The Last Night

Plot

Set during the October Revolution of 1917, 'The Last Night' follows the intertwined destinies of two families from opposite social classes. At a grand ball, gymnasium students and officers mock Kuzma Zakharkin, the cook's son, for his love of Lena, daughter of wealthy manufacturer Leontyev. The festivities are violently interrupted by cannon fire signaling the beginning of the Moscow armed uprising of workers. The film centers on the revolutionary transformation as the sons of both families - one from the capitalist class, one from the working class - become organizers and participants in the historic uprising that would change Russia forever. Through their personal stories, the film depicts the collapse of the old bourgeois order and the birth of Soviet power.

Historical Background

The Last Night was produced in 1936, during the height of Stalin's rule and the period of intense Soviet industrialization and cultural consolidation. This was the era of socialist realism in Soviet arts, when all creative works were expected to serve the goals of the state and promote communist ideology. The film's subject matter - the October Revolution of 1917 - was being mythologized in official Soviet historiography as the foundational event of the Soviet state. 1936 was also the beginning of the Great Purge, when Stalin was consolidating his power through widespread arrests and executions. Films like this served not only as entertainment but as tools of political education and ideological reinforcement. The portrayal of the Revolution as a clear-cut struggle between oppressed workers and evil capitalists reflected the simplified historical narrative promoted by the Soviet state during this period.

Making Of

The making of 'The Last Night' took place during a particularly turbulent period in Soviet history. Director Yuli Raizman had to navigate the complex demands of socialist realism, which required films to be realistic in form but revolutionary in content. The casting choices were significant - Ivan Pelttser was known for his authentic portrayals of proletarian characters, while Mariya Yarotskaya brought depth to the role of the bourgeoisie daughter torn between class loyalty and revolutionary ideals. The film's production would have been subject to multiple layers of censorship and approval from state cultural authorities. The battle scenes depicting the Moscow uprising were likely filmed on location or on large studio sets, requiring significant coordination and resources. The cinematography would have employed techniques common to Soviet films of the 1930s, including dramatic lighting to emphasize the moral and political dimensions of the story.

Visual Style

The cinematography of 'The Last Night' would have employed techniques characteristic of Soviet cinema in the 1930s. The visual style likely contrasted the opulent, decadent world of the bourgeoisie with the stark, noble simplicity of the working class. Lighting would have been used symbolically, with the ball scenes possibly featuring rich, warm tones for the old order, while the revolutionary scenes might have employed more dramatic, high-contrast lighting to emphasize the struggle and transformation. The camera work during the uprising scenes would have been dynamic and chaotic, conveying the energy and violence of revolution. The film would have followed the compositional principles taught at Soviet film schools, emphasizing clarity of narrative and ideological message through visual means.

Innovations

As a product of the Mosfilm studio in 1936, 'The Last Night' would have benefited from the technical resources of one of the world's most advanced film facilities at the time. The film likely used contemporary sound recording technology, as Soviet cinema had fully transitioned to sound by the mid-1930s. The battle scenes depicting the Moscow uprising would have required sophisticated special effects for the period, including pyrotechnics for the cannon fire and explosions. The production design would have involved detailed recreation of 1917 Moscow, requiring extensive research and craftsmanship. While not groundbreaking in technical terms, the film represents the professional standards achieved by Soviet cinema during this period of state investment in the film industry.

Music

The musical score for 'The Last Night' would have been composed to reinforce the film's emotional and ideological content. Soviet film scores of this period typically used a combination of revolutionary songs, classical music, and original compositions. The ball scenes would have featured music representing the decadent bourgeois culture, while the revolutionary scenes would have been accompanied by stirring, heroic themes. The soundtrack likely included or referenced well-known revolutionary songs that would have been familiar to Soviet audiences. The music would have worked in service of the narrative, underscoring the moral and political dimensions of each scene and helping to guide audience interpretation.

Memorable Scenes

• The ball scene where class tensions erupt through the mockery of Kuzma's love for Lena
• The interruption of the festivities by cannon fire signaling the beginning of the uprising
• The transformation of the sons from both families as they join the revolutionary struggle

What Critics Said

Contemporary Soviet critics would have reviewed the film through the lens of socialist realism, praising its ideological correctness and contribution to revolutionary cinema. The film likely received positive reviews in official Soviet publications for its faithful depiction of the October Revolution and its clear portrayal of class struggle. Modern film historians view 'The Last Night' as a typical example of Stalin-era cinema, valuable more for its historical significance than its artistic innovation. While not considered among the masterpieces of Soviet cinema, it is studied by scholars as representative of the propaganda films produced during this period. The film is noted for its competent craftsmanship within the constraints of the Soviet system, though its heavy-handed ideological messaging limits its appeal to contemporary audiences.

What Audiences Thought

Soviet audiences in 1936 would have received the film as both entertainment and political education. The clear-cut moral narrative and heroic portrayal of revolutionary struggle would have resonated with viewers who had been raised on Soviet ideology. The romantic subplot between Kuzma and Lena would have provided emotional engagement while reinforcing the film's political message. The film's depiction of the October Revolution as a glorious event would have aligned with the official history taught in Soviet schools and celebrated in public ceremonies. While not among the most popular or talked-about films of its year, it likely fulfilled its purpose of reinforcing Soviet values and historical narratives for domestic audiences.

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