“Ivan the Terrible” (Part I) a 1944 (of 1500’s) Socialist Realist film by Sergei Eisenstein

“Ivan the Terrible” a 1944 (of 1500’s) Socialist Realist film by Sergei Eisenstein

This particular Eisenstein project (Ivan the Terrible) was done in 1944 and already starts the opening scenes with the Tsar being accepted by his superiors as the choir sings a song about how the Boyers have unleashed a treacherous plot. During this scene we see a multitude of people around the massive cathedral size structure, all of which are participating in this ceremony for the Tsar. Not all are content with whom the Tsar is currently and it is unsettling to say the least. We find this out throughout the film as the camera takes us in and out of various characters conversation pieces and it’s clearer that many want nothing to do with the Tsar, especially when he makes his announcement in a few seconds. But first, we need to place the crown on the Tsar and give him a sword and orb. Alright, we see the money flowing over the new Tsar, the choir still singing, then all of the sudden the choir stops. This is when a soloist chimes in with an abundantly healthy set of bass sounding lungs. I nearly jumped out of my seat because I never saw that coming, then the big guy stops, choir adds a few more verses, the big guy does one or two more as well and we move to the Tsar Speech scene and angle(s).

Tsar says he wants everyone to give him money, even the bishop and the higher ranked individuals are to obey. They will help and obey so that Tsar can get the trained people, tools, weapons and anything else he need  for the preexisting battle ahead. A lullaby is caressing our delicate ears at this particular time in the film.

As the Tsar continues his requests, he is unaware of the gossip that has the palace going crazy because of the mega celebratory things that overwhelm him currently. The gossip is about the townspeople heading toward the Tsar as the celebration is commencing. All of the sudden, I recall someone mention wedding, a baby and the scene didn’t really change much before the guests were chanting for the couple to kiss.

Suddenly, as if it was out of thin air, the cathedral was filled with townspeople with sickles and such, shouting things like, “I want to see the Tsar” and “Where is he”. There was one man who happened to push through everyone and ended up smack dab in front of the Tsar himself. Once the Tsar was acknowledged, everyone within the room had bowed and/or gestured to the Tsar. A gesture of approval, I think, it was hard for me to tell in this section of the film.

Tsar says, “We must weed out Boyars, too Kozan.” The townspeople echoed the Tsar and off they went to with weapons like sickles and cannons. They dug a tunnel over a period of a month, when Tsar’s helpers were finally through; he instructed that he had enough gun powder to fulfill their goal. So, off to the gunpowder stock they go and with four strategically placed pieces of wick and a single candle to burn down for contact, they blew up the entire area, went to war with Moscow and succeeded.

The story takes us back to the castle-like structure, where everyone appears to be discussing how the fact their Tsar is “ILL” from the war. Holy Sacraments are then brought to the Tsar, he laid bad for his final resting position, holding a lit candle, which looked about as creepy as it can get. Only to be met up with a huge biblical looking book, this towers his skull in comparison. At this time, everyone is vying for the label Tsar, but it backfires when the Tsar is on his feet again, Stating, “The Sacraments Cured me.”

The Tsar strongly urges a move toward the Baltic States, while acknowledging he is alone outside the fact his wife (Anastasia) and child (Alyoshka or Rigy are the two names that popped up on screen at the same time) are with him. No men, weapons, help of any kind to complete his goal for the Motherland. It was not long before new outside resources teamed up with the Tsar and created, vast numbers, comrades which ultimately fought alongside the Tsar; for the sake of the Motherland.

I certainly see the similarities between some of the Socialist Realist lead character traits. Meaning, the dedication to the Motherland takes presence over friends and family. Also, the character’s of Anastasia and Tsar appear to have more of a darker side, in which is only hinted, but evidence such as Anastasia’s occasional flirtation with that other guy even while the Tsar was supposedly laid to rest in his final bed. I didn’t know what to think of it, but it sure leaves the character open for future scripts. The Tsar with his naive way of accepting everyone’s reasoning for almost assassinating him around every corner. The film had a lot of funny part, where I was giggling and a few parts were I blurted out, “Of course” or “Why not.” It’ll be interesting to see part II of, “Ivan the Terrible” and those links we had seen prior to this film starting.