The Post

Plot

The Post follows the extraordinary journey of a letter written by a young boy addressed to Boris Prutkov, beginning in Rostov and destined for Leningrad. The letter embarks on a global chase as it continuously arrives just moments after Prutkov has departed for his next destination - from Leningrad to Berlin, then to London, and finally to Brazil via steamboat. In a comedic twist of timing, the letter finally catches up to Prutkov in Brazil, delivered by postman Don Basilio, only to learn that Prutkov has already begun his journey back to Leningrad. The film culminates with the letter completing its world tour and finally reaching its addressee back in the Soviet capital, having traversed the globe in pursuit of its recipient. Through this whimsical chase, the film celebrates the efficiency and reach of the international postal system while showcasing the new Soviet Union's place in the global community.

Historical Background

The Post was created in 1929, a pivotal year in Soviet history during the implementation of Stalin's First Five-Year Plan (1928-1932). This period was characterized by rapid industrialization, collectivization of agriculture, and an intense focus on demonstrating Soviet progress to both domestic and international audiences. The film's celebration of postal services and global connectivity reflected the Soviet Union's efforts to modernize its infrastructure and integrate into the international community despite political isolation. In the realm of cinema, 1929 was a transitional year as sound technology was beginning to revolutionize filmmaking worldwide. Soviet animation was still in its infancy, with pioneers like Tsekhanovskiy experimenting with techniques and storytelling approaches. The film's emphasis on efficiency and reliability aligned perfectly with Soviet propaganda themes of the era, which emphasized the superiority of the socialist system in organizing society and services.

Making Of

The Post was created during a transformative period in Soviet cinema when animation was transitioning from experimental novelties to legitimate artistic expression. Mikhail Tsekhanovskiy, working with limited resources at Sovkino studios, employed cut-out animation techniques combined with traditional hand-drawn elements. The production team faced significant technical challenges, including the synchronization of sound with animation, which was still a new technology in 1929. The film's visual style reflects Tsekhanovskiy's background as a children's book illustrator, with bold, simple designs that could be easily animated while remaining visually engaging. The international journey depicted in the film required extensive research into different cities and modes of transportation, as the animators aimed to create recognizable representations of locations like Berlin, London, and Brazil despite having never visited these places. The musical score was composed to enhance the film's celebratory tone about postal services, with each location having its own distinctive musical theme.

Visual Style

The film utilized cut-out animation techniques combined with hand-drawn elements, creating a distinctive visual style characterized by bold, simplified designs and vibrant colors. The animation employed limited motion techniques, with characters and objects moving against static backgrounds, which was both a stylistic choice and a practical necessity given the technical constraints of 1929 Soviet animation production. The visual design incorporated elements of constructivist art, which was popular in Soviet art and design during this period. Each location in the film was given its own color palette and visual motifs to distinguish the various international settings. The animation's simplicity was actually a strength, allowing the story's humor and narrative to remain clear and engaging despite technical limitations.

Innovations

The Post represented several technical achievements for early Soviet animation, including successful synchronization of sound with animated movement, which was still a new technology in 1929. The film demonstrated sophisticated use of cut-out animation techniques, combining static backgrounds with moving elements to create the illusion of motion. The international journey required the creation of multiple distinct visual environments, showcasing the animation team's ability to vary settings while maintaining consistent character design. The film's pacing and narrative structure were relatively advanced for the period, demonstrating how animation could tell complex stories with clear beginning, middle, and end points. The technical execution of the global journey, with its various modes of transportation and locations, showed the growing sophistication of Soviet animation capabilities.

Music

The film featured an original musical score that was innovative for its time, incorporating synchronized sound effects and musical themes for each location visited by the letter. The music reflected the international journey, with different musical motifs representing Berlin, London, and Brazil, while maintaining a distinctly Soviet musical foundation. The soundtrack included sound effects for transportation methods (trains, steamboats) and postal activities, enhancing the film's celebration of postal services. The musical elements were composed to work in harmony with the visual narrative, with the tempo and mood of the music changing to match the pace of the letter's journey. The film's use of sound represented an early successful attempt at audio-visual synchronization in Soviet animation.

Memorable Scenes

• The sequence where the letter arrives in each city just moments after Prutkov has departed, creating a comedic pattern of near-misses
• The final scene where the letter, having circled the globe, finally catches up to Prutkov back in Leningrad, completing the circular journey
• The animated depictions of different international cities, each with distinctive architectural and cultural elements

What Critics Said

Contemporary Soviet critics praised The Post for its innovative animation techniques and its ability to combine entertainment with educational value. The film was noted for its sophisticated use of cut-out animation and its successful integration of sound with visual elements. Critics particularly appreciated the film's humor and its accessible storytelling approach, which made it suitable for both children and adults. International film scholars have since recognized The Post as an important example of early Soviet animation that demonstrates how the medium was being used to convey complex ideas about modernization and international connectivity. Modern critics view the film as a fascinating artifact of its time, revealing both the technical limitations and creative solutions of early animators working within the Soviet system.

What Audiences Thought

The Post was well-received by Soviet audiences in 1929, who appreciated its humor, engaging storyline, and impressive animation for the period. Children particularly enjoyed the film's playful chase narrative and colorful depictions of different countries. Adult viewers recognized the film's subtle celebration of Soviet efficiency and the reliability of state services. The film's universal theme of postal communication resonated with audiences who relied on mail services for maintaining connections across the vast Soviet territory. Despite its age, the film continues to be appreciated by animation enthusiasts and film historians for its historical significance and charming execution of early animation techniques.

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