13 European directors explore the theme of Sarajevo and what this city represents in European history over the past hundred years, and what Sarajevo incarnates today in Europe. From ... See full summary »
The University of California at Berkeley, the oldest and most prestigious member of a ten campus public education system, is also one of the finest research and teaching facilities in the ... See full summary »
Hypnotic photography of swirling rivers and misty ponds and droning music (not Michael Nyman for a change) form the backdrop to a documentary-style narration about the history of a ... See full summary »
An embittered law student commits a brutal double murder; a family man takes the fall and is forced into a harsh prison sentence; a mother and her two children wander the countryside looking for some kind of redemption.
A country romance about the human streak in the horse and the horse in the human. Love and death become interlaced and with immense consequences. The fortunes of the people in the country through the horses' perception.
Ingvar Eggert Sigurðsson,
Johann Pall Oddson
A remote village in the North-West of Russia. A mental asylum is located in an old wooden house. The place and its inhabitants seem to be untouched by civilization. In this pristine setting... See full summary »
The first Jewish cemetery in Riga was opened in 1725 and burials continued there until the late 1930s. After German forces occupied Riga in 1941, the cemetery became a mass burial site for ... See full summary »
Renowned documentarian Frederick Wiseman turns his observational camera on The Spring, a Florida shelter for battered women and children. For one-hundred and ninety-six minutes, Wiseman ... See full summary »
I watched "Revue" at my local theater's "screening room". All the black-and-white archival footage of the old USSR was fun to see. I saw firsthand seas of Young Pioneer scarves, lots of tractors and other farm equipment, flooded residential areas, large apartment blocks, reinforced concrete and modular construction techniques, huge factory chimneys belching smoke, a great emphasis on manufacturing steel, exercises in "taming" nature, and much more.
You can learn more looking at these pictures in a couple of hours than you would spending hours reading lots of political and social histories; "Revue" substantiates that old trope "a picture is worth a thousand words". These clips are selected, edited, and sequenced; so you spend a short enjoyable time absorbing some history without being subject to that dusty patina of a professional historian exploring every scrap of archive footage. The hands of the original photographer and of the film composer are predictable and not ponderous, opening the possibility of gleaning a first hand view of life in the old USSR.
The emphasis on manufacturing steel was reminiscent of things I've heard about Mao's China. These events were before the "age of OSHA". Efforts to tame nature didn't appear entirely successful even at the time, and were consistent with my impressions of environmental catastrophe across the USSR decades later. All that mechanized equipment must have used an awful lot of oil. And the out-sized farm equipment -which would have dwarfed anything except large collective farms- seemed to be new (almost unfamiliar) to the farmers. Given how much equipment (boats, rafts, floating walkways, etc.) was readily at hand and how the people went on with their daily routines, the flood must have recurred in most years.
There's no "narrator" nor "voice over", so whatever points the filmmaker wants to make either have to be very unsubtle or have to be repeated many times. One unsubtle comparison was of "new" and "old" ways of germinating seed. The "new" method used the trappings of a scientific laboratory: notebooks, white coats, standardized glassware, measured ingredients, and so forth. The "old" method was nothing more than wrapping up the seed and burying it in the snow in the side yard. Clearly the "old" method got equal or better results for a lot less effort. Lots of sequences seemed to poke fun at "superfluous bureaucracy", but it's not clear to me whether this is symptomatic of the just the old USSR or of governments more generally in that period.
The construction techniques with reinforced concrete and modular construction led to apartments with small rooms and concrete walls. To enable each module to be separately picked up by a crane, every module had to be very sturdy; each module was small, included all four walls, and had only little window openings. The result was those "heavy" and "repetetive" buildings that we denigrate as "Soviet Architecture". The style that had previously been a mystery to me suddenly not only made sense but seemed inevitable.
There were bits of "inspirational" art (including what we might now call the "heroic worker"). Statues and mannequins of Lenin (and some of Marx) were ubiquitous. Those displays were so obviously "propaganda", I couldn't see them as "art" even though they may have been intended that way. Some of it seemed to me very similar to the US government's efforts to garner support for WWII, such as those "Uncle Sam Wants YOU" posters, or cartoons showing Hitler as the big bad wolf and the little pig's brick house sprouting huge cannons. And having just looked through a collection of posters, pamphlets, and photographs from the depression-era CCC (Civilian Conservation Corp) in the US, the "heroic steel worker" seemed less like the product of a warped imagination and more like a copy of the US a decade earlier.
All those tractors, seed drills, ice drills, caterpillars, steel mills, refineries, earth movers, and so forth seemed to be based on technologies that sprang fully formed from something other than local roots. It was obvious they hadn't grown up from anything that was there before. These pictures supported claims that much of the USSR used technology imported from the US.
Many of the performance sequences were of simple singing and dancing. Maybe I was supposed to see them as insipid and overly political, but I didn't see them that way at all. Rather, I saw them in the context of the recent Uighur unrest in the Xinjiang region of China. (China's social policies regarding ethnic minorities were simply copied from the USSR a long time ago.) I saw most of the performance sequences as attempts to base art on folk traditions, preserving and building on what was there previously. These sequences weren't a whole lot different than the photos in the old "Soviet Life" magazine. Some were pathetic and precious, but that seemed related to social policy rather than political organization. And looking closely at the faces -especially in the chorus sequences- a few stood out as being very different from the rest. These must have been children of "native" ethnic groups that had chosen to assimilate as much as possible. The old USSR policy regarding ethnic minorities was definitely more enlightened than similar policies in the West at the time. I couldn't though judge from "Revue" whether or not the policy actually worked all that well even back then, because I could only see the positive exceptions. I guessed in any case the policy wouldn't have kept working in the USSR fifty years later ...but the update was superseded by other events.
2 of 3 people found this review helpful.
Was this review helpful to you?