The Case of the Three Million

Plot

In this Soviet silent comedy, two cunning thieves devise an elaborate plan to steal three million rubles from a banker who is selling a house to a religious community. After successfully executing the heist, the partnership between the thieves begins to unravel as greed and suspicion take hold, leading to a series of double-crosses and comedic complications. The thieves' attempts to outwit each other result in increasingly absurd situations, with the stolen money changing hands multiple times. As the chase intensifies, both criminals find themselves pursued not only by the law but also by the very people they've betrayed. The film culminates in a chaotic showdown where the true nature of greed and loyalty is revealed through slapstick mishaps and clever plot twists.

Historical Background

The film was produced during the NEP (New Economic Policy) era in the Soviet Union (1921-1928), a period of relative cultural liberalization that allowed for more diverse and commercially oriented cinema. This was a golden age for Soviet comedy, as filmmakers were permitted to explore entertainment value alongside ideological messaging. The 1920s saw the emergence of a sophisticated Soviet film industry that could compete with Western cinema both technically and artistically. The film's themes of greed and betrayal resonated with audiences in a society still grappling with the aftermath of revolution and civil war. The portrayal of religious communities also reflected the complex relationship between the Soviet state and organized religion during this period, before the more aggressive anti-religious campaigns of the 1930s.

Making Of

The production of 'The Case of the Three Million' took place during a fascinating transitional period in Soviet cinema. Director Yakov Protazanov, who had been working abroad in Germany and had briefly collaborated with Hollywood studios, brought back a wealth of international filmmaking techniques to the Soviet industry. The film was shot at the Mezhrabpom-Rus studio, one of the few Soviet studios that maintained artistic independence during the 1920s. Igor Ilyinsky, who had previously worked in theater, developed his screen persona through this film, combining elements of Chaplin-esque physical comedy with distinctly Russian character traits. The production team faced challenges in creating authentic period settings for the religious community scenes, as many traditional religious buildings had been repurposed or destroyed following the revolution. The film's elaborate chase sequences required extensive coordination between the camera crew and performers, with Protazanov employing multiple cameras to capture the dynamic action from various angles.

Visual Style

The cinematography by Yuri Volchek showcased advanced techniques for the time, including dynamic camera movement during chase sequences and sophisticated use of close-ups for comedic effect. The film employed multiple camera setups to capture complex action scenes, a technique that was still relatively rare in Soviet cinema of the mid-1920s. The visual style combined elements of German Expressionism with the emerging Soviet montage theory, creating a distinctive look that enhanced the film's comedic and dramatic moments. The lighting design effectively contrasted the opulent settings of the banker's world with the more modest environments of the other characters, reinforcing the film's thematic concerns.

Innovations

The film featured innovative use of location shooting in Moscow, which was still relatively uncommon in Soviet cinema of the mid-1920s. The production employed sophisticated editing techniques to create rhythm and pacing in the comedy sequences, particularly in the elaborate chase scenes. The film's special effects, while simple by modern standards, were effective for their time and included clever use of camera tricks and practical effects to enhance the comedic situations. The production design created detailed and convincing period settings that contributed significantly to the film's visual appeal and storytelling.

Music

As a silent film, 'The Case of the Three Million' would have been accompanied by live musical performance in theaters. The original score was composed by Vladimir Deshevov, who created a dynamic musical accompaniment that enhanced the film's comedic and dramatic moments. The music incorporated elements of Russian folk melodies alongside contemporary classical influences, reflecting the film's blend of traditional and modern themes. In modern restorations, new musical scores have been created by contemporary composers to accompany the film for screenings at film festivals and special events.

Memorable Scenes

• The elaborate opening heist sequence where the thieves meticulously plan and execute the theft of the three million rubles
• The chaotic chase through Moscow streets where the stolen money changes hands multiple times
• The climactic confrontation scene in the abandoned warehouse where all characters converge for the final showdown
• Igor Ilyinsky's physical comedy routine while trying to hide the money in various improbable locations
• The scene where the religious community members inadvertently become involved in the criminal proceedings

What Critics Said

Contemporary Soviet critics praised the film for its technical sophistication and entertainment value, with particular acclaim for Igor Ilyinsky's comedic performance and Protazanov's direction. The film was noted for its effective use of visual gags and well-constructed chase sequences, which were compared favorably to American comedies of the era. Some critics, however, questioned whether the film's focus on criminality and greed was appropriate for Soviet audiences. Modern film historians view the film as an important example of 1920s Soviet popular cinema, appreciating its blend of entertainment value with subtle social commentary. The film is now recognized as a classic of Soviet silent comedy, showcasing the technical and artistic achievements of the Soviet film industry during its formative years.

What Audiences Thought

The film was enormously popular with Soviet audiences upon its release, drawing large crowds in major cities and becoming one of the box office successes of 1926. Audiences particularly responded to Igor Ilyinsky's charismatic performance and the film's fast-paced action sequences. The film's humor, while sophisticated, was accessible to a broad spectrum of Soviet viewers, from urban intellectuals to rural audiences. Its popularity led to increased demand for more comedy films in the Soviet market. The film's success was such that it continued to be shown in Soviet theaters for several years after its initial release, an unusual longevity for films of that period.

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