Alexander Nevsky (1938, Sergei Eisenstein)
A retrospective review by David M. Arnold
The year was 1938. Russia had signed a non-aggression treaty with Germany. Stalin, perhaps since he was cut from the same cloth as was Hitler, understood better than the other Allies that the Germans couldn't be trusted. Like many totalatarian regimes, Stalin's believed the purpose of Art was as a tool of the State to communicate to the masses.
Sergei Eisenstien, the great Russian filmmaker and theorist was approached by Stalin to make a film that would help prepare the Soviet population for war with Germany. Eisenstien chose as the subject of his film a historic event: The defeat of the Teutonic Knights by the Russians under the leadership of Alexander Nevsky in 1242. Sergei Prokofiev provided the score, and Stalin gave Eisenstein access to the Soviet army as extras. The result, "Alexander Nevsky" is a classic, both as cinema and as propaganda.
Prince Alexander (Nikolai Cherkasov) has returned from defeating the Swedes at the Battle of the Neva River, from which he earned his surname "Nevsky". His band of followers is approached by a Mongol prince, who upon learning Alexander's identiy immediately offers him a high position in the Horde. Alexander demurrs and the Mongols go on their way. One of Alexander's lieutenants suggests they should drive the Mongols away, but Alexander ominiously states that there are more dangerous threats.
Meanwhile, the city of Nogovorod is shown as a prosperous medieval town. Vasili (Nikolai Okhlopkov) and Gavrilo (Andrei Abrikosov), two noblemen vie for the affections of a Olga (Vera Ivasheva). Ignat (Dmitri Orlov), a master armourer, hawks his wares. Then comes word of the fall of the neighboring city of Pskov to the Teutonic Knights, a German religious order that strives to unite the entire Christian world under the Holy Roman Emporer. The people of Nogovorod debate whether to bribe the Teutons for peace or to assemble and fight. The decide to fight under the leadership of Domash (Nikolai Arsky), but Domash insists that they need a stronger leader, one with a clearer head. They need Alexander.
A delegation is sent to Alexander's headquarters to ask him to help defend Nogovorod. Alexander says he knows nothing of defense, he will attack. And, he will need not only his own troops and those of Nogovorod, but they must mobilize and arm the peasants as well. The Teutons, with the help of the traitorous Tverdilo (Sergei Blinnikov), the ex-mayor of Pskov, march towards Nogovorod. They meet Alexander's forces on a frozen lake, and what is perhaps the largest staged medieval battle ensues.
Totalatarian Art is full of symbolism, and Eisenstein lays it on with a trowel. The spiritual leader of the Teutonic Knights is an archbishop whose crest looks very much like a stylized swastika. The Teutons themselves wear helms that look like inverted milk pails with cross-shaped eye and nose openings: Faceless opressors; while the Russians wear open, onion-shaped helmets. (The Teutons employ impressed mercenaries who wear helmets that look remarkably like German WW-II army gear, except with eye holes that again render them faceless.)
The Teutons are bent on converting or eliminating any who refuse to bow to the Holy Roman Emperor: This means the Russians because they are Russian Orthodox. To demonstrate the cruelty of the Teutons we are shown old men being hanged, women burnt at the stake and infants and small children thrown into fires. (Actually, if one substitues Judaism for Russion Orthodoxy, Eisenstein was remarkably prescient).
The film itself is remarkable for the massive battle scene, although the rest of the film seems weaker in comparison. Eisenstein's theories on montage that are epitomized in his 1925 film "Battleship Potemkin" seem more subdued here. Since each character is a symbol for Something Else, the performances are decidedly one-dimensional. Overall, "Alexander Nevsky" does succeed in evoking 13th century Russian life, the sets and costumes look authentic.
"Alexander Nevsky" plays like a silent film, and it might as well have been one: I don't speak a word of Russian, and the soundtrack is so muddy I doubt I could have understood a word of it even if I did speak Russian. Prokofiev's score comes through, dimly, and it is a wonderful marriage of folk tunes and original melodies that pump up the nationalistic fervor of the film. Stalin must have been mightily pleased with what Eisenstein had delivered.
Nothing "Alexander Nevsky" achieves negates the fact that this is State-sponsored propaganda. Today, in the wake of the Littleton tragedy, I hear blame being placed on films. I hear calls for controls on film content. Although I believe that many modern films do cross the line of common sense and decency, I also firmly believe that we cannot allow Film to slip into proscribed content controls. The ultimate end to that slippery slope is State Art, and we could end up only with films like "Alexander Nevsky".
Essay copyright (C) 1999 David M. Arnold. All rights reserved.
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