One war that gets very little screen time in cinema is the Paris Commune consisting of France's National Guardsmen and a few city workers who took over the capital city on the heels of the Franco-Prussian War in 1871. This group quickly set up a form of government that was the first to adopt the ideas of Karl Marx and Frederich Engels, a mix of socialist and communist elements. For two months, its supporters beat back the French Army until it gave way. Between 10,000 and 15,000 of the Communards lost their lives battling the superior army, with over 43,000 taken prisoners.
Two Ukrainian filmmakers, Grigori Kozintsev and Leonid Trauberg produced cinema's first movie on the movement, March 1929's "The New Babylon." The motion picture focuses on Louise (Elena Kuzmina), a saleswoman in a Paris' wholesale store called 'The New Babylon.' She gets swept up in the Commune's passions, even though her boyfriend is a soldier in the French Army and is fighting against the Commune.
What's fascinating about "The New Babylon" is the framing of Louise and her boyfriend's scenes. Using film director John Ford's technique of filling the backgrounds with activity while focused on the main characters in the foreground, Kozintsev and Trauberg aroused the viewers' attention with such framing. In addition, the pair use a variety of trick photography, special effects and double/triple exposures to emphasize the complexity of the Commune's situation.
The two filmmakers in 1922 formed the 'Factory of the Eccentric Actor' (FEKS), which concentrated on live theater before morphing into cinema. Basing both their stage plays and films on the experimental and the avant-garde variety, each film was unique in its subjects: comedy, political tracts, musicals, etc. FEKS' purpose was to take away the constraints from theater, film, circus, music and opera and use a combination of all of them to present an unusual visual experience. The pair were influenced by D. W. Griffith's stylization and Charlie Chaplin's surreality. Employing Soviet composer Dmitri Shostakovich to write his first musical accompaniment for cinema, the two filmmakers produced a unique viewing experience which is thankfully preserved.
As film critic Matt Bailey succinctly noted, "The film has all of the vigor and pure cinematic originality of Abel Gance's Napoleon without all the pretensions to greatness shouldered by that film."
Two Ukrainian filmmakers, Grigori Kozintsev and Leonid Trauberg produced cinema's first movie on the movement, March 1929's "The New Babylon." The motion picture focuses on Louise (Elena Kuzmina), a saleswoman in a Paris' wholesale store called 'The New Babylon.' She gets swept up in the Commune's passions, even though her boyfriend is a soldier in the French Army and is fighting against the Commune.
What's fascinating about "The New Babylon" is the framing of Louise and her boyfriend's scenes. Using film director John Ford's technique of filling the backgrounds with activity while focused on the main characters in the foreground, Kozintsev and Trauberg aroused the viewers' attention with such framing. In addition, the pair use a variety of trick photography, special effects and double/triple exposures to emphasize the complexity of the Commune's situation.
The two filmmakers in 1922 formed the 'Factory of the Eccentric Actor' (FEKS), which concentrated on live theater before morphing into cinema. Basing both their stage plays and films on the experimental and the avant-garde variety, each film was unique in its subjects: comedy, political tracts, musicals, etc. FEKS' purpose was to take away the constraints from theater, film, circus, music and opera and use a combination of all of them to present an unusual visual experience. The pair were influenced by D. W. Griffith's stylization and Charlie Chaplin's surreality. Employing Soviet composer Dmitri Shostakovich to write his first musical accompaniment for cinema, the two filmmakers produced a unique viewing experience which is thankfully preserved.
As film critic Matt Bailey succinctly noted, "The film has all of the vigor and pure cinematic originality of Abel Gance's Napoleon without all the pretensions to greatness shouldered by that film."