Evgenii Bauer, at the end of his brief career had reached such level of intensity, precision in the "mise en scene", that every frame of this moving film is a masterpiece. Because Bauer seems a director from the 30's or 40's that one day decided to do again that old silent movies in which images revealed a passion and some kind of mystery unknown in the films made by his contemporaries. 25 or maybe 35 years of evolution of cinema are contained in only five years, since his early works to this jewel (and "For luck" or "A life for a life"), great achievements of one the three best directors of the decade, along with Louis Feuillade and perhaps Demille
3 Reviews
Only Fair As a Movie, But Interesting As a Piece of History
Snow Leopard12 July 2005
As a movie, this is only a fair effort, at least by Yevgeni Bauer's high standards. But as a piece of history, it is quite interesting. It is one of a very few significant cultural works that survive from the period between the two revolutions in Russia in 1917, since it was made after the Tsar was overthrown in February, but before the Provisional Government was itself overthrown by the Bolsheviks in the fall. Moreover, its perspective and story are clearly drawn from the way that things stood in the days of the Provisional Government.
The story itself centers on the character of "The Revolutionary", known only as 'Granddad'. Exiled to Siberia by the Tsarist police, he returns when the Tsarist government is overthrown, and he immediately throws himself right into the questions of the day. Of particular importance (in the movie and at the time) is the question of whether Russia should continue to fight the war against Germany and Austria-Hungary.
It's really an interesting setup in itself, but Bauer is uncharacteristically formulaic in crafting and in telling the story. The first half or so works well enough, but then it becomes too simplistic, even predictable. Because Bauer's melodramas about psychological obsessions and doomed relationships are so deep and haunting, it's possible that his other movies just create expectations for this one that are too high. If it had been made by a less exceptional film-maker, it might not be such a disappointment.
As it is, there are still some very good Bauer touches. Many of the compositions are nicely conceived, and there are effective moments, such as 'Granddad' reading graffiti on the prison wall, or two engaging little dogs playing in the snow while 'Granddad' comforts a dying convict.
It is as a piece of history, though, that this is most worth seeing. Bauer's views about the decisions facing Russia come across very clearly, and his portrayal of Russia under the Provisional Government, while obviously based on his own beliefs, is still one of the very few such contemporary records, fictional or otherwise. So despite its faults as a movie, "The Revolutionary" is still interesting, as a product of a very unusual time and place in history.
The story itself centers on the character of "The Revolutionary", known only as 'Granddad'. Exiled to Siberia by the Tsarist police, he returns when the Tsarist government is overthrown, and he immediately throws himself right into the questions of the day. Of particular importance (in the movie and at the time) is the question of whether Russia should continue to fight the war against Germany and Austria-Hungary.
It's really an interesting setup in itself, but Bauer is uncharacteristically formulaic in crafting and in telling the story. The first half or so works well enough, but then it becomes too simplistic, even predictable. Because Bauer's melodramas about psychological obsessions and doomed relationships are so deep and haunting, it's possible that his other movies just create expectations for this one that are too high. If it had been made by a less exceptional film-maker, it might not be such a disappointment.
As it is, there are still some very good Bauer touches. Many of the compositions are nicely conceived, and there are effective moments, such as 'Granddad' reading graffiti on the prison wall, or two engaging little dogs playing in the snow while 'Granddad' comforts a dying convict.
It is as a piece of history, though, that this is most worth seeing. Bauer's views about the decisions facing Russia come across very clearly, and his portrayal of Russia under the Provisional Government, while obviously based on his own beliefs, is still one of the very few such contemporary records, fictional or otherwise. So despite its faults as a movie, "The Revolutionary" is still interesting, as a product of a very unusual time and place in history.
Lost and Forgotten
Cineanalyst27 June 2005
Warning: Spoilers
The first reel of "The Revolutionary" is missing (or "not preserved", as the video says), so it's difficult to appreciate it. One gets the gist of the narrative after a while. What is left of the film begins with the arrest of Grandad, the revolutionary, during Tsarist rule. He's later regarded a martyr when he returns from exile in Siberia after the overthrow of the Tsar. The film ends, with Grandad (and presumably director Yevgeni Bauer) pleading to the Bolsheviks and revolutionaries to continue Russia's involvement in the Great War. Of course, that didn't happen.
Most of Bauer's films that I've seen aren't so much of the social realism, message film type. I prefer his death-obsessed tragedies, such as "After Death", "Daydreams" (both 1915) and "The Dying Swan" (1917). There are still some hints of masterful direction here, such as the low-key lighting. The scenes of snow falling and the photography of the bright snow are lovely. It seems ideal for filming. One of the most beautiful compositions of Bauer's work was such: the snow-covered meeting in "After Death". Anyhow, this is not essential Bauer viewing. It's unfortunate that this film is incomplete, but the real tragedy is that Bauer's films in general remain largely forgotten.
Most of Bauer's films that I've seen aren't so much of the social realism, message film type. I prefer his death-obsessed tragedies, such as "After Death", "Daydreams" (both 1915) and "The Dying Swan" (1917). There are still some hints of masterful direction here, such as the low-key lighting. The scenes of snow falling and the photography of the bright snow are lovely. It seems ideal for filming. One of the most beautiful compositions of Bauer's work was such: the snow-covered meeting in "After Death". Anyhow, this is not essential Bauer viewing. It's unfortunate that this film is incomplete, but the real tragedy is that Bauer's films in general remain largely forgotten.
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