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剧情简介
Due to some common interests between German and Russian aristocracy ( the Russians even had aristocrats in their past not to mention they had an Empress called Catherine the Great, as great as this German count's heiresses… ), it is not strange that this Teutonic count has understood and even enjoyed Herr S. M. Eisenstein's "Staroye I Novoye". It is not very usual that for the aristocracy to enjoy Bolshevist films full of proletarian demands that put private property at risk or as it happens in this case, a film about the Communist Party's policy on the subject of the collectivization of the Soviet agriculture. Normally this would be perfect gibberish for this German count, but thanks to Herr Eisenstein 's greatness and directorial talent, the hardships of the heroine of the film, Dame Marfa ( Dame Marfa Lapkina ) breached even the thick aristocratic Schloss walls. And that's one of the first remarkable aspects of this oeuvre in spite of the political subject of the film, the powerful images and lyricism ( astonishing and beautiful shot compositions ), especially during the first part of the movie, preserve the artistic merits entirely while serving a propaganda purpose. The second remarkable aspect of the film is the dichotomy between the old and new, the fight to improve the lot of Dame Marfa and her countrymen. There are many discussions because it is not easy even in Russia to change ancient and conservative customs. There are superb metaphors and social criticism ( illiteracy, bureaucracy, religiosity ) which perfectly fit the film, and last but not least, "Staroye I Novoye", is a kind of archaic documentary about ancient customs established deeply in old Russia, those ones that our heroine must fight against. And there is also a lot about agriculture ( very enlightening for this German count), especially about harvesting and how to fatten Russian cows or pigs ( literally, no pun here… ). Herr Eisenstein had to bear during the last era of his film career, unbelievable censorship and mutilation of his work, as happens with "Staroye I Novoye". The film was reedited and Eisenstein accused of sympathizing with Trostky's policies but fortunately the film was restored and showed by the German-frenchified t.v. channel "ARTE", natürlich!, including an evocative music score by Herr Taras Bujewski, that fits superbly Herr Eisenstein primal artistic interests. And now, if you'll allow me, I must temporarily take my leave because this German Count must buy a tractor for one of his Teutonic heiress.
观众心声
愛森斯坦最好看的默片！
割草竞赛和牛的婚礼两段戏非常好看。最后男人在拖拉机下撕女人裙摆的戏充满个人趣味的性暗示，或许显示了爱森斯坦突破电影作为政治传声筒定位的一点暧昧尝试。另一个证据是，20年代的苏联蒙太奇电影往往表现集体力量而轻视个人塑造，而本片里还是出现了一个可辨识的女主角形象，虽然剥离了她的性格和私人生活。
旧与新的对比，淡化意义的碰撞，主要是角度、运动、节奏的蒙太奇实验，形成对比。机械征服土地，驶向社会主义。
看了一半，尊重其实验性与开拓性。剪辑上不在出于叙事的考虑（如果用「连续性剪辑」匹配镜头叙事更易接受）关注镜头与镜头之间的张力。但也只是看了一半。
农业合作社宣传片，朴实无华的女性是最坚定的人！不少叠印，夸张的影像，让人有惊奇之感，这就是陌生化吧？形式比内容更大，爱森斯坦的镜头语言的ego就是太大了，大到你无法忽视，要一帧帧学习呢！最后成排的拖拉机在田野上耕作，宣告富农和官僚作风者必将失败，农业合作社终将获得伟大的胜利！