अपनी भाषा में प्लॉट जोड़ेंPropaganda film from WW2, designed to raise the awareness of the American public regarding USSR's fight against Nazi Germany.Propaganda film from WW2, designed to raise the awareness of the American public regarding USSR's fight against Nazi Germany.Propaganda film from WW2, designed to raise the awareness of the American public regarding USSR's fight against Nazi Germany.
Konstantin Shayne
- Wounded Soldier
- (as Konstantine Shayne)
John Wengraf
- Red Army Commander
- (as John E. Wengraf)
कहानी
क्या आपको पता है
- ट्रिवियाThis film was the subject of inquiry by the House Un-American Activities Committee (HUAC) in October 1947. Testimony as to the distortions of Soviet life presented in the film was provided by Ayn Rand, screenwriter and author of "The Fountainhead" and "Atlas Shrugged". Rand was born in Russia, but left in 1926. Rand derided the depictions of Russian peasants who owned radios and had access to long distance telephones as well as showing a 'traditional Russian wedding dance' with peasant women doing the Charleston with spiked heels in church.
- गूफ़Although the film is set during the Axis invasion of the Soviet Union in 1941, uniforms and equipment shown in both the stock footage and the American-filmed scenes are largely from the period of 1943-44, when the film was made. Of particular note are the helmets and rank insignia which are indicative of this later era.
- कनेक्शनFeatured in Red Hollywood (1996)
- साउंडट्रैकPiano Concerto No.1 in B flat minor, Op.23
(uncredited)
Music by Pyotr Ilyich Tchaikovsky
[Played by Susan Peters on piano, with an orchestra at a rehearsal; Reprised at a concert on tour in Russia, with Albert Coates on piano; Reprised by Peters in a New York concert; Excerpts played often in the score, adapted by Herbert Stothart]
फीचर्ड रिव्यू
Thanks to TCM for airing this astounding propaganda film in October 2003. Others have commented on the nearly unbearable Soviet propaganda in the film, but I watched the Stalin-supplied footage with awe as I had never seen most of it before, at least in this quality and quantity.
The story is stock melodrama with the morals that we (America) must support our Russian allies at all costs and that the scorched earth policy is major war strategy.
But through it all is the luminous face of Susan Peters, who was tragically paralyzed two years after this film's release and died in 1952. She is charming, delightful and disarming enough to inspire a whole village as well as the American conductor (Robert Taylor) who falls in love with her. They marry in an unlikely semi-religious ceremony.
The notions that 1.)An American would be invited on a 40-city tour of Russia in early 1941, and 2.)That he would be able to take his Russian bride out of the Soviet Union (after the German invasion!) "for the greater good of Mother Russia," are pure fantasy. The huge symphony orchestras and the vast, aristocratic, jewel-bedecked audiences we see at theatre after theatre are laughably anti-communist, and the men would most likely have been conscripted by that time.
Yet, as films reflect the history of our lives, I found this a fascinating chapter of the very brief period of US/USSR alliance. I'd love to see it again.
The story is stock melodrama with the morals that we (America) must support our Russian allies at all costs and that the scorched earth policy is major war strategy.
But through it all is the luminous face of Susan Peters, who was tragically paralyzed two years after this film's release and died in 1952. She is charming, delightful and disarming enough to inspire a whole village as well as the American conductor (Robert Taylor) who falls in love with her. They marry in an unlikely semi-religious ceremony.
The notions that 1.)An American would be invited on a 40-city tour of Russia in early 1941, and 2.)That he would be able to take his Russian bride out of the Soviet Union (after the German invasion!) "for the greater good of Mother Russia," are pure fantasy. The huge symphony orchestras and the vast, aristocratic, jewel-bedecked audiences we see at theatre after theatre are laughably anti-communist, and the men would most likely have been conscripted by that time.
Yet, as films reflect the history of our lives, I found this a fascinating chapter of the very brief period of US/USSR alliance. I'd love to see it again.
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