Young railroad worker, seemingly accommodating to Nazi overlords at a captured rural depot, secretly spearheads acts of sabotage against the evil occupying forces.
When Shura's sister dies, Shura starts taking care of her newly orphaned niece. Her fiancee, Grisha thinks the child may be Shura's own, and his suspicions estrange them. This leaves the way clear for a shy neighbor who has loved her from afar to gain points as a potential mate. Stenberg's design is simple and effective - a strongly-colored portrait of the pensive heroine at a table that provides space for the title and limited credits.
During the 1920s, many impoverished Jews searching for a better life made their way to Birobidzhan, the Soviet Jewish Autonomous Region on the Chinese border. This melodrama tells the story of a Jewish family's immigration to Birobidzhan and their experiences as settlers on a collective farm in the area.
The movie's opening sequence takes place in 1921, towards the end of Russia's civil war, as the Red Army are vanquishing the last Menshevik forces of the White Guard along the western frontier.
The bourgeois wedding of Dekabryukhova is interrupted by the machine-gun fire of revolution. He flees abroad, leaving his wife. Oktyabryukhov stays and adapts to the new life. At the end of the picture there is an attempt at universal reconciliation and the poet's tormenting theme "three-way love". Dekabryuhov returns to his homeland. His wife is already married to Oktyabryukhov. Having learned about it, Dekabryukhov tries to leave, but the newlyweds force him to stay.
Originally titled Wings of a Serf in the USSR, this Russian historical pageant (original title: Krylya Kholopa) manages to pack a lot of detail -- and a great deal of nonsense -- into its scant 60 minutes. Throwing accuracy to the four winds, the screenplay deals with a fabricated romantic triangle involving 16th-century Czar Ivan (Leonid Leonidov), his wife the Czarina (Sofya Askarova) and his wife's paramour Nikita (Ivan Klyukvin). The celebrated brutality of Ivan is crystallized in a single moment wherein the czar throws a bowl of scalding soup into the face of his court jester. American critics who'd grown weary of the praise lavished on such Soviet classics as Potemkin seemed to delight in pointing out the deficiencies of Czar Ivan, the Terrible, as if to say "See? They aren't all classics!" Nonetheless, the film did record business when it opened at New York's Cameo Theater in March of 1928, two years after its original release. ~ Hal Erickson, Rovi
