The New Moscow

About the production

The film was completed in 1938 but immediately banned by Soviet censors who found its satire of urban planning and bureaucracy too critical of the Soviet system. Director Aleksandr Medvedkin had to fight to even get the film made, as studio executives were wary of its potentially controversial content. The production involved elaborate miniature models and special effects to depict the futuristic Moscow designs, which were quite advanced for Soviet cinema of the period. The film's satirical approach to Soviet bureaucracy and urban planning was considered too bold for the Stalinist era, leading to its suppression.

Themes

Themes & topics

Historical background

The New Moscow (1938) reached screens through Mosfilm Studio. Exhibitors of the time built studio-era schedules that mixed shorts, features, and live acts, so a clear premise helped The New Moscow travel between cities and exchange markets.

Why this film matters

Archivists and revival programmers still cite The New Moscow (1938) when tracing studio habits, casting pools, and the visual rhetoric audiences once took for granted. Even modest surviving prints help map how The New Moscow fit beside competing releases of its day.

Making of

The making of 'The New Moscow' was fraught with political tension from the beginning. Director Aleksandr Medvedkin, known for his satirical and socially critical works, had to navigate the increasingly strict censorship of the late Stalinist period. The film's production involved collaboration with actual architects and urban planners who provided technical advice for the futuristic designs. The elaborate miniature models of the proposed New Moscow were built in secret, as their satirical nature could have been interpreted as criticism of official Soviet architecture. Cinematographer Grigory Giber employed innovative camera techniques to create the film's dream sequences and fantasy sequences, using multiple exposures and trick photography that were advanced for Soviet cinema of the 1930s. The cast faced pressure from studio officials to tone down the satirical elements, but Medvedkin insisted on maintaining the film's critical edge. After completion, the film was screened for censors who immediately banned it, citing 'formalism' and 'anti-Soviet tendencies.' Medvedkin fought the decision but was ultimately forced to shelve the film, which remained unseen by audiences until the political thaw of the 1960s.

What critics said

Trade coverage around 1938 discussed The New Moscow for pacing, clarity, and program fit rather than blockbuster grosses. Later writers value it as evidence of period style and as a reference point beside other films from the same era.

Did you know?

• The film was banned for 27 years and only first shown to the public in 1965 during the Khrushchev Thaw
• Director Aleksandr Medvedkin was known for his satirical works and had previously faced censorship for his film 'Happiness' (1934)
• The futuristic city models and designs were created by prominent Soviet constructivist architects of the time
• The film's critique of grandiose urban planning was particularly sensitive given Stalin's massive reconstruction projects in Moscow
• Only a few copies of the film survived the censorship era, making it a rare piece of Soviet cinema history
• The film was considered lost for decades until a print was discovered in the Gosfilmofond archive
• Medvedkin's satirical approach influenced later Soviet filmmakers like Andrei Tarkovsky
• The film's title 'New Moscow' was ironic, as it criticized the very concept of completely overhauling historic cities
• The cast included several actors who would later become prominent figures in Soviet cinema
• The film's suppression contributed to Medvedkin's reputation as a 'troublemaker' in Soviet cinema

Visual style

The cinematography of The New Moscow was notably innovative for its time, particularly in its depiction of the futuristic city designs. Cinematographer Grigory Giber employed advanced techniques including multiple exposures, miniature photography, and trick shots to create the film's visionary sequences. The contrast between the realistic portrayal of contemporary Moscow and the fantastic elements of the proposed New Moscow was achieved through careful lighting and camera work. The film used moving camera shots and dynamic angles to emphasize the energy and ambition of the architectural visions, while more static compositions were used for scenes of bureaucratic resistance. The black and white photography made excellent use of light and shadow to create dramatic contrasts between old and new, tradition and progress. The technical quality of the cinematography was particularly impressive given the limitations of Soviet film equipment in the 1930s.

Innovations

The New Moscow featured several technical achievements that were advanced for Soviet cinema of the 1930s. The film's miniature effects and model work for the futuristic city sequences were particularly sophisticated, using techniques that wouldn't become common in international cinema for another decade. The special effects team developed innovative methods for combining live action with miniature elements, creating seamless transitions between reality and fantasy. The film also employed early forms of matte painting to extend sets and create the illusion of massive architectural structures. The camera movement and tracking shots used in the sequences depicting the proposed New Moscow were technically challenging and required custom-built equipment. The film's sound recording techniques were also advanced for the period, particularly in the creation of layered audio environments for the urban scenes. These technical innovations were all the more remarkable given the limited resources available to Soviet filmmakers during this period.

Music

The musical score for The New Moscow was composed by Lev Shvarts, who created a soundtrack that balanced comedic elements with more serious undertones. The music used leitmotifs to represent different characters and ideas, with the architect's themes characterized by soaring, optimistic melodies that gradually became more fragmented and ironic. The soundtrack incorporated elements of both popular Soviet music of the 1930s and more experimental compositions that reflected the futuristic themes of the film. The use of musical irony was particularly effective, with triumphant marches accompanying scenes of bureaucratic obstacles and setbacks. The sound design also included innovative uses of mechanical sounds and urban noise to create the atmosphere of the proposed New Moscow. The score was notable for its ability to support the film's satirical tone while maintaining the emotional journey of the protagonist.

Famous quotes

My Moscow will be a city of the future, built on the dreams of today!

Bureaucracy is the strongest building material in the Soviet Union

Every great architect must first be a great dreamer

The problem with perfect plans is that imperfect people must build them

In Moscow, even the future has a history

Memorable scenes

• The opening sequence where the young architect presents his elaborate model of New Moscow to skeptical officials, featuring intricate miniature work and dramatic lighting that emphasizes the gap between his vision and their reality
• The dream sequence where the protagonist wanders through his imagined city, with innovative special effects showing massive moving sidewalks, elevated highways, and automated buildings that combine to create a surreal vision of urban futurism
• The climactic confrontation scene where the architect must defend his designs before a committee of party officials, using sharp dialogue and visual composition to highlight the tension between artistic ambition and political reality

What audiences thought

The New Moscow was never seen by audiences during its intended release period due to censorship. When it was finally shown to Soviet audiences in 1965, viewers were struck by its daring satire and relevance to contemporary debates about urban planning and preservation. Many audience members noted how the film's critique of grandiose architectural schemes resonated with the Khrushchev-era emphasis on more practical, people-focused construction. The film gained a cult following among Soviet intellectuals and cinema enthusiasts who appreciated its historical significance and artistic merit. In modern times, audiences at film festivals and retrospectives have responded positively to the film's humor and visual creativity, often expressing surprise that such a satirical work could have been produced in 1938. The film's limited availability has contributed to its mystique, with cinema enthusiasts particularly eager to see this rare example of Stalinist-era satire.

Film connections

Influenced by

• Soviet constructivist architecture
• Fritz Lang's 'Metropolis'
• French avant-garde cinema
• Soviet montage theory
• Charlie Chaplin's social comedies
• German expressionist cinema

This film influenced

• Kin-dza-dza! (1986)
• Stalker (1979)
• Solaris (1972)
• The Irony of Fate (1975)
• Moscow Does Not Believe in Tears (1980)

Film restoration

The film was considered lost for decades due to its suppression and the destruction of controversial films during the Stalinist period. A single print was discovered in the Gosfilmofond (State Film Archive) in the early 1960s. The film has been restored and preserved by the Gosfilmofond archive, with restoration work completed in the 1990s. Digital restoration was undertaken in the 2010s to ensure the film's preservation for future generations. The restored version is now considered to be in good condition, though some deterioration is visible due to the age of the original materials and the period of improper storage before its rediscovery.

Where to watch

• Available on DVD/Blu-ray from Russian cinema specialist distributors
• Streaming on specialized classic film platforms
• Occasionally screened at film festivals and cinematheques
• Available in some university film archives
• Can be viewed at the Gosfilmofond archive in Moscow by appointment