rural areas, bringing cinema to places where it had rarely been seen before. The film's editing techniques, particularly in its montage sequences showing the passage of time and social transformation, influenced later Soviet filmmakers. The cinematography experimented with unusual camera angles and movements that enhanced the film's satirical tone. These technical achievements were particularly impressive given the limited resources available to Soviet filmmakers in the 1930s.

Music

The musical score for Happiness was composed by Lev Shvarts, who created a memorable soundtrack that blended traditional Russian folk melodies with modern orchestral arrangements. The music plays a crucial role in establishing the film's satirical tone, particularly in scenes parodying religious ceremonies and bureaucratic processes. The film features several musical numbers that became popular in their own right, including songs about collective farming that were played on Soviet radio. The sound design was innovative for its time, using both diegetic and non-diegetic music to enhance the comedy and social commentary. The soundtrack's use of leitmotifs helps track the protagonist's transformation throughout the film. The music successfully balances the film's dual nature as both entertainment and propaganda, creating emotional depth while maintaining its satirical edge.

Memorable Scenes

• The iconic walking granary sequence where a massive storage structure gets up and walks across the landscape, symbolizing the mobility of collective resources
• Prokhor's failed attempts to marry into wealth, featuring increasingly absurd encounters with greedy families and corrupt priests
• The exhausted horse scene that becomes a metaphor for the struggling Russian peasantry
• The transformation sequence showing the collective farm's development from chaos to order
• The final celebration scene where the entire community comes together in collective happiness

What Critics Said

Upon its release, Happiness received mixed reviews from Soviet critics, with some praising its comedic approach to socialist themes while others criticized it for being too satirical. The film was initially pulled from circulation after complaints that it made light of the serious process of collectivization. However, after some modifications and political intervention, it was re-released and eventually gained appreciation for its artistic merits. Western critics rediscovering the film in the 1960s praised its innovative visual style and sophisticated satire. Modern critics regard Happiness as a masterpiece of Soviet cinema, particularly noting Medvedkin's ability to navigate censorship while creating meaningful art. The film is now studied in film schools worldwide as an example of how comedy can be used for social commentary even under restrictive political conditions.

What Audiences Thought

Soviet audiences in 1935 responded positively to Happiness, particularly enjoying its humorous take on familiar rural life and the transformation to collective farming. The character of Prokhor Loser resonated with viewers who saw elements of their own struggles and hopes in his journey. The film's visual gags and satirical approach made it popular despite its underlying political message. In subsequent decades, the film developed a cult following among Soviet intellectuals who appreciated its subtle critique of Soviet life. International audiences discovering the film during the Cold War era were fascinated by its unique blend of comedy and propaganda. Today, the film continues to find new audiences through film festivals and retrospectives of classic Soviet cinema.

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