A Infância de Górk

Detstvo Gorkogo (The Childhood of Maxim Gorky) - 1938 Directed by Mark Donskoy G. Shenotinnik

A Review By Ollie

The Childhood of Maxim Gorky, tells the story of Aleksei Peshkov a 12 year old boy, living in 19th Century Russia, who would later be known as Maxim Gorky, possibly Russia's most famous and celebrated novelist and dramatist. Made in 1938, the film is based on Gorky's autobiography `My Childhood', and is rich and powerful film which will capture your attention from the beginning.

Naturally, being made in 1938, the film is in black and white, although the story is so colourful and vibrant, with characters so alive, you would be forgiven for thinking the film was made much later. It definitely does not feel almost 65 years old.

Aleksei Lyarsky, who plays Gorky, is instantly likeable as the young protagonist. Capable of portraying emotions far beyond his years, he works superbly alongside a cast of commanding and believable proportion. There is an almost Dickensian feel to some of the characters. While desperately sad, and easy to sympathise with, the Grandfather has an ineffable quality, both humorous and self pitying. In stark contrast, Maxim's Grandmother is a simple woman, one of goodness and truth, representing all that is beautiful in the optimism of the poverty in which they live.

This film is more than an autobiographical look at one person's life. It is a peek through the windows of a time long since passed, a history lesson and above all a lesson in life, love and friendship. This is probably the most definitive coming of age drama I have seen, with more authority and gravitas than Truffaut managed in the much acclaimed `400 Blows'.

There are several scenes which stand out. From a simple act of kindness from Maxim, when he gives a crippled boy his pet mouse, to Gorky and his friends sitting around a fire dreaming of a Utopian Neverland; from his Grandfathers almost comedic reactions to their ever increasing poverty, to the tears of his Grandmother as he hands her a coin.

This is a rich and immensely strong film, advanced well beyond it's years, which holds it's own exceptionally well nearly 65 years later. This film will leave an indelible mark on your memory, if only from the simplicity of the tale it tells. It is, without doubt, pure cinematic poetry. A piece of film history which everyone would do well to try and see –it will not disappoint. An extremely well earned 10/10!

Ollie

Apparently, this is one of the most esteemed of movies in film history. Or was. The first of a trilogy, but what about the other two? Shouldn't a trilogy be a triptych, incomplete in just one third? But whatever, it's a 1930s Soviet movie and it is full of casual cruelty, envy, mischance, violence, anguish, and stubborn fortitude. Life is cruel and one must simply soldier on, at least until such time as one gathers the strength to give the rascals the slip. Don't let them grind you down, Alexei.

It's foolish of Hollywood, for example, to remake celebrated classics, movies that succeeded, for inferior copies are just that. Consign all the lousy spin-offs, reboots, prequels, sequels and the like to the oblivion bin likewise. But a movie like this? It could really use a rethink and a refreshment. It's just too antiquated, and too relentlessly depressing. A remake couldn't change that without becoming disreputable, but at least we could have colour and maybe more directorial vitality, even if that did soften the impact of the story's miseries.

I watched this because Youtuber Moviewise referenced it, and he hated it, but it is, one must allow, an esteemed film, but it ain't no Ivan's Childhood (still, for me, Tarkovsky's best). Now, I just have to go on wondering, who exactly is Maxim Gorky anyway?

A good-looking memoir whose nostalgia for the days of the Tsar is tempered by visits from the Secret Police and scenes of prisoners being lead to the Gulag (luckily a thing of the past by the late thirties!), punctuated by beautiful shots of Mother Russia...

The resemblance between Alexander Lyarsky as the young Alexei (as he is called in the film - a role he also plays in the next part of the trilogy - and his illustrious subject at that age has been well captured in the Russian style, as one would expect. That Lyarsky died during the German occupation sadly also doesn't come as a surprise...

another viewer commented on the lack of propaganda; that caught my eye, too, because this is a soviet film about czarist Russia. the soviets were surprisingly even-handed on this one. the only overtly political comment i picked up was when the police arrived at the house asking after a former boarder who was known to be against the czar. this does bring up an interesting point though, for the characters in the family are admittedly and obviously guilty of assaults, torture, murder and arson, but the only time the police appear is when seeking the anti-czarist boarder. it would appear that in this time just about anything went and none were responsible for their acts, unless it was failing to feed oneself when the punishment was beggary. very little in the way of human sympathy existed, and when it surfaced it was repaid thrice over with malice. a mean time. but it is beautifully photographed and the acting is wonderful. there isn't that much of a plot, per se, just vignettes of growing up, but that doesn't detract. it is fascinating to see a time like this preserved. i imagine the ussr in 1938 was actually materially very close to the czarist time it represented. change must have been very slow, as it had been for millenia. i have to say i just love the final shot. it seems the very essence of a soviet statement: the child marches off, leaving his friends behind cheering him on, into a vast flat nothingness - mother Russia unending. he is confidence personified.

When Dwight Macdonald (a brilliant, iconoclastic film critic for decades, for Esquire, Paris Review, the New Yorker, and other magazines) taught a film course at the University of Wisconsin in the '70s, this was one of only about 15 films in his course. (Others included Rules of the Game, Children of Paradise, Keaton's Cops, and Seven Samurai, to give you an idea of the range and level of films he chose.) This film has stayed with me-- in a way, it has haunted me-- for thirty years, since I first saw it back then. I only recently rented it from Netflix and discovered, all over again, the mature and sophisticated style of early Russian filmmakers, and the power they could generate, particularly with material as touching and honest as Gorky's autobiography. Even minor characters, like the crippled boy who keeps insects as pets (metaphor alert--this movie is about serfs), dreaming he can some day set them free in the fields around the Volga, are utterly believable. It really is a must for every serious film-goer.