The Girl with the Hat Box
Plot
Natasha, a young woman working at a Moscow hat shop, encounters a poor student named Ilya who has just arrived from the countryside to study at the university. Taking pity on his destitute condition, she helps him find lodging in her small apartment, leading to a series of comedic misunderstandings and romantic complications. When Ilya mistakenly believes Natasha is engaged to her wealthy boss, he becomes involved with a group of eccentric characters while trying to make his way in the big city. The film culminates in a chaotic chase through Moscow as the various plot threads intertwine, ultimately resolving in a heartwarming conclusion that affirms the value of human kindness and connection over material wealth.
About the Production
The film was produced during the relatively liberal period of the New Economic Policy (NEP) in the Soviet Union, which allowed for more artistic experimentation and lighter entertainment fare. Director Boris Barnet, who had previously been a boxer before entering cinema, brought a unique physical comedy sensibility to the production. The film's urban Moscow setting was carefully chosen to represent the modernizing Soviet city, with many scenes shot on location to capture authentic street life.
Historical Background
The Girl with the Hat Box was produced during the NEP (New Economic Policy) era of the Soviet Union (1921-1928), a period of relative cultural liberalization and economic experimentation. This was a golden age for Soviet cinema, with filmmakers like Eisenstein, Pudovkin, and Vertov creating groundbreaking works while also allowing for more conventional entertainment films. The film reflects the urbanization and social mobility occurring in 1920s Moscow, as young people from the countryside flocked to cities for education and opportunity. The movie's focus on everyday romance and comedy rather than revolutionary struggle was characteristic of the NEP period's artistic freedom, which would be severely curtailed with Stalin's rise to power and the implementation of Socialist Realism as the only approved artistic style in the early 1930s.
Why This Film Matters
The Girl with the Hat Box represents an important but often overlooked aspect of Soviet silent cinema - the romantic comedy genre. While Soviet films of the 1920s are primarily remembered for their revolutionary epics and formalist experiments, this film demonstrates that Soviet filmmakers were also capable of creating sophisticated entertainment that could stand alongside contemporary European comedies. The movie's urban setting and focus on ordinary people's lives provided a valuable documentary record of 1920s Moscow life. Its international success helped demonstrate that Soviet cinema could produce works with universal appeal beyond propaganda. The film also launched Anna Sten's international career, making it a significant bridge between Soviet and Hollywood cinema. Today, it's studied as an example of how Soviet filmmakers adapted Western genre conventions to create distinctly Soviet works.
Making Of
The production took place during a fascinating transitional period in Soviet cinema when filmmakers were experimenting with different genres beyond revolutionary epics. Boris Barnet, who had learned his craft working with Lev Kuleshov, brought a distinctive visual poetry to what could have been a simple romantic comedy. The film's urban setting was revolutionary for its time, as most Soviet films focused on rural or revolutionary themes. Anna Sten's performance was particularly noteworthy for its naturalism, which contrasted with the more theatrical acting style common in Soviet cinema of the period. The production team faced challenges filming on Moscow's busy streets, often having to work around real city life rather than closing down locations. The film's success helped establish Barnet as one of the Soviet Union's most versatile directors, capable of working across multiple genres.
Visual Style
The cinematography, credited to Anatoli Golovnya, demonstrates the sophisticated visual language developing in Soviet cinema during the 1920s. The film makes excellent use of Moscow's urban landscape, with dynamic tracking shots following characters through busy streets and markets. Golovnya employs innovative camera angles and movement to enhance the comedy, particularly in the film's chase sequences. The interior scenes in the hat shop and apartment use natural lighting techniques that create a warm, intimate atmosphere. The visual style balances the formalist experimentation common in Soviet cinema with the clarity needed for comedy, using close-ups effectively for character moments while maintaining spatial relationships for physical comedy. The film's visual poetry in scenes like the Moscow street sequences shows Barnet's background with Kuleshov's workshop and his understanding of cinematic montage.
Innovations
The film showcases several technical innovations for its time, particularly in its use of location shooting in Moscow's busy urban environment. The production employed portable cameras that allowed for greater mobility in street scenes, a relatively advanced technique for 1927. The film's editing, while not as radically experimental as Eisenstein's work, uses sophisticated montage techniques to enhance comedic timing and emotional impact. The lighting design successfully balances natural exterior light with controlled interior illumination, creating visual consistency throughout the film. The production also demonstrated advanced techniques in capturing synchronized action across multiple locations during the climactic chase sequence, requiring precise timing and coordination between camera units.
Music
As a silent film, The Girl with the Hat Box would have been accompanied by live musical performance in theaters during its original run. The original score has been lost, but contemporary orchestral accompaniment would have typically included popular Russian folk songs, classical pieces, and original compositions. Modern restorations have featured new scores by composers such as Stephen Horne and the Mont Alto Motion Picture Orchestra, who create period-appropriate accompaniment using Russian folk themes and 1920s popular music styles. The music typically emphasizes the film's romantic elements while supporting the physical comedy with lively, rhythmic passages. Some screenings have featured experimental scores that blend traditional Russian instruments with contemporary electronic elements, demonstrating the film's continued relevance to modern musicians.
Did You Know?
- Anna Sten, the film's star, was later promoted by Samuel Goldwyn as 'the Russian Garbo' and brought to Hollywood, though her American career was largely unsuccessful
- Director Boris Barnet was a former professional boxer before entering the film industry, which influenced his dynamic visual style and action sequences
- The film was one of the few Soviet comedies of the silent era to achieve international recognition and distribution
- The hat shop setting was inspired by actual Moscow establishments of the 1920s, reflecting the NEP period's emergence of small businesses
- Vladimir Fogel, who plays the wealthy suitor, died tragically young in 1929 at age 30, making this one of his final major roles
- The film's title in Russian is 'Devushka s korobkoy' (Девушка с коробкой), literally translating to 'The Girl with the Box'
- The movie was considered relatively daring for its time due to its focus on romantic comedy rather than revolutionary themes
- Barnet's background in circus performance influenced the film's physical comedy and chase sequences
- The film was restored in the 1990s by the Gosfilmofond of Russia with new musical accompaniment
- Contemporary Soviet critics praised the film for its 'lightness' and 'humanism' during an era dominated by heavy propaganda films
What Critics Said
Contemporary Soviet critics praised the film for its light touch and humanistic approach, with Pravda noting its 'refreshing simplicity' compared to the heavy-handed propaganda films of the period. Western critics who saw the film during its limited international distribution were surprised by its sophistication, with Variety calling it 'a charming Russian comedy that proves Soviet filmmakers can handle light material with grace.' Modern critics have reassessed the film as a masterpiece of silent comedy, with the British Film Institute describing it as 'a delightful urban romance that captures the energy and optimism of 1920s Moscow.' The film is now recognized as one of Barnet's finest works and a key example of Soviet comedy cinema, often screened in retrospectives of silent film alongside more famous Soviet productions.
What Audiences Thought
The film was popular with Soviet audiences upon its release, offering welcome relief from the predominantly serious and revolutionary-themed films of the era. Moviegoers appreciated its relatable characters and Moscow setting, which reflected their own experiences of urban life during the NEP period. The film's success at the domestic box office (though not officially documented) led to increased opportunities for Boris Barnet to make more genre films. International audiences who had the opportunity to see the film responded positively to its universal themes and visual comedy, helping to build a reputation for Soviet cinema beyond political works. Modern audiences at silent film festivals continue to respond enthusiastically to the film's charm and technical sophistication, with many noting how contemporary it feels despite its age.
Awards & Recognition
- No major awards documented - Soviet films of this era were not typically submitted to international film festivals
Film Connections
Influenced By
- Works of Charlie Chaplin (particularly in physical comedy)
- German romantic comedies of the 1920s
- American silent comedy traditions
- Soviet montage theory (particularly from Kuleshov workshop)
- Contemporary Moscow street life and culture
This Film Influenced
- Later Soviet comedies of the 1930s
- Urban romantic comedies in international cinema
- Works of other Soviet directors who explored lighter subject matter
- Modern films set in 1920s Moscow