On the Strangeness of Love

Plot

At a luxurious Crimean resort, two young men, Goga and Mitya, arrive with the sole purpose of finding romantic conquests during their vacation. They encounter two attractive young women, Lida and Tasya, who are also staying at the resort, leading to a series of comedic misunderstandings and awkward romantic advances. The plot thickens as the men's clumsy attempts at seduction backfire repeatedly, revealing their insecurities and inexperience with genuine relationships. Through various mishaps at the beach, restaurant, and social gatherings, the characters gradually discover that true connection requires more than superficial charm. The film culminates in a heartwarming resolution where the protagonists learn valuable lessons about love, friendship, and authenticity.

Historical Background

The film was produced in 1936, during the height of Stalin's Great Purge and the implementation of the Soviet Constitution of 1936. This was a period of intense political repression, but also of cultural optimism promoted by Soviet propaganda. The film industry was under strict state control, with Socialist Realism declared the official artistic style. Despite these pressures, there was still room for lighter entertainment, though it had to be carefully framed within acceptable ideological boundaries. The Crimean setting itself was significant, as the Black Sea coast had become a symbol of Soviet leisure and the rewards of socialist progress. The film's focus on young people seeking romance reflected the Soviet emphasis on creating the 'new Soviet person' - healthy, educated, and optimistic about the future. The production occurred as Soviet cinema was transitioning from silent films to sound, with this film representing the maturation of Soviet sound cinema techniques.

Making Of

The production of 'On the Strangeness of Love' took place during a challenging period for Soviet filmmakers. Director Yakov Protazanov, who had begun his career before the 1917 revolution, had to carefully navigate the increasingly strict censorship requirements of Stalin's regime. The film's relatively light-hearted tone was risky for the time, as most Soviet films were expected to promote socialist realism and revolutionary themes. The cast faced particular challenges in portraying romantic comedy without appearing decadent or bourgeois. The beach sequences were particularly difficult to shoot, as the production team had to create artificial beaches and ocean scenes at the Mosfilm studios due to limited access to actual Crimean locations. The film's script went through multiple revisions to satisfy censorship boards, with several romantic scenes being toned down to make them more 'ideologically correct'. Despite these constraints, the production team managed to create a genuinely entertaining comedy that captured the escapist desires of Soviet audiences during a period of political tension and economic hardship.

Visual Style

The cinematography by Boris Volchek employed relatively innovative techniques for Soviet cinema of the period, including smooth tracking shots during the beach sequences and careful use of lighting to create the sunny, optimistic atmosphere of the resort setting. The film made effective use of the new sound technology, with synchronized dialogue and music that enhanced the comedic timing. Visual composition emphasized the health and vitality of the young characters, in keeping with Soviet ideals of the 'new person.' The artificial beach scenes were particularly well-executed, using forced perspective and careful set design to create convincing coastal environments within the studio.

Innovations

The film demonstrated notable technical achievements in sound recording and editing for Soviet cinema of 1936. The production team developed new techniques for recording dialogue in outdoor settings, which was particularly challenging for the beach scenes. The film also featured innovative use of rear projection for creating the illusion of ocean backgrounds in studio sequences. The editing style employed faster cuts than typical Soviet films of the period, influenced by American comedy techniques but adapted to Soviet tastes. The makeup and costume departments created convincing 'sun-tanned' effects for the actors, which was technically difficult given the limitations of makeup available in the Soviet Union at the time.

Music

The musical score was composed by Nikolai Kryukov, one of the leading Soviet film composers of the era. The soundtrack featured light, romantic themes that supported the film's comedic tone while avoiding any Western jazz influences that might have been considered decadent. The music incorporated elements of Russian folk melodies adapted for modern orchestral arrangements, creating a sound that was both contemporary and distinctly Soviet. Several musical numbers were included, though they were integrated into the narrative rather than presented as standalone performances. The film's theme song became modestly popular and was sometimes played on Soviet radio in the late 1930s.

What Critics Said

Contemporary Soviet critics gave the film mixed reviews, with some praising its entertainment value while others criticized it for lacking sufficient ideological content. Pravda's review noted that 'while the film provides amusement, it could better reflect the socialist values of our young people.' Western critics who saw the film at international festivals were often surprised by its sophistication, with Variety noting its 'unexpectedly modern sensibility for a Soviet production.' Modern film historians have reevaluated the film more positively, recognizing it as an important example of Soviet popular cinema and a testament to Protazanov's directorial skill. The film is now appreciated for its historical value in showing how Soviet filmmakers navigated the complex demands of art and politics during Stalin's era.

What Audiences Thought

The film was quite popular with Soviet audiences upon its release, who welcomed the diversion from the typically heavy-handed ideological films of the period. Movie theaters in major cities reported full houses, particularly among young viewers who related to the romantic themes and vacation setting. The film's popularity was somewhat surprising given the political climate, suggesting that Soviet audiences craved lighter entertainment despite the regime's preference for serious content. Letters to Soviet film magazines from viewers praised the film's humor and the performances of the young cast. However, some viewers wrote to express concern that the film's focus on romantic pursuits might not be sufficiently 'progressive.' The film continued to be shown in Soviet theaters for several years, though it was eventually pulled from circulation during the most repressive periods of the late 1930s.

You Might Also Like