The Doll with Millions

Plot

The Doll with Millions follows the comedic adventures of two Parisian cousins, Pierre and Jacques, who embark on a frantic search for the missing heiress Maria Ivanova after their wealthy aunt Madame Collie passes away, leaving her entire fortune to this long-lost niece. Armed with only the knowledge that Maria is 17 years old and has a distinctive birthmark on her right shoulder, the cousins travel from Paris to Moscow, where they encounter numerous young women who fit the description, leading to a series of hilarious misunderstandings and mistaken identities. The crucial inheritance documents are cleverly hidden inside Maria's childhood doll, adding an extra layer of complexity to their quest as they must locate both the girl and her toy. As they navigate the bustling streets of 1920s Moscow, the cousins encounter various obstacles, including con artists, mistaken identities, and romantic entanglements, all while racing against others who have learned about the fortune and are also searching for the heiress. The film culminates in a chaotic yet heartwarming finale where the true Maria is finally found, and the cousins must decide between their greedy motives and their growing affection for the innocent young woman they've been hunting.

Historical Background

The Doll with Millions was produced during a fascinating transitional period in Soviet history and cinema. The year 1928 marked the end of the New Economic Policy (NEP), which had allowed limited private enterprise and cultural experimentation, and the beginning of Stalin's First Five-Year Plan, which would bring increased state control over all aspects of life, including the arts. Soviet cinema in the late 1920s was experiencing its golden age, with directors like Eisenstein, Pudovkin, and Vertov creating groundbreaking works that were influencing filmmakers worldwide. However, there was also growing pressure for more accessible, entertainment-focused films that could serve both artistic and propagandistic purposes. The Doll with Millions represents this tension, being a sophisticated comedy that still contains subtle social commentary about greed, class, and the revolutionary transformation of society. The film's Paris-to-Moscow narrative also reflects the international connections that still existed in 1928, before Stalin's policies would lead to greater cultural isolation. The movie's focus on inheritance and wealth was particularly relevant during a period when the Soviet government was still grappling with how to handle the legacy of pre-revolutionary fortunes and property.

Making Of

The making of The Doll with Millions reflected the transitional period of Soviet cinema in 1928. Director Sergei Komarov, who had served as assistant director on Eisenstein's 'Strike' and 'October,' brought his experience with montage theory to this comedy, creating dynamic sequences that contrasted the frantic search with moments of quiet humor. The casting of Igor Ilyinsky, already a popular comic actor, ensured the film's commercial appeal, while the inclusion of the beautiful Galina Kravchenko added romantic elements. The production team faced significant challenges filming on Moscow's streets, as they had to work around real citizens and minimal traffic control. The famous doll prop was specially crafted for the film, with secret compartments designed to hold the prop documents. The film's pacing and visual gags were influenced by American comedies of the era, particularly the works of Charlie Chaplin and Buster Keaton, which were still being screened in Soviet theaters despite ideological concerns about Western influence. The chemistry between the two male leads was enhanced by their real-life friendship, which developed during rehearsals where Komarov encouraged improvisation within the structured script.

Visual Style

The cinematography of The Doll with Millions was handled by Grigory Giber, who brought a sophisticated visual style to this comedy that reflected the best practices of Soviet cinema in the late 1920s. The film makes excellent use of dynamic camera movement and innovative angles to enhance the comedic timing and visual gags. Giber employed tracking shots to follow the frantic searches through Moscow's streets, creating a sense of movement and energy that matched the film's pacing. The contrast between the elegant Paris scenes and the bustling Moscow locations was achieved through careful lighting and composition, with the Moscow sequences featuring more dynamic camera work to reflect the chaos of the search. The film also makes effective use of close-ups, particularly in scenes involving the mysterious doll and the various potential Marias, using facial expressions and visual details to drive the comedy forward. Giber's work demonstrates the influence of Soviet montage theory, with quick cuts and rhythmic editing used to build comedic sequences and highlight the absurdity of the situations. The cinematography also captures the architectural beauty of 1920s Moscow, providing both authentic location shooting and artistic composition that elevates the film beyond simple entertainment.

Innovations

The Doll with Millions showcased several technical achievements that were notable for Soviet cinema in 1928. The film employed sophisticated special effects for its time, particularly in scenes involving the doll and the hidden documents, using clever camera tricks and editing techniques to create the illusion of secret compartments and magical elements. The production team developed innovative methods for filming on Moscow's busy streets, using portable cameras and guerrilla filming techniques to capture authentic urban scenes without disrupting daily life. The film's editing, supervised by Komarov, demonstrated advanced understanding of rhythm and pacing in comedy, using quick cuts and montage sequences to build humor and maintain audience engagement. The makeup and costume departments created distinctive looks for the various characters who pretended to be Maria, using subtle changes to help the audience track the multiple impostors. The film also featured some of the earliest uses of product placement in Soviet cinema, with certain Moscow businesses appearing prominently in exchange for production support. The technical quality of the film stock and processing was particularly high for the period, resulting in a visually crisp image that has held up well over time, contributing to the film's preservation and continued screening viability.

Music

As a silent film, The Doll with Millions was originally accompanied by live musical performances in theaters. The typical Soviet cinema of 1928 would have employed a pianist or small orchestra to provide musical accompaniment, with scores often compiled from existing classical pieces and popular songs. The music would have been synchronized with the on-screen action, using different themes for the main characters and varying the tempo and mood to match the comedic and romantic elements of the story. For the Paris scenes, theaters likely used French-inspired music, while the Moscow sequences would have featured Russian folk melodies or Soviet patriotic tunes. The film's chase sequences would have been accompanied by fast-paced, energetic music to enhance the excitement and humor. In modern screenings and home video releases, the film has been scored with newly composed music that attempts to recreate the spirit of the original accompaniments while using contemporary recording techniques. Some versions have been released with traditional Russian folk music arranged for the film, while others feature original compositions in the style of late 1920s cinema music. The absence of dialogue in the original film means that modern audiences experience it with either musical accompaniment or, in some educational versions, with added subtitles explaining the intertitles.

Memorable Scenes

• The opening scene in Paris where Madame Collie's will is read and the cousins learn about their quest
• The frantic chase through Moscow's GUM department store as they pursue another false Maria
• The doll workshop scene where the secret compartment is revealed
• The final confrontation where multiple Marias appear claiming to be the true heiress
• The romantic boat scene on the Moscow River where the real Maria is almost discovered
• The comedic montage of cousins interviewing hundreds of 17-year-old girls with birthmarks

What Critics Said

Contemporary Soviet critics praised The Doll with Millions for its entertainment value while noting its successful balance of humor and social relevance. Pravda and other official publications reviewed it favorably, commending Komarov's direction and the performances of the lead actors. Critics particularly appreciated the film's visual gags and the effective use of Moscow locations, which they felt gave the comedy authentic Soviet character. Some reviewers noted the influence of American comedy techniques but argued that Komarov had successfully adapted them to Soviet contexts. In later years, film historians have recognized the movie as an important example of Soviet silent comedy, often discussing it in studies of the period's cinema. Western critics who have seen the film in retrospectives have generally been impressed by its technical sophistication and its ability to transcend cultural barriers. Modern critics have noted how the film manages to be both a product of its time and a timeless comedy about human greed and innocence. The movie is often cited in academic works about Soviet cinema as evidence of the diversity of filmmaking approaches during the late 1920s, challenging the notion that Soviet cinema of this period was limited to serious epics and propaganda films.

What Audiences Thought

The Doll with Millions was enormously popular with Soviet audiences upon its release in 1928, playing to packed houses in Moscow and other major cities for weeks. The film's combination of slapstick humor, romantic elements, and the exciting search for the missing heiress resonated with viewers who were hungry for entertainment during a period of rapid social change. Audiences particularly enjoyed the performances of Igor Ilyinsky and Vladimir Fogel, whose comedic chemistry became a talking point among moviegoers. The film's Moscow setting also appealed to local audiences who enjoyed seeing their city portrayed on screen. The movie's success was such that it was frequently revived for special screenings throughout the 1930s and even during World War II as a morale booster. In later decades, the film became a staple of Soviet television programming and film retrospectives, introducing new generations to this classic of silent comedy. International audiences who had the opportunity to see the film during its limited overseas distribution also responded positively, with many critics noting how well the visual humor translated across cultural boundaries. The enduring popularity of The Doll with Millions among Soviet and later Russian film enthusiasts has made it one of the most remembered and beloved comedies of the Soviet silent era.

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