The New Teacher

Plot

Stepan Lautin, a young and idealistic teacher, returns to his native Siberian village after completing his education in Moscow, filled with revolutionary zeal and dreams of building a new school to educate the local children. His arrival disrupts the traditional rural life and causes confusion in the heart of Agrafena Shumilina, a young woman torn between her arranged engagement to a wealthy peasant and her growing feelings for the passionate young teacher. As Stepan works to overcome resistance from conservative villagers and scarce resources to construct his school, he faces both political and personal challenges, including the romantic tensions with Agrafena. The film follows Stepan's struggle to bring enlightenment and progress to his backward village while navigating complex relationships and the harsh realities of rural Soviet life in the 1930s. Ultimately, Stepan's dedication to education and his revolutionary ideals transform not only the physical landscape with the new school but also the hearts and minds of the villagers.

Historical Background

The New Teacher was produced in 1939, a pivotal year in Soviet and world history. The Soviet Union was in the midst of Stalin's Great Purge, though the worst of the terror had passed by 1939. The film reflects the Soviet government's emphasis on education as a tool for building socialism and transforming society. Literacy campaigns had been a major priority since the 1920s, and by 1939, the Soviet Union had made significant progress in eliminating illiteracy, though challenges remained in rural areas. The film's optimistic tone and focus on construction and progress contrasted sharply with the reality of fear and repression that characterized much of Soviet life during this period. Internationally, 1939 saw the signing of the Molotov-Ribbentrop Pact between Nazi Germany and the Soviet Union, and the outbreak of World War II in September. The film's themes of building a better future through education and collective effort resonated with Soviet propaganda needs at this critical historical moment.

Making Of

The production of 'The New Teacher' took place during a particularly tense period in Soviet history. Director Sergei Gerasimov, who had established himself as one of the leading directors of his generation, faced the challenge of creating a film that was both artistically compelling and ideologically sound. The screenplay went through multiple revisions to satisfy Soviet censors, with particular attention paid to ensuring the teacher's character was sufficiently revolutionary in his outlook. The casting of Boris Chirkov was strategic, as he was already beloved by Soviet audiences for his portrayal of everyday heroes. The film's rural scenes were shot on location in actual villages, though many of the buildings and sets had to be modified to present the idealized version of Soviet rural life that the government wanted to project. The relationship between Stepan and Agrafena was carefully handled to avoid appearing too bourgeois or individualistic, with their romance ultimately serving the greater purpose of building socialism.

Visual Style

The cinematography of The New Teacher was handled by Vladimir Rapoport, who employed a style that balanced realistic documentary-like sequences with more poetic, romanticized imagery. The film makes effective use of wide shots to emphasize the vastness of the Siberian landscape and the isolation of the village, creating a visual contrast between the natural world and the human desire to transform it. Rapoport's camera work during the construction of the school emphasizes the collective effort and progressive spirit of the community. The interior scenes are shot with a more intimate style, particularly during the emotional exchanges between Stepan and Agrafena. The film's visual language draws on both Soviet montage traditions and the emerging realist tendencies of the late 1930s. The use of natural lighting in outdoor scenes gives the film an authentic feel, while the carefully composed shots of the new school building symbolize the bright future promised by Soviet progress. The cinematography successfully supports the film's themes without overwhelming the human drama at its center.

Innovations

While The New Teacher did not introduce revolutionary technical innovations, it demonstrated several notable achievements in Soviet film production of the late 1930s. The film's sound recording was particularly sophisticated for its time, with clear dialogue capture even in challenging outdoor locations. The production team developed special techniques for filming in remote rural areas, bringing mobile equipment to locations that had never before hosted film shoots. The construction sequences featured impressive practical effects and coordinated extras to realistically portray the building of the school. The film's editing, supervised by Gerasimov, effectively balanced the multiple storylines while maintaining narrative coherence. The makeup and costume departments successfully created authentic-looking rural characters while still meeting the aesthetic standards of Soviet cinema. The film's preservation and restoration over the decades have demonstrated the durability of the original film stock and production quality, allowing modern audiences to appreciate the film's technical merits.

Music

The musical score for The New Teacher was composed by Venedikt Pushkov, who created a soundtrack that blended traditional Russian folk melodies with more modern, optimistic Soviet musical themes. The music emphasizes the film's emotional moments, particularly during the scenes between Stepan and Agrafena, where romantic themes underscore their developing relationship. Pushkov also incorporated educational and revolutionary songs that reflect the film's ideological concerns. The soundtrack features several folk songs performed by the villagers, creating an authentic rural atmosphere while also showing how traditional culture was being adapted to serve Soviet purposes. The music during the construction scenes has a triumphant, forward-looking quality that reinforces the theme of building socialism. The score was praised for its ability to enhance the film's emotional impact without becoming overly propagandistic, a delicate balance in Soviet cinema of the period. The main musical theme became quite popular and was often played on Soviet radio in connection with educational programs.

Memorable Scenes

• The opening sequence showing Stepan Lautin's train journey back to his native village, filled with his optimistic thoughts about bringing enlightenment to his people
• The scene where Stepan first addresses the village council about building a new school, facing skepticism from the older peasants but winning over the youth
• The emotional confrontation between Stepan and Agrafena by the river, where their true feelings for each other are revealed amidst the backdrop of the Siberian landscape
• The montage sequence showing the entire village working together to build the new school, accompanied by triumphant music and intercut with scenes of children eagerly awaiting their education
• The final scene showing the completed school with students attending their first classes, symbolizing the successful transformation of the village and the triumph of progress over tradition

What Critics Said

Contemporary Soviet critics praised The New Teacher for its humanistic approach and strong performances, particularly Boris Chirkov's portrayal of the idealistic teacher. Pravda, the official newspaper of the Communist Party, commended the film for showing how education could transform backward rural areas into progressive socialist communities. Some critics noted that the film successfully avoided the heavy-handed propaganda that characterized many Soviet productions of the era. Western critics who saw the film (primarily at international festivals) were often surprised by its emotional depth and technical quality, though some viewed it as典型的 Soviet propaganda. Modern film historians consider The New Teacher one of the most successful examples of Soviet socialist realism cinema, praising its ability to balance ideological requirements with genuine human drama. The film is now recognized as a classic of Soviet cinema and is frequently studied in film courses examining the relationship between art and politics in totalitarian societies.

What Audiences Thought

The New Teacher was extremely popular with Soviet audiences upon its release. Boris Chirkov, already a beloved actor, further cemented his status as one of the most popular film stars in the Soviet Union with his performance as Stepan Lautin. The film's emotional story and relatable characters resonated with viewers, many of whom had personal experience with the literacy campaigns and rural transformation depicted in the film. The romantic subplot between Stepan and Agrafena particularly appealed to audiences, providing a human element that transcended the film's ideological message. The film ran successfully in theaters across the Soviet Union for months and was frequently revived for special screenings, particularly on Teachers' Day and other educational holidays. Even decades after its release, The New Teacher remained a familiar and beloved film for generations of Soviet viewers, with many remembering specific scenes and lines of dialogue. Its enduring popularity demonstrated how Soviet cinema could create works that both served the state's ideological needs and genuinely moved audiences.

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