Peter the First, Part I

Plot

The first installment of this Soviet epic chronicles the early reign of Peter the Great, beginning with his struggle against the reactionary streltsy (musketeers) and the conservative boyar aristocracy who resist his modernization efforts. The film follows Peter's determination to transform Russia from a backward state into a major European power, showing his famous 'Great Embassy' journey to Western Europe where he learns shipbuilding and modern military techniques. Peter establishes his new capital at St. Petersburg on conquered Swedish territory, facing constant opposition from traditionalists while pushing through radical reforms that will reshape Russian society. The narrative culminates with Peter's decisive victory in the Great Northern War against Sweden, establishing Russia as an emerging European power. Throughout the film, Peter is portrayed as a visionary leader willing to use absolute power to drag Russia into the modern age, regardless of the human cost.

Historical Background

The film was produced in 1937, one of the darkest years of Stalin's Great Purge, when hundreds of thousands of Soviet citizens were arrested and executed. This historical context is crucial to understanding the film's portrayal of Peter as a strong ruler who used absolute power and terror to achieve his goals of modernizing Russia. Stalin was actively promoting the idea that certain Russian tsars, particularly Ivan the Terrible and Peter the Great, were precursors to Soviet leadership in their determination to strengthen the Russian state. The film's emphasis on Peter's struggle against backward forces and his use of ruthless methods to achieve progress mirrored contemporary Soviet propaganda about the necessity of harsh measures to build socialism. The timing of the film's release in December 1937 coincided with the peak of the Purge trials, making its message about the necessity of strong leadership particularly potent. The film also reflected the growing Soviet emphasis on Russian nationalism over internationalism, a shift that would become more pronounced during World War II.

Making Of

The production of 'Peter the First, Part I' was a massive undertaking that reflected the Soviet Union's growing cinematic ambitions in the 1930s. Director Vladimir Petrov, known for his adaptations of Russian classics, was chosen for his ability to handle large-scale historical subjects. The film was made during a period when Stalin was actively encouraging the rehabilitation of certain Russian historical figures who could be portrayed as builders of Russian state power. The casting process was rigorous, with Nikolai Simonov eventually winning the role of Peter after extensive screen tests. Simonov reportedly studied Peter's character for six months, working with historians and even visiting the Peterhof Palace to better understand the ruler's environment. The production faced significant challenges in recreating 17th-century Russia, as many historical buildings had been destroyed or altered over the centuries. The film's battle sequences were filmed on location outside Moscow with the cooperation of the Soviet military, providing both authenticity and scale. The relationship between Petrov and Stalin was particularly notable - Stalin took personal interest in the project and reportedly viewed early cuts, offering suggestions that emphasized Peter's role as a nation-builder rather than a tyrant.

Visual Style

The cinematography by Yuri Volchek and Vladimir Rapoport was notable for its grand scale and technical sophistication. The filmmakers used wide-angle lenses and sweeping camera movements to emphasize the epic nature of Peter's undertakings, particularly in the battle sequences and scenes of St. Petersburg's construction. The black-and-white photography employed dramatic lighting techniques to create contrast between the 'dark' forces of reaction and the 'light' of Peter's progressive vision. The naval sequences were particularly impressive for their time, using innovative camera techniques to convey the scale of Peter's new fleet. The cinematography also paid careful attention to historical detail in the composition of shots, using authentic period architecture and costumes to create a convincing 17th-century atmosphere. The film's visual style influenced subsequent Soviet historical epics, establishing a visual language for depicting Russia's imperial past that would be emulated for decades.

Innovations

The film represented a major technical achievement for Soviet cinema in the late 1930s. The production utilized newly developed camera cranes and dollies to create sweeping movements in the large-scale battle scenes and crowd sequences. The naval sequences involved innovative underwater photography techniques to show the construction of Peter's fleet. The film's sound recording was particularly advanced, using multiple microphones to capture dialogue in large crowd scenes without sacrificing clarity. The special effects team developed new techniques for creating convincing ship battles and siege sequences, using miniatures and matte paintings that were remarkably sophisticated for the period. The film's editing, handled by a team led by Vera Popova, employed rapid cutting techniques in action sequences while maintaining classical continuity in dramatic scenes. The production also pioneered new methods for historical costume and prop construction, creating thousands of period-accurate uniforms and weapons. These technical innovations helped establish Soviet cinema's ability to produce films on par with international standards.

Music

The musical score was composed by Vladimir Shcherbachov, one of the leading Soviet composers of the period. Shcherbachov created a grand, symphonic score that blended traditional Russian musical themes with modern orchestral techniques, reflecting the film's theme of Russia's transformation. The music prominently featured folk melodies and Orthodox church chants, reworked in a symphonic style to emphasize Peter's connection to Russian tradition while also suggesting his modernizing vision. The score was particularly effective in the battle sequences, where Shcherbachov used powerful brass and percussion to create a sense of epic struggle. The film also included period songs and dances, carefully reconstructed from historical sources to add authenticity to the court scenes. The soundtrack was recorded using the latest Soviet sound technology, and the quality of the audio was considered exceptional for its time. Shcherbachov's music was later published as a concert suite and performed by Soviet orchestras, demonstrating its artistic merit beyond the film context.

Memorable Scenes

• The dramatic opening sequence showing the streltsy rebellion and young Peter's decisive response, establishing his character as a ruler willing to use force
• Peter's famous working incognito in Dutch shipyards, showing his dedication to learning Western technology firsthand
• The massive battle sequence against the Swedish forces at Narva, demonstrating the scale of Soviet filmmaking capabilities
• The founding of St. Petersburg scene, with thousands of workers building the new capital on conquered swamp land
• Peter's confrontation with the boyar aristocracy, where he forces them to adopt Western dress and customs

What Critics Said

Contemporary Soviet critics praised the film as a masterpiece of historical cinema, with particular acclaim for Nikolai Simonov's powerful portrayal of Peter and the film's spectacular battle sequences. Pravda called it 'a triumph of Soviet art' and emphasized how it showed the 'historical necessity' of strong leadership. Western critics were more mixed, with some acknowledging the film's technical achievements while others criticized its heavy-handed propaganda elements. The New York Times review noted the film's 'impressive scale' but questioned its historical interpretation. Modern film historians recognize the film as a significant example of Stalin-era cinema, though they note how its historical interpretation was shaped by contemporary political needs. The film is now studied both for its artistic merits and as a reflection of Soviet cultural policy during the Great Purge. Recent Russian critics have reevaluated the film more positively, acknowledging its artistic achievements while still recognizing its ideological limitations.

What Audiences Thought

The film was enormously popular with Soviet audiences upon its release, drawing massive crowds in major cities and becoming one of the highest-grossing Soviet films of 1937-1938. Audiences were particularly impressed by the scale of the production and Simonov's charismatic performance as Peter. The film's patriotic themes and portrayal of Russian strength resonated strongly with viewers at a time when international tensions were rising. Many Soviet viewers saw parallels between Peter's struggle to modernize Russia and contemporary Soviet efforts to industrialize the country. The film's success led to long lines at theaters and multiple re-releases throughout the late 1930s. Despite its propaganda elements, audiences genuinely appreciated the film as entertainment and as a source of national pride. The film's popularity helped establish the historical epic as a respected genre in Soviet cinema, encouraging the production of similar films in subsequent years.

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