((This review was written by my friend Zeyd, Vengefulnoob, who is my British friend I mentioned in the last review and a bit of a communist Stalinist era enthusiast. I personally haven't seen this movie but I did see Eisenstein's Battleship Potemkin so this will be interesting for me too.))
Sergei Eisenstein. I can see no better way to start this guest review than to start with that single name. A man who, for better or for worse, will forever be remembered as the creator of many of the first Soviet epics, and whose film-making is inextricably linked with the Soviet Experiment. Without Eisenstein, we would never have had Battleship Potemkin, whose unique use of camera-work and staging has inspired so many directors around the world, no matter what genre they represent. Writing a review of one of Eisenstein's works, therefore, is more than a little bit daunting, and this is made all the more difficult by the addition of music by one of the great composers of the Stalinist era, Sergei Prokofiev. Prokofiev's music is at times bombastic, and at others, delicate, and this marvelous breadth of music gives the film the perfectly devastating combination it needs.
As such, both Sergeis (Yes, I was waiting for that...) weave and elaborate on a sadly forgotten tale of power, betrayal, and determination: A story that I personally never knew about until I studied Russian history more closely, and began to realise that there was even more to the 1500s than the rise of Protestantism, the sailing of the Mayflower and the blooming Renaissance across Europe. And so, as we begin the first half of this epic, it is important to remember that there are important parallels to draw between Ivan Grozniy and Stalin himself: Both were rulers perpetually paranoid of the enemy within, who routed out opponents ruthlessly, and felt that they alone could answer to their people, all the while with the larger plan in mind, of the Greater Russia and its' need to survive, whether against Boyar plotting or storming the Seelow heights and Berlin itself.
We start with the MOST EPIC TITLE CARD OF ALL TIME. Smoke as a background? They're really cutting to the chase, here.
The blaring trumpets continue through the sequence, with similarly oversized writing giving us a "brief" synopsis; the film being about the 16th century Tsar of Moscow (At that time one of several kingdoms in control of Russia) who "Consolidated our country". (No secret that this is for domestic consumption then.)
...ok thank you Soviet censors, I think we've already covered thi-
Oh come on already!
To be fair, the context is welcome. At least we're not just being dumped into the action like in a Michael B-
((DO NOT MENTION THAT NAME ON MY BLOG. - Kay))
The first shot is one of the crown, waiting to be placed on the new King's head.
We get our first introduction to Archbishop, Pimen, here, who goes through the lengthy process of blessing the crowd and introducing the Tsar to be. Note the opulence of the scene: At a time when the USSR was in a time of briefly overlooking (And that really is the best way to put it) the church in favour of putting Russian values first in the Brutal war with Germany, this kind of Opulence might easily have awed many a Soviet cinema goer.
At this point we are also introduced to the foreign influences of the Russian court. Camp
...and so do the Poles.
Foreshadowing from the Livonian Ambassador. Who then breaks the fourth wall.
The Germans mention that the new Tsar will have enemies at home, too: Primarily from his aunt, Efrosina Staritska (The rather unwomanly looking bear in the middle here) and his cousin, Vladimir. (The confused chap to her immediate right.)
Ivan's primary support as Tsar, they continue, comes from his bride-to-be's family, the Romanovas and Glynskys.
Ivan himself is dragged in front of the priest by two key princes, Andrei Kurbsky, and Fyodor Kolychev, who, as stated later, grew up with him.
Following a double blessing of the crown, it is given to Ivan to place on his head. Note that at 5 minutes in, we still haven't seen the eponymous character's face yet. Also, anyone else see a comparison between Ivan crowning himself and another conqueror...?
The ceremony is completed, with shots of the adoring bride and future Tsarina, Anastasia, and Ivan being granted the sceptre and the country by Pimen. Now we see the well-wishing granted by a singer, who gives wishes of long life and peace (Oh the irony) on the newly crowned Tsar. Finally, a shot of Dramatic!Tsar, Ivan the fourth (Nikolai Cherkasov), turning to face -Paul-Robeson- The deep-voiced well wisher.
Those are coins. SYMBOLISM!
The Tsar now goes on to give a lengthy speech about how historic his crowning is, how much the eyeliner is highlighting his eyes for the camera, and then, less importantly, calling an end to the Boyars' rule, effectively alienating him from all the Boyars in the church. You know, small stuff.
Yeah, no shit, Mrs. Bear.
He also calls for consolidation of the country, and any Boyars who don't committ forces to his campaigns of unification to give funds instead. Even the church isn't above his demands, and he forces them to give funds to his campaigns too. So... essentially, in the space of about 3 minutes, Ivan turns an oligarchy with heavy theocratic leanings into an absolute monarchy with a standing army. My head is spinning. Also, threats against anyone who encroaches upon Russia's might, whether interior or exterior. Parallels to 1944, much? (Shocked archbishop is shocked!)
Something tells me that Russia isn't going to be at peace for much longer, and neither, so it seems, does Princess Leia.
The Tsar makes some threats towards taking over foreign lands, earning him anger from those foreign delegates we saw earlier, and then makes references to Moscow being the third Rome. (By which I assume he means the Roman empire and the Napoleonic empire). Uproar ensues.
Poland Angry! Poland smash!
Gratuitous picture of camp Germany!
Once again, the interjection of the Livonian ambassador shows the truth that with strength comes acknowledgement, and hence the Tsar must be prevented from becoming strong. The stage is then set for the Tsar's wedding. The wedding opens here, where Prince Kurbsky is asked by the Livonian ambassador why he should submit to Ivan's crown, when his family is no less noble than the Prince of Moscow.
Having considered his words, Kurbsky runs into the main hall, the seeds of doubt sown in his mind, where he, and the audience are confronted by the image of the Tsar and Tsarina surrounded by the Boyars feasting, With both Pimen and Efrosina present and plotting. Also, Ivan has grown a beard.
Now the real intrigue begins. Efrosina makes references to the bells ringing all across Moscow in celebration of the marriage, and then leaves to find out from a faithful servant that an uprising is in progress, that the home of the Glynskys has been burnt down, and that even now, the peasants are on their way to the Tsar's
Palace.
While she does so, Ivan confronts the two princes, Kurbsky and Kolychev, who are serving them both with wine, on their expressions. Kurbsky declares that there is a saying that marriage ends friends' happiness (Oh I do wonder why...) and Kolychev points out that Ivan is breaking away from ancient traditions, and this will cause a disturbance
White Swan statues are brought into the main hall, laden with food for the feast to a song of "Open the gates". Ominous. Especially because it turns out that the peasantry require no needs to open the gates at all, and swarm into the palace, overpowering the Strelets who stand guard.
More Guards rush into the main hall to defend the Tsar and Tsarina, and prepare to chop down the citizens with their pole-axes, but Ivan orders them to stop, and let them in. One man rushes forward, carrying masonry to attack the line, which parts to allow him through, and he is overpowered by Kurbsky and Kolychev, and forced to kneel before the Tsar. He is easily shocked for a man storming his ruler's palace.
Uhuh. So anyways, with the raising of an eyebrow, Ivan forces all of the peasants to kneel and remove their hats in reverence, until a man stands up in the midst of the crowd, declaring that the Tsar has been enchanted by the Tsarina's Family, the Glynskys.
Others in the crowd join the cray cray by also complaining about the Glynskys, Who appear to in fact be Siamese triplets who haven't changed clothes or positions since the coronation.
The man kneeling directly in front of the Tsar declares that Moscow is a cursed city, with bells ringing and falling down witout reason. Ivan, not being a superstitious moron, puts them at rights that quite clearly someone is behind it, and declares that anyone who believes in jinxing is as empty headed as a bell. Oh no he diunt.
Ivan continues his speech, the crowd now entirely on his side, and builds himself into a man of the people. A balding, bearded man of the people with terrific oratory powers. They can't be referencing anyone at all.
The tsar is, however, interrupted by messengers from the Tartar kingdom of Kazan, who declare war against the Tsardom of Moscow. The chief messenger presents the Tsar with a knife, declaring that perhaps he had rather take his own life than inevitably lose the coming war, and then we have 1941 all over again.
Ivan declares that the time has passed when foreigners could enter Moscow without his will, and throws down the knife, declaring that they shall do away with Kazan. The crowd is whipped into a war-fever frenzy and storms out with patriotic fervor. Quite a coup for the Tsar, to turn a crowd from revolution to unquestioning fervor. He chooses Kurbsky to lead the troops against the Khan's forces.
The next scene opens with the Strelets of Ivan's army struggling towards Kazan. Ivan overlooks the scene from his war-tent, as his troops grant him donations that he declares will not be enough for the lives lost in the coming battle. While the army forms up outside to lay siege, sappers led by the plucky protestor, dig under the city. He climbs to the Tsar and Kurbsky to tell them of the way into this fortress.
Following a short spat with Ivan about the effectiveness of blowing up a city instead of leading a cavalry charge against it, Kurbsky leaves to attempt to force the city to surrender in his own way: tying up Kazan prisoners on the barricades of the camp, and ordering the defenders to surrender. They, instead, put the prisoners out of their misery, and steel their morale. Ivan, when he finds out, is furious and declares that not even senseless animals are so cruel. After he raises a hand to the Tsar, Kurbsky protects Ivan with his shield from a stray arrow, declaring he wanted to protect him from such an attack. Ivan responds in the most non-commital way possible.
Kurbsky runs off like the little bitch he is, and declares that the Livonian ambassador was right and that he will always be treated as a child by Ivan. Muttering to himself about the incident, Ivan is heard by a common soldier, Basmanov, who warns him of annoying the Boyars. Ivan declares he shall remember his name.
Today's Airwick scent: Explosion.
Following a short scene where Basmanov points out the now distant Tsar to his son, the city explodes. Insert Jericho reference here.
Kurbsky leads his men into the city, charging in with cavalry and siege towers, while the Tsar has the artillery bombard the city from the outside. As a result, Kursky takes the city, and the scene ends with him standing triumphant over the tallest spire, while Ivan declares that now everyone will accept him as Tsar of the whole of Russia.
The next scene, however, is more grave by far. Since his victory at Kazan, Ivan has fallen gravely ill, and now lies in his chamber, almost comatose. The Boyars wait around, waiting for him to be declared dead. The German ambassador asks after the Tsar's health, to which the Livonian ambassador points out that he called him Tsar.
Efrosina appears, declaring that God is just for felling Ivan for the crime of putting himself above all other princes.
She then talks with Kurbsky, telling him that the Tsar intended to kill him after he was done with him, and that he married Anastasia, who he loved himself. At this point, we find out what has befallen Malyuta, the sapper; He has in fact become the Tsar's personal bodyguard, watching over him and those in his court.
In his chambers, the last rites soon to be conducted on him, the Tsar lies dying with his wife and newborn son, Dimitry nearby. The Boyars, led by Efrosina, enter to say their farewells to the Tsar. Ivan takes this opportunity to demand they swear allegiance in front of the cross to Dimitry as future Tsar.
Realising the Boyars collectively have no intention of supporting him, he calls out to each of them by name, while each, in turn, ignores his request. The scene turns the tsar into a rather pathetic figure, crawling around in his bedclothes and begging the nobles for support.
With no-one offering support to the legitimacy of his son to rule, Ivan declares that they shall all be cursed forever, before fainting rather melodramatically.
While everyone thinks him dead, the Tsarina continues, holding Dimitry and declaring that the Boyars will rule in insanity after what her husband has accomplished, that they will become the slaves of foreign rulers. Efrosina declares that the glorious Boyars shall never be subjects to the son of the muscovite prince.
I'm sure I've seen Ivan the terrible in a mausoleum before...
Back on track, Efrosina demands that the other Boyars kiss the cross for her son, Vladimir, that he can become the Boyars' Tsar and grant them his power. Kurbsky enters,and ascertains that the Tsar is dead. Begged to kiss the cross for both parties' heirs, he remains torn. Could this screencap make any clearer who's good and evil?
The boyars leave, and you'd be forgiven for thinking it was time to write off Ivan. Kurbsky pursues the Tsarina's affections with Ivan seemingly out of the way, but as he declares that without her he would be unable to rule in Ivan's stead and against the Boyars, she simply declares that it would be wrong to bury someone who isn't dead. Realising that Ivan is still alive, Kurbsky makes for the cross, and kisses it for...
The boyars throw all kinds of fits, and sieze the cross from him, just as the revived Ivan enters, declaring that holy gifts have healed him. While Kurbsky looks away from his gaze in guilt, Ivan walks up to him and declares that as first under the tsar, he shall rise even higher. Out of all the boyars, he alone stood with him, and so he grants him the mission to attack Livonia, and grant Russia access to the sea. The Tsarina glares at him, and so despite the blessing of the tsar, Kurbsky remains torn. Malyuta wonders why he flies away like an arrow, and as the Tsar's ever watchful eye, considers him. Knowing that the Southern border must be defended, Ivan chooses Basmanov, the common soldier, to be his commander.
Worried by this turn of events, in the next scene, the boyars panic. One swears he shall run away, afraid for his life. Even Archbishop Pimen is stripped of his title, and is sent away to Novogorod. (At this time the second largest city in Russia. Oh poor Pimen, I weep for you.)
Realising how isolated Ivan is, now that Kurbsky is away fighting Livonia, Basmanov is securing the Southern border and Malyuta serving as bodyguard but not friend, the Boyars realise that it would be best to isolate Ivan even further. Together, they plot to separate Tsar and Tsarina, allowing them to influence the Tsar more easily.
As the scene changes once again, we see that Ivan, too, has his share of problems. The English ships that carry weaponry and lead that help him to fight against Livonia are being turned back by a blockade of the Baltic by the Hanseatic league and Livonia itself. Raving against Germans and Boyars alike, Ivan returns to his planning table, considering how best to proceed. He orders a servant, Nepeyev, to take a chess board to "My sister, Elizabeth of England", and show her how to lead ships around the blockade. This sets up this magnificently ominous shot of Ivan's shadow by a globe.
Moving to check on the Queen, Ivan finds her ill, and relates his woes to her, declaring her to be his last friend. Efrosina, who was been "Taking care of the tsarina" listens in, while posioning a glass of wine for the Tsarina, who convulses. Seeing her pain, Ivan reaches for the glass, and offers it to her. After slight hesitation, she drinks it and the scene fades to black.
In the next scene, Ivan lies next to the open casket of the Tsarina, the poison having done its' work, as Pimen gives a sermon for her soul. Malyuta enters, bearing bad news: most of the boyars have defected to other kingdoms, taking with them their funds for the war. This overlays with the continued sermon, with Pimen mentioning men who hate the Tsar in as indirect way as possible. The Tsar begins questioning whether his cause is just, looking to the dead Tsarina for answers.
Basmanov and his son enter, telling Malyuta more bad news of the war, which Malyuta waits before telling the tsar, that Kurbsky has defected to the Polish King Sigismund's court. Pimen's sermon continues as the priest tries to break Ivan, but the Tsar shouts at him that he lies, and yells at him that the Moscow Tsar has not broken yet, prompting him to leave.
Unsure how to prove so, Ivan listens to Basmanov as he tells him that in addition to summoning Kolychev, the prince who left for the monastry, he should surround himself with strong men, who would be a belt of iron to protect against the boyars. He offers his own son as the first such Oprichina, to defend Ivan from the Boyars.
Fired with imagination, Ivan says that he shall only listen to the Oprichina, and that he shall leave for Alexandrova Sloboda, and hence abdicating, to return to Moscow at a later date. While Basmanov and Malyuta question the sensibility of relying on the common crowd to sweep him back to power, the Tsar responds by telling them not to "teach the tsar", something that will become a common theme later on. The Tsar leaves Moscow, declaring the boyars and princes traitors, and endearing the people to venture to Alexandrova Sloboda to join the Oprichina, that he bears no ill will to them, only to the Boyars. This is read aloud in Moscow.
Eager young men decide to join the Oprichine, inspired by the words of this younger speaker. (Note here the difference between the youthful Oprichine and the old boyars. It's easy to draw the comparison between the same aristocrats of 1917 and the eager young workers who represented the backbone of that year's Revolutions. Also, I see a common theme emerging. Hmmm...)
A large train of people from Moscow arrives in Alexandrova Sloboda, and the Tsar looks out upon his subjects, the common people, this shot framing the film with the Tsar both bowing to his people, and overshadowing them. (In actual fact, the train was led by the boyars, who feared for their lives should the muscovite populice rise against them, and you can make out some in the train. Yay, history nerding.)
As the tsar ascends the steps to Alexandrova, he tells the young Fedor Basmanov to prepare for his return to Moscow.
And so part one ends, with Prokofiev's masterful and bombastic theme telling of the Tsar's glorious return to the capital to confront the Boyars, which will lead the review of part 2. Overall, a truly fantastic piece, and probably one of the reasons it has so many screencaps: There are simply too many good shots to throw in. With that in mind, I will hopefully have a review of that part 2 to post soon. In the meantime, I thoroughly recommend you watch both parts: whether interested in history or cinematography, Eisenstein's work truly does have something for everyone.
And don't forget the ultimate moral of this story:
Chew your fucking food.
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