The Paris Commune

Plot

The Paris Commune depicts the historic revolutionary uprising of Parisian workers in 1870-1871 following France's defeat in the Franco-Prussian War. The film chronicles how the working class, facing starvation and oppression, establishes a self-governing socialist state that challenges the French government. Through the eyes of key revolutionary figures and ordinary Parisians, the narrative follows the Commune's formation, its radical social reforms, and the bloody suppression by Versailles forces. The story culminates in the tragic week of fighting in May 1871, when government troops brutally crushed the revolution, executing thousands of communards. Despite its defeat, the film portrays the Commune as a heroic precursor to future socialist revolutions, emphasizing the sacrifices made for workers' rights and social justice.

Historical Background

The film was produced during a crucial period in Soviet history, as Stalin consolidated his power and promoted socialist realism as the official artistic doctrine. 1936 marked the height of the Great Purge's beginning, and the film's emphasis on revolutionary sacrifice and class struggle reflected the political climate. The Paris Commune was held up as a heroic example of proletarian revolution that prefigured the Bolshevik Revolution of 1917. The film's release coincided with the 65th anniversary of the Commune, which was being commemorated throughout the Soviet Union as an important historical milestone. International tensions were rising in Europe, with the rise of fascism in Germany and Italy, making the film's anti-oppression message particularly resonant. The Soviet cultural establishment used such historical epics to educate younger generations about revolutionary history and to justify the current political order as the fulfillment of historical revolutionary struggles.

Making Of

The production of 'The Paris Commune' was a massive undertaking for the Soviet film industry in 1936. Director Grigoriy Roshal, known for his historical films, spent months researching the period with a team of historians to ensure authenticity. The casting process was rigorous, with actors required to study the historical figures they portrayed. Nikolai Plotnikov underwent extensive preparation to play his role as a communard leader, studying French revolutionary literature and working with a dialect coach. The film's most challenging sequences were the battle scenes, which involved coordinating hundreds of extras, horses, and carefully controlled explosions. The set design was remarkably detailed, with entire Parisian streets reconstructed on the Mosfilm backlot. The cinematography employed innovative techniques for the time, including crane shots to capture the scale of the revolutionary crowds. The score was composed by Dmitri Kabalevsky, who incorporated revolutionary songs from the period into his orchestral arrangements.

Visual Style

The cinematography by Yuri Yekelchik employed innovative techniques for its time, particularly in handling large-scale crowd scenes. The film used a combination of static wide shots to establish the scale of revolutionary gatherings and dynamic camera movements to follow individual characters through the chaos of battle. The lighting design emphasized the contrast between the opulent bourgeois settings and the working-class districts of Paris. Notable techniques include the use of deep focus to maintain clarity in complex crowd compositions and strategic camera placement to create a sense of immediacy during the barricade scenes. The film's visual style drew inspiration from both French realist painting and Soviet montage theory, creating a distinctive aesthetic that served both historical accuracy and ideological purposes. The battle sequences utilized multiple cameras to capture the action from various angles, creating a sense of comprehensive coverage that was advanced for 1930s cinema.

Innovations

The film featured several technical innovations for Soviet cinema of the 1930s. The production pioneered new techniques for coordinating large crowd scenes, developing a system of colored flags and signal lights to direct thousands of extras during complex sequences. The battle sequences utilized innovative pyrotechnic effects that were safer and more realistic than previous methods. The set design incorporated modular construction techniques that allowed for rapid reconfiguration of Parisian street scenes. The film's sound recording employed newly developed Soviet microphones that improved audio quality in outdoor scenes. The cinematography department developed specialized camera mounts for capturing dynamic movement during the battle sequences. The editing team created a sophisticated system for managing the massive amount of footage generated by the multiple camera setups. These technical achievements influenced subsequent Soviet historical epics and contributed to the development of Soviet film technology.

Music

The musical score was composed by Dmitri Kabalevsky, one of the Soviet Union's most prominent composers. Kabalevsky incorporated authentic revolutionary songs from the Paris Commune period, including 'La Carmagnole' and 'La Marseillaise' in their revolutionary arrangements. The orchestral score blended these historical melodies with original compositions that emphasized the dramatic and emotional arcs of the narrative. The soundtrack was innovative in its use of leitmotifs to represent different social classes and ideological positions. The music was performed by the Moscow State Symphony Orchestra, with choral sections provided by the Moscow State Academic Chorus. The sound design also included carefully crafted diegetic sounds of 19th-century Paris, from the clatter of horse-drawn carriages to the roar of revolutionary crowds. The film's audio was recorded using Soviet-developed sound technology that was considered advanced for the period.

Memorable Scenes

• The storming of the Hotel de Ville where thousands of communards raise the red flag over Paris, filmed with sweeping crane shots and hundreds of extras
• The final battle on the barricades where communards make their last stand against government troops, featuring intense close-ups and dramatic pyrotechnics
• The scene where working women of Paris join the revolution, carrying weapons and singing revolutionary songs
• The trial scene where communard leaders defend their actions before a military tribunal
• The emotional farewell scene as revolutionaries say goodbye to their families before the final battle

What Critics Said

Contemporary Soviet critics praised the film as a masterpiece of socialist realism, with particular acclaim for its historical authenticity and revolutionary spirit. Pravda, the official newspaper of the Communist Party, called it 'a worthy monument to the heroes of the Paris Commune.' Western critics were divided, with leftist publications like the New Masses hailing it as 'cinematic art at its most politically engaged,' while mainstream press often criticized it as propaganda. The film's technical achievements, particularly its crowd scenes and battle sequences, were widely acknowledged even by critics who disagreed with its politics. Modern film historians recognize the film as an important example of Soviet historical cinema of the 1930s, noting its influence on subsequent revolutionary epics. Some contemporary critics have reevaluated the film as a complex work that transcends simple propaganda, particularly in its humanization of the communards and its sophisticated visual storytelling.

What Audiences Thought

The film was enormously popular with Soviet audiences upon its release, playing to packed theaters across the country. Many viewers were particularly moved by the film's emotional portrayal of ordinary Parisians rising up against oppression. The film became a reference point for Soviet citizens' understanding of international revolutionary history. Reports from the era indicate that audiences often applauded during the revolutionary scenes and some screenings were followed by spontaneous discussions about the parallels between the Paris Commune and the Russian Revolution. The film was especially popular among young people and party members, who viewed it as inspirational. In later years, the film continued to be shown on Soviet television and in special screenings during revolutionary anniversaries. International leftist audiences also received the film enthusiastically, with special screenings organized by communist parties in Europe and North America.

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