The Girlfriends

Plot

Set in Petrograd during the turbulent years of the Russian Civil War, the film follows three close friends - Zoya, Natasha, and Asya - who grow up together in the working-class districts of the city. As young women, they become increasingly aware of the social injustices and class inequalities that pervade pre-revolutionary Russian society. When the Civil War erupts and the Bolsheviks take control of Petrograd, the three girlfriends enthusiastically volunteer as orderlies in the Red Army's medical corps, determined to defend their revolutionary ideals against the advancing White forces. Through their experiences treating wounded soldiers and witnessing the brutal realities of war, their friendship is tested and their political convictions are forged in the crucible of conflict. The film culminates with the women demonstrating their unwavering commitment to the Bolshevik cause and their role in defending the revolutionary capital.

Historical Background

The film was produced during a critical period in Soviet history, as Stalin consolidated his power and the country underwent rapid industrialization and collectivization. 1936 marked the height of the Great Terror, when political purges were sweeping through Soviet society. The film's focus on the Civil War (1918-1922) served to legitimize the current regime by creating a heroic narrative of Bolshevik victory. This was also the year when the new Soviet Constitution was adopted, proclaiming the achievement of socialism in the USSR. The film industry was under strict state control, with all films required to adhere to the principles of socialist realism, which demanded optimistic, heroic portrayals of Soviet life and clear ideological messaging. International tensions were rising as fascist movements gained power in Europe, making the film's themes of defending the revolution particularly resonant.

Making Of

The making of 'The Girlfriends' reflected the highly controlled nature of Soviet film production in the 1930s. Director Lev Arnshtam, working within the strict parameters of socialist realism, had to balance artistic expression with ideological requirements. The casting process emphasized not just acting ability but also the actors' 'proletarian' backgrounds and political reliability. The film's production coincided with the height of Stalin's purges, which created an atmosphere of fear and conformity in the film industry. Arnshtam, who had previously worked as a composer, paid special attention to the musical score, collaborating with prominent Soviet composers to create a soundtrack that would emotionally reinforce the revolutionary narrative. The battle scenes were filmed using actual Red Army personnel as extras, adding authenticity but also requiring careful coordination with military authorities.

Visual Style

The cinematography by Yevgeni Shapiro employed the dramatic lighting techniques characteristic of 1930s Soviet cinema, using high contrast to emphasize the moral clarity of the narrative. The camera work combined static, composed shots for dialogue scenes with more dynamic movement during action sequences. Shapiro made effective use of location shooting in Leningrad to create authentic urban settings, particularly in scenes depicting the working-class neighborhoods. The battle sequences utilized multiple camera angles and quick editing to convey the chaos and urgency of combat. The visual style emphasized the collective over the individual, with group compositions reinforcing themes of solidarity and shared struggle. The black and white photography was carefully controlled to create the emotional tone appropriate to each scene, with softer lighting for intimate moments and harsher contrasts during scenes of conflict.

Innovations

For its time, 'The Girlfriends' demonstrated solid technical craftsmanship within the limitations of Soviet film equipment in the 1930s. The film utilized portable cameras for some location shooting, which was still relatively innovative for Soviet productions. The sound recording quality was above average for the period, with clear dialogue capture even in outdoor scenes. The battle sequences employed practical effects and multiple camera setups that created a sense of scale and realism. The editing by Yevgeni Migunov maintained a good rhythm throughout the film, effectively balancing character development with action sequences. While not groundbreaking technically, the film represented the professionalization of Soviet cinema and its ability to produce technically competent works that met international standards of the era.

Music

The musical score was composed by Lev Arnshtam himself, drawing on his background as a trained musician. The soundtrack incorporated revolutionary songs and folk melodies that would have been familiar to Soviet audiences, creating an immediate emotional connection. The music served to reinforce the film's ideological message, with heroic themes accompanying the characters' revolutionary activities and more tender melodies for their personal interactions. The film used diegetic music strategically, including scenes of the characters singing revolutionary songs together. The sound design was relatively simple by modern standards but effective for its time, with clear dialogue and well-balanced musical elements. The score was later published as a standalone piece of Soviet film music and performed in concert halls.

Memorable Scenes

• The opening sequence showing the three friends working in a Petrograd factory, establishing their working-class backgrounds and the social conditions that shape their political consciousness
• The emotional scene where the three women decide together to volunteer as medical orderlies, symbolizing their commitment to the revolutionary cause
• The battlefield sequence where they treat wounded soldiers under fire, demonstrating their courage and dedication
• The final scene showing the three friends standing together overlooking Petrograd, having survived the war and emerged as committed revolutionaries

What Critics Said

Upon its release, 'The Girlfriends' received generally positive reviews from Soviet critics, who praised its adherence to socialist realist principles and its inspirational portrayal of revolutionary heroism. Official Soviet publications like 'Pravda' and 'Izvestia' commended the film for its clear ideological message and emotional power. The performances of the three lead actresses were particularly highlighted as exemplary of the new Soviet acting style. Western critics had limited access to the film, though those who saw it noted its technical competence and propagandistic clarity. In retrospect, film historians have analyzed the movie as a representative example of Stalin-era cinema, noting both its artistic merits within the constraints of its time and its role in promoting state ideology. Modern critics appreciate the film as a historical artifact while recognizing its propagandistic elements.

What Audiences Thought

The film was well-received by Soviet audiences upon its release, particularly among younger viewers who identified with the idealistic protagonists. The movie's emotional appeal and focus on friendship resonated with viewers, even as its political message was being absorbed. The three lead actresses became popular figures, with their characters serving as role models for Soviet youth. The film's depiction of women's active participation in the revolution was especially empowering for female audiences. In the years following its release, the movie was frequently shown in schools and workers' clubs as part of political education programs. The film's popularity endured through the Soviet period, though its reception changed over time as political attitudes evolved. Today, it is viewed primarily by cinema enthusiasts and historians rather than general audiences.

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