Let me say this first: if you're willing to overlook the political message of the film and, instead, concentrate solely on its artistic qualities, you'll be more than satisfied.
It has some of the most magnificent montage editing I've ever seen--quick and frenetic--and shows off the vast, open landscape quite well. There are a couple particularly memorable examples. At one point, a mountain rebel is on his deathbed; the film cuts between him dying and a sun low on the horizon, to touching effect. Later, a soldier executes an unarmed prisoner and feels some remorse as a shot of dirty, viscous mud is inserted, suggestive of the "muddy" morality here. And (spoiler) no audience could ever forget the climactic end of the film, with the protagonist going berserk and leading a small army against the government troops: wind blowing, knocking trees and soldiers over, while the rebels charge headlong. There are two storms in this last scene. A meteorological one, and a figurative, violent one.
In short, Intelligent film-making with splendid cinematography and Soviet editing. (Even some canted frames, which I'd call innovative for such an early film.) Sure, the propaganda is conspicuous, but who cares? The techniques, the shots, are absolutely beautiful.
It has some of the most magnificent montage editing I've ever seen--quick and frenetic--and shows off the vast, open landscape quite well. There are a couple particularly memorable examples. At one point, a mountain rebel is on his deathbed; the film cuts between him dying and a sun low on the horizon, to touching effect. Later, a soldier executes an unarmed prisoner and feels some remorse as a shot of dirty, viscous mud is inserted, suggestive of the "muddy" morality here. And (spoiler) no audience could ever forget the climactic end of the film, with the protagonist going berserk and leading a small army against the government troops: wind blowing, knocking trees and soldiers over, while the rebels charge headlong. There are two storms in this last scene. A meteorological one, and a figurative, violent one.
In short, Intelligent film-making with splendid cinematography and Soviet editing. (Even some canted frames, which I'd call innovative for such an early film.) Sure, the propaganda is conspicuous, but who cares? The techniques, the shots, are absolutely beautiful.