Die seltsamen Abenteuer des Mr. West im Land der Bolschewiken

Can you find happiness in the big city? The young hat maker Natascha, who lives with her grandfather in a suburb covered in winter snow, has to commute by train from the village to Moscow to deliver her creations to the extravagant Irene's hat shop. For the administration, Irene claims Natascha to be her subtenant in order to be able to have more living space. The clumsy railway official woos the lovely country girl with his ravishing smile. But she enters into a fictitious marriage with the provincial Ilya in order to get him a room in Moscow. With an apparently worthless lottery ticket, which Irene's husband gives to Natascha, the entanglements become turbulent. Boris Barnet describes the contrasts between city and country and the new living conditions in Moscow in a stylish and socially critical way. Three great acting talents, Anna Stén, Iwan Kowal-Samborski and Vladimir Fogel, form the triangle of relationships. Originally ordered as a vehicle to advertise the State Lottery, the film made the studio rich and the natural talent director Boris Barnet famous as the founder of lyrical comedy.

In this film, the mother of Pavel Vlasov is drawn into the revolutionary conflict when her husband and son find themselves on opposite sides during a worker's strike. After her husband dies during the failed strike, she betrays her son's ideology in order to try, in vain, to save his life. He is arrested, tried in what amounts to a judicial farce, and sentenced to heavy labor in a prison camp. During his incarceration, his mother aligns herself with him and his ideology and joins the revolutionaries. In the climax of the movie, the mother and hundreds of others march to the prison in order to free the prisoners, who are aware of the plan and have planned their escape. Ultimately, the troops of the Tsar suppress the uprising, killing both mother and son in the final scenes.

A minor clerk, Bashmachkin, replaces his threadbare overcoat with one made from the finest materials he can afford. Then one evening ruffians beat him up and steal his cherished new garment. The actors’ highly stylized gestures border on modern dance, and Bashmachkin’s world, especially as he begins to lose his grasp on reality, is powerfully rendered with looming shadows, oblique camera angles and eccentric architecture.

Dziga Wertow, who rejects the old "cinema drama" as literary coquetry, has for the first time clearly formulated the essence of film, which is detached from all other arts. In contrast to the feature film, which forces the camera to copy the human eye, one has to consider that the cinema eye sees differently and more precisely than the "unarmed eye". Wertow's downright mystical belief in the creative power of film language tolerates no obstacles, no walls of distance and boundaries of time. Thus Entusiazm combines images from the European and Asian parts of the USSR into a "song of the world" that confronts socialism with capitalism. The extraordinary magic of his films lies in Vertov's ability to unite the two origins of the medium - the reproduced reality and its re-creation through montage - in the highest tension. (Vienna Film Museum, H.T.)