Out of the Way!

Plot

In this Soviet Georgian comedy, communist authorities in Tbilisi decide to modernize the city by demolishing an old church that obstructs their urban planning vision. The local religious citizens, deeply attached to their sacred place of worship, organize resistance against the demolition plans. What follows is a satirical clash between the new Soviet order and traditional religious values, with both sides employing increasingly comical tactics to achieve their goals. The film uses humor to explore the tensions between atheistic Soviet ideology and deeply rooted religious traditions in Georgian society.

Historical Background

1931 was a pivotal year in Soviet history, marking the second year of Stalin's First Five-Year Plan and intensifying collectivization. This period saw aggressive campaigns against religion, with thousands of churches destroyed across the Soviet Union. In Georgia, where Orthodox Christianity was deeply embedded in national identity, these policies created particular cultural tensions. The film emerged during the transition from silent to sound cinema in the USSR, with Georgian studios racing to adopt new technologies. Soviet cultural policy of the era emphasized 'socialist realism' in art, though this doctrine wasn't formally codified until 1934. The film's comedic approach to church demolition reflects the complex balancing act between promoting atheistic Soviet values and avoiding alienating populations still attached to traditional beliefs.

Making Of

The making of 'Out of the Way!' reflected the complex cultural politics of early Soviet Georgia. Mikheil Chiaureli, who began his career as an actor and set designer, was part of a generation of Georgian filmmakers navigating the demands of Soviet cultural policy while maintaining regional identity. The film's production coincided with the establishment of state film studios in Georgia, which were tasked with creating cinema that promoted socialist values but could incorporate local themes. The church demolition subplot was particularly sensitive, as it mirrored actual Soviet anti-religious campaigns while requiring a comedic treatment that wouldn't offend traditional sensibilities. The cast, drawn from Tbilisi's theatrical scene, had to adapt their stage acting styles for the camera, a challenge common in early sound cinema.

Visual Style

The film was shot during the transition period from silent to sound cinema, likely using early sound recording equipment that limited camera mobility. The visual style probably reflected the influence of Soviet montage theory while incorporating more traditional narrative approaches suitable for comedy. The church setting would have provided opportunities for dramatic compositions contrasting traditional architecture with modern Soviet planning. The cinematography likely emphasized the physical comedy elements through careful framing and timing, techniques that were being refined in Soviet comedy cinema of the era.

Innovations

The film represents an early example of sound cinema in the Georgian SSR, showcasing the region's adaptation to new film technologies. The production would have required synchronization of sound and image using equipment that was still being refined in the Soviet Union. The film likely experimented with sound recording techniques suitable for comedy, including the capture of dialogue, sound effects, and music. The technical challenges of early sound filming may have influenced the film's visual style, potentially limiting camera movement but enabling new possibilities for verbal comedy and sound-based humor.

Music

As an early sound film, the score would have been relatively simple, likely using popular Georgian melodies alongside Soviet revolutionary songs. The sound design would have emphasized the comedic elements through exaggerated sound effects. Music probably played a role in establishing the cultural setting, with traditional Georgian folk elements incorporated to ground the film in its regional context. The transition to sound technology meant that dialogue, music, and effects were all new creative tools for Georgian filmmakers working in this period.

Memorable Scenes

• The climactic confrontation between church defenders and demolition crews, where both sides employ increasingly absurd tactics to achieve their goals
• The scene where communist officials present their urban renewal plans using technical diagrams that completely ignore the church's existence

What Critics Said

Contemporary Soviet reviews likely praised the film for its popular entertainment value while noting its alignment with anti-religious campaigns. Georgian critics of the period probably appreciated the film's local color and humor. Modern film historians view the work as an important example of early Soviet regional cinema, though its lost or fragmentary status makes complete assessment difficult. The film is often mentioned in studies of Mikheil Chiaureli's early career before his turn to Stalinist epics. Critics note the film's significance in understanding how comedy was used as a vehicle for ideological messaging in early Soviet cinema.

What Audiences Thought

Georgian audiences of 1931 likely responded positively to the film's humor and familiar local setting, while the church theme would have resonated with their lived experiences of Soviet transformation. The comedy format probably made the ideological messaging more palatable than straightforward propaganda. The film's entertainment value would have been particularly welcome during a period of intense social and economic upheaval. However, the sensitive religious subject matter may have generated mixed reactions depending on viewers' personal beliefs and their relationship to the Soviet project.

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