S.V.D. was released in August 1927. A beautiful costume drama, it is on the other hand a somewhat expressionistic, poetical fantasy. Its photography and images are more important than its desired political contents. The script, written by the inspiring historian Yuri Tinyanov (director Leonid Trauberg [1901-1990]could speak about Tinyanov for hours) supplied a failed love story, a political intrigue involving two czars, and a traveling circus background. The picture glorifies the 1825 'Decembrists' uprisal: officers in the imperial Russian army are fed up with the new czar's autocracy. The main character is a traitor, the Scotsman Maddocks (Medoks). He has won a ring gambling. It carries the initials S.V.D. - the secret union of the 'Big Deed' (overthrowing the czar). Maddocks expects the ring to protect him. He is desparate to enter the circles of political power in St. Petersburg hoping a former lover (Sofia Magaril) will introduce him there. A wounded revolutionary officer is on the run, finding refuge in a circus. This setting enabled cinematographer Andrei Moskvin to film a sequence on a galloping horse 'holding only the camera'. One of the most imaginative scenes takes place on the skating rink. The picture suddenly turns into an ice crystal created by using mirrors. The skater now waltzes his rounds all over the picture. S.V.D. introduces several pessimistic symbols: night clouds, a turtle suggesting how slowly the wounded revolutionary can move, etc. It is an extremely beautiful film, its narrative less important than its image qualities. An un-Russian revolution that failed but turned out a success on screen. It is clear that Kozintsev & Trauberg were ready for their next costume drama THE NEW BABYLON, now considered their great masterpiece. S.V.D. was restored by the German TV-station ZDF ca. 1980. For this version German composer Hamel wrote a new electronic music score, not very fitting apart from the skating rink waltz.
2 Reviews
Russian Masterpiece
FerdinandVonGalitzien8 May 2006
It is an extremely complicated situation for this Count to make a positive review of this Bolshevik film, particularly because it is a good one. As you will very well understand, one cannot talk well of those who so badly treated the aristocracy some time ago
.
However, as you know, the aristocracy from time to time sets aside certain prejudices, this Teutonic Count has to publicly admit his fascination for Herr Kozintsev and Herr Trauberg's work in "S.V.D.: Soyuz Velikogo Dela" (there's was a collaboration that lasted more than 20 years). It's an exceptional film a soviet jewel that deserves to be rediscovered for silent cinema lovers, filmed to commemorate the "Decembrists" uprise, (group of army officers from aristocratic families against tsarist regime German words fail this Teutonic Count to such revolutionary nonsense) "S.V.D." is above all, a lesson in cinematographic mastery.
There is a perfect control of cinematographic technique with numerous and ravishing shots that emphasize the story perfectly. There is exceptional photography with the influence of Germanic expressionism evident. Finally there's an overwhelming production design with diverse of scenery (the ice rink, pubs, a circus, churches, etc.) that superbly support the plot which is narrated in a "simultaneous" yet interrelated way. A complicated relationship between the characters and country of the Decembrist uprise is obtained that may be taken as a possible collective catharsis for both.
The way the story is tackled in "S.V.D." is magnificent. The narrative achieves a "crescendo" as the uprise is crushed and one General Wischnewki is gloriously defeated. It is epic cinema without concessions.
In conclusion, "S.V.D." is a perfect example of silent soviet cinema's greatness.
And now, if you'll allow me, I must temporarily take my leave, for this German Count has to go back to regain the distant aristocratic rictus and stop these Bolshevik revolutionary proclamations so improper for this Teutonic Count.
However, as you know, the aristocracy from time to time sets aside certain prejudices, this Teutonic Count has to publicly admit his fascination for Herr Kozintsev and Herr Trauberg's work in "S.V.D.: Soyuz Velikogo Dela" (there's was a collaboration that lasted more than 20 years). It's an exceptional film a soviet jewel that deserves to be rediscovered for silent cinema lovers, filmed to commemorate the "Decembrists" uprise, (group of army officers from aristocratic families against tsarist regime German words fail this Teutonic Count to such revolutionary nonsense) "S.V.D." is above all, a lesson in cinematographic mastery.
There is a perfect control of cinematographic technique with numerous and ravishing shots that emphasize the story perfectly. There is exceptional photography with the influence of Germanic expressionism evident. Finally there's an overwhelming production design with diverse of scenery (the ice rink, pubs, a circus, churches, etc.) that superbly support the plot which is narrated in a "simultaneous" yet interrelated way. A complicated relationship between the characters and country of the Decembrist uprise is obtained that may be taken as a possible collective catharsis for both.
The way the story is tackled in "S.V.D." is magnificent. The narrative achieves a "crescendo" as the uprise is crushed and one General Wischnewki is gloriously defeated. It is epic cinema without concessions.
In conclusion, "S.V.D." is a perfect example of silent soviet cinema's greatness.
And now, if you'll allow me, I must temporarily take my leave, for this German Count has to go back to regain the distant aristocratic rictus and stop these Bolshevik revolutionary proclamations so improper for this Teutonic Count.
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