Introduction

Introduction | Appreciation | Thinking of Lenin in Paris

198 1 color film for 99 minutes

Produced by Moscow Film Studio of the Soviet Union.

Director: Sergei Yutkevich Screenwriter: yevgeny Gabrielovich Sergei Yutkevich Photography: Nikolai Nemeroyev Main Actors: Yuri Ka Juro (Lenin) valentina Svetlova (Krupskaya) Claude Riad (Inesa armand) Barville Kadosh Nicokov (Laverg) Pang Yawen Maximova ()

This film won the 1982 All-Soviet Film Festival Jury Historical Film Award; 1983 Soviet state bonus

abstract

In the overture of the film, director Utkevich and screenwriter Gabrilovich arrive at Paris North Station by train. They will personally complete the journey of revolutionary workers from Russia when they arrived in Paris in 19 1 1, so as to feel the fate of several protagonists they want to describe in the film.

Time has returned to the spring of 19 1 1. Trofimov, a young Russian worker, came to Paris by train. He was sent from exile by the party organization to study at the Longyemo Party School that Lenin was about to establish in the suburbs of Paris. At that time, the Russian revolution was threatened by white terror and Lenin was at a low ebb. He was exiled abroad. He arrived in Paris with Krupskaya and his mother-in-law at the end of 1908 and lived on the third floor of a small building in Mariroz Street.

Trofimov came to Lenin's apartment, and Krupskaya received him, telling him that Lenin went to work in the National Library every day, where he was writing an article commemorating the 40th anniversary of the Paris Commune. She asked Trofimov to prepare the situation in Russia in order to answer Lenin's questions. Krupskaya is busy going out to learn French. After she left, a woman named Inessa came to Trofimov, took him out and arranged a place for him. The next day, Lenin personally came to Trofimov's apartment to meet him and walked and talked with him. Trofimov couldn't figure out why he was sent to Paris. He thinks it useless to run a party school at this time. The revolution needs practical action, not empty talk. Lenin told him to be good at revolution, to study history and draw lessons from it. On the way to visit the wax museum, Lenin took him in and explained to him the painful lessons of Louis XVI, Joan of Arc, Mara and others in French history. Trofimov didn't seem to listen carefully. What he saw was the persecution of domestic revolutionary workers and the suppression of revolutionary movements. "He couldn't help shouting at Lenin ... You should take action instead of squatting in the library and visiting the museum ... Are all these history and wax figures useful to me? Goodbye! "Then he turned and ran away.

The next day, Lenin and his wife rode bicycles to Delaville, a suburb of Paris, to visit Marx's daughter Laura Laffag and son-in-law Paul Laffag. Along the way, Krupskaya remembered Lenin's unpleasant conversation with Trofimov in the wax museum. Krupskaya's inner monologue revealed to the audience that others did not understand the great significance of Lenin's life in Paris, which made Lenin very sad. Lenin's life in Paris was very tense. He wants to explore the theory of scientific revolution. Participate in the work of the International Socialist Committee; Try to transport the secret printed matter back to Russia; It is necessary to plan to hold the Fifth All-Russian Congress of the Social Democratic Party; But also leads the Social Democratic Party in the State Duma; In addition to these tasks, we will hold reports and seminars and participate in many proletarian political demonstrations. He also overcame all kinds of difficulties and organized and published the Russian Workers' Daily, writing one or two articles every day. His stay in Paris was forced by circumstances. In fact, he is the most eager to return to Russia among the expatriates. Lenin was also thinking silently, so that the two men missed the corner and came back. Lenin sent his new work Critique of Materialism and Empiricism to Laverg, who regarded him as an ally in the struggle against enemies who distorted Marxism.

The Colonel of the Tsar Gendarmerie of the Russian Embassy in France sent a spy named Zhitomirski to monitor the activities of the Paris Group of the Russian Social Democratic Party led by Lenin. As can be seen from Spock's narrative, there is a fierce debate among the members of this group in the cafe: some people advocate legal struggle; Some people insist on underground struggle; Others call themselves "frivolous", tired of everything and just want to live. Lenin stressed the need to put revolutionary activities back on track. His words were interrupted by a riot: a recall manager and a group of people broke into the cafe and had a big fight, and the owner immediately turned off the lights to quell the fight.

Early in the morning, Krupskaya was dealing with a lot of letters. She heard Lenin tossing and turning in bed, unable to sleep. Lenin thought of the debate in the coffee shop during the day and deeply felt that it was still an arduous task to guide revolutionary practice with correct theory.

Enisha took Trofimov to Montmartre. Along the way, Inesa criticized Trofimov for not understanding Lenin's work in Paris and told him the importance of studying philosophy. They sat under an umbrella in taitel Square, drinking coffee. Inessa taught Trofimov to learn simple French words. Trofimov kept asking Inessa questions, trying to understand her life story. It turns out that Enisha is French, her father is a singer and her mother teaches singing. After her father died, she went to a rich family in Moscow with her aunt who went to Russia as a tutor. Later, she became the daughter-in-law of a rich family. Inessa wouldn't let Trofimov continue to inquire about her experience. She told him the battle history of the Paris Commune, and the heroic scene of that year seemed to reappear. Inessa spoke very vividly and in detail, but Trofimov suddenly fell ill. Later, when she learned that he had a fever and a cold, Enisha managed to drag him back to the hotel. He lay in a daze for two weeks. Lenin went to see him every day and called a doctor for him. After his illness, Lenin accompanied him for a walk in Monsuri Park and announced to him that the Party School would start on time in two weeks.

The film director visited the former site of the party school in the suburbs of Paris. In the director's narrative, the scene of191party school appeared on the screen: only a dozen students, including Trofimov, lived in poverty. Dinner is only onion soup, bread and salt. The classroom is a big shed, and everyone sits around a long wooden table and listens. They learned the purpose and means of struggle and strengthened their confidence in the revolution. These party school students met young western European college students who were influenced by ultra-left thoughts in the late 1960s, and they had an argument. Young people in western Europe say that they hate the bourgeoisie and its morality, religion, science and law, and hate the whole cursed life. Trofimov said that they were studying revolution at the Party School. So in the month of 19 17, the Smolny Institute appeared, where Lenin gave instructions on the uprising. He commanded the revolution day and night, and the audience saw him scribbling peace decrees. Lenin received a report: Temporary * * * has been arrested, kerensky has escaped, and the Winter Palace has been conquered. Those contemporary western youths also witnessed some scenes of the October Revolution with the audience.

Trofimov's voice-over narrated Kranstadt's counter-revolutionary rebellion in 192 1, and he relayed Lenin's view: pointing the finger at the counter-revolution of petty-bourgeois proletarians under the dictatorship of the proletariat is more dangerous than the white bandits such as Denikin, Yudenich and Colta. Trofimov took part in the fight to quell the counter-revolutionary rebellion in Langstad, and he was the commander of this battle. He himself said that he was shot and killed in the battle.

Time goes back to Paris at 19 1 1. Inasha found with satisfaction that Lenin had changed a lot in Trofimov. He has realized the guiding role of revolutionary theory in revolutionary practice and began to study hard.

An unfortunate thing happened: the newspaper published the bad news that both the Lavergs committed suicide. At the funeral, Lenin said excitedly that Laferg was one of the most talented disseminators of Marxist thought, and thought that the experience of class struggle in Russian revolutionary period and counter-revolutionary period brilliantly proved that Marxism was correct. Looking at Lenin who was speaking, Trofimov felt that different people had different views on Lenin. Some people call him a dogmatist, while others praise him as a wise philosopher.

Trofimov is about to return to China, and he invited Inessa to revisit his hometown: drinking coffee in taitel Square in Montmartre. Trofimov was silent for a long time. Suddenly, he said "I love you" to Enisha in French, but Enisha made him forget this feeling. She should still be his friend. The first thing to consider now is "career". She asked Trofimov to go to Kiev to establish long-term contact with someone after returning home.

The film director collected a lot of information and planned to fly back to China from Paris. They came to the modern Ruaxi airport and recalled that when Lenin and his wife lived in Paris, they often rode bicycles to the grassy open space to look up at the first pilots who flew off the ground.

At the end of the film, a caption appeared on the screen: "100 years has passed. ..... but we should always remember where this 100 year started. "

Distinguish and appreciate

This film is the fourth of Lenin's four films directed by Utkevich. The first three films are Man with a Gun, Lenin's Story and Lenin in Poland. Except "The Man with the Gun", the other three films are all co-produced with screenwriter Gabrilovich. Every film about Lenin made by Youtkevich is a bold exploration. The gunman was arrested at 1937. So he has been exploring Lenin's films for nearly half a century. Lenin in Paris is an innovative work in both content and expression. What the film wants to show is not the plot, nor the historical picture, but the process of ideological and ideological activities. This is a difficult time. The Russian revolution encountered setbacks. Many people think that the hope of revolution will be delayed for ten or even decades, but Lenin and a small group of like-minded people firmly believe that the pause on the revolutionary road will not last long and a new revolution will come soon. During his stay in Paris, Lenin used intense work to drive away his loneliness of the motherland. He attached importance to the guiding role of correct revolutionary theory in revolutionary practice, so he decided to set up a party school in Longyoumo, a small town on the outskirts of Paris. It is entirely possible that such a film is very conceptual and dry, but what is displayed on the screen is a colorful film made by all means of expression of modern movies. Stylistically, this is not an ordinary revolutionary historical film. Some people call it "science fiction political film". For Lenin, the film author showed him from many angles. In the film, all kinds of people: his comrades-in-arms, friends, acquaintances, enemies, and even spies of the czar police are talking about him. His descriptions and comments are vivid and diverse, just as Trofimov, a worker, looked at Lenin who was speaking at the funeral of Mr. and Mrs. Gai in lavr and thought to himself, "What kind of person is this? ! His enemies called him a dogmatist, and his friends said he was a wise philosopher. The shoemaker who repaired shoes said he was silent, the small businessman who sold him bread said he liked to talk, the postman said he was smart, the charcoal dealer thought he was confused, and the female doorman in his Paris residence said he was indifferent. But I understand that he is completely focused on winning the victory of the revolutionary cause of the working class. " Perhaps, this is what we see on the screen is not a single color of Lenin.

Apart from multi-angles, this film is a multi-voice film with direct dialogue and voice-over. In the voice-over, there are both the narration of director Xie Jutkovics and the inner monologues of the protagonists, and direct dialogue is often intertwined with inner monologues.

The film spans a long time and space and can be changed freely. It shows France and Russia at the beginning of this century, Russia during the October Revolution and the newly born Soviet countries, as well as the Paris Commune and fully modernized Paris in the 1980s.

Feature films and documentaries or other feature films also appear alternately. For example, when Trofimov first arrived at Lenin's residence, Krupskaya told him that Lenin was in the library and would not come back until evening. At this time, the photos of the French National Library appeared on the screen, and the documentary Memory of the World from alain resnais. For another example, when Lenin took Trofimov to visit the wax museum, Trofimov remembered the scene where the domestic workers' movement was suppressed. A set of fast black-and-white shots describing the Russian revolution appeared on the screen. These pictures and refined montage language are taken from classic feature films The Strike in Eisenstein and pudovkin's Mother. In addition, in the scene of the October Revolution, some pictures were borrowed from Wiltoff's film about Lenin. All these clips in the documentary are intertwined with the newly shot scenes, giving the film vivid and powerful expressive force.

Such a film reflecting ideological debate is very enjoyable, interesting and humorous. For example, Lenin and his wife came out of Laffargue's house. On their way home, Lenin's bike was hit by a viscount's old car, and the wheels of the bike were knocked off. The viscount bullied others, and they went to court, and finally ended up compensating Lenin for his losses. This story is described with beautiful flower subtitles before the revolution and before the Russian alphabet reform. Moreover, the development of events is accelerating, and some scenes are similar to early comedy silent films. On the way to Laffargue's house, Lenin was silent all the way. Judging from the expression on his face, he is very excited. I saw the wheels of his bicycle turn faster and faster in the sun, which implied that he hoped that the wheels of history could turn as fast as the wheels of his bicycle.

The film not only inherits the tradition of excellent documentaries and feature films, but also draws lessons from the art of painting. In the scene of Inesa taking Trofimov to Montmartre, the landscape gallery displayed by wandering artists' oil paintings and watercolors is used to describe the scenery of Montmartre. In the scenes of the Paris Commune described by Inesa, some scenes are also paintings, and some pictures are treated like Italian Renaissance paintings or Picasso's early paintings. The whole Paris Commune is an exciting sight. In front of Trofimov, selling carnations is lame and looks like a 100-year-old little old woman. In fact, Miss Millie is not yet 50 years old. When she was a little girl, she took part in a fierce battle to defend the Paris Commune. Her father was shot by Versailles, and her own foot was lame because of the injury. When Trofimov was lying in the hospital bed, his sanity was still unclear. 1905 The scenes of the Paris Commune and the Russian Revolution were constantly reflected in front of his eyes, overlapping and merging into one ... Young Miss Mileye was holding a bunch of white carnations, and Tsar Cossack rushed at her. The white carnation that fell from her hand was dyed red with blood. This clip vividly shows that the painful history of different periods and countries is internally related and echoes each other.

Lenin's sleepless night is a very touching scene. Lenin, who used to appear in front of the audience in films showing Lenin, was often strong and decisive, but in this film, the film author showed Lenin's anxiety. Lenin lay in bed and couldn't sleep for a long time. In front of him, there was a constant quarrel in the cafe during the day. Some people lost confidence in the revolution and made pessimistic remarks: "The Russian working class will not wake up from catastrophic failure soon ... the party has been shattered." In Lenin's illusion, the "scorner" who despised both legal struggle and underground struggle and was tired of everything became a masked monster in the Paris Carnival. This illusion is metaphorical. Lenin's life in Paris was calm on the surface, but he was very nervous inside. He wants to fight against all kinds of wrong ideas and arguments that violate Marxism and put the revolutionary movement on the right track, but he "can only use words and language."

Lenin loved ordinary life as much as ordinary people. When Trofimov and Lenin went for a walk in Monsuli Park, his voice-over said, "ilych likes walking in Monsuli Park best. He likes this peaceful kingdom of trees, birds, old people and children. Here, he can think seriously and have a good rest. " Lenin could reasonably understand the death of the Lavergs. He said to Trofimov, "Not long ago, I blamed the unfortunate Loughs. But what right do I have to do this? You know, everyone has pain, sadness and despair. " He also admits that "he has had such moments himself", and sometimes he feels how big a mountain is in front of him! But you have to dig and dig all your life. It is also very innovative to express Lenin from this angle. The film also shows Lenin's view of life and death, which has never been shown before. When Trofimov asked Lenin if he thought about "death", Lenin's answer was: "I don't know what death is. I know what fields, skies and rivers are. But what would it be like to die? When will it come? ..... I don't know. " Lenin's simple answer strongly showed his love for life.

The film breaks the barriers of the times, allowing the students of Longyemo Party School to meet the young college students in modern western Europe who were influenced by the ultra-left ideological trend in the late 1960s, and thinks this scene is the conception of the film. This argument shows that the students of Longyemo Party School are against terrorists who shout revolutionary slogans and actually preach non-ism. Through this scene, the film author wants to show that the ideological debate is not over yet, and Lenin's correct thought still has urgent practical significance in modern political life and social life. The film shows that there are such terrorists in every period, and the counter-revolutionary rebellion in Kranstadt in 192 1 was also initiated by some seemingly revolutionary non-* * elements. Although these people live in different times, their thoughts come down in one continuous line.

The October Revolution shown in the film is the hero's vision for the future revolution in 19 1 1. Some pictures depicting the October Revolution were taken on the spot, and some movie files were also used. In the picture of Lenin sitting in front of a long wooden table writing "Peace Decree", the table that the audience saw seemed to be the long wooden table of Longyemo Party School. In many movies, at the decisive moment of the October Revolution, we have never seen Lenin sitting in such an office. This is certainly not the office of the Revolutionary Command of Smolny Institute. This performance is to emphasize the guiding role of the correct revolutionary theory taught by Long Yemo Party School in revolutionary practice.

Some things shown in this film are impossible in regular movies. For example, in Trofimov's narrative of quelling Cranstadt's rebellion, he himself said that he was "shot", which is impossible in reality. This is conceived by the author's rich imagination, which may be Trofimov's thoughts about things ten years later in 19 1 1, or Trofimov's experience in that nightmare.

The image of Lenin played by Ka Juro was very successful. This role is very difficult. The character has no action, mainly to express his thoughts and inner world. Ka Juro's performance is natural and vivid, which makes people feel very cordial. His achievements in playing Lenin's image can be compared with that of Strauch.

This film has a unique form and rich creative imagination, which will have a certain impact on the future film development in the use of film language.