The Circus (1936), directed by Grigori Aleksandrov, is a Soviet propaganda piece that reflects a growing ideology of Russian nationalism. American performer Marion Dixon, with her German manager Von Kneishitz, tours the Soviet Union performing her popular circus act. While in Moskau, she falls in love with Martynov, an engineer and fellow circus performer. When the jealous Von Kneishitz discovers the romance, he threatens to reveal Marion's darkest secretthat she has an interracial baby. However, Von Kneishitz is defeated when Martynov and the entire circus audience accept Marion and her baby as part of the Soviet state.
This film is Aleksandrov's obvious attempt at Soviet propaganda; yet, regarding the film just as a propaganda piece is a mistake. The purpose becomes much more than just depicting communist Soviet Union ideology. It comments on comedy, the Hollywood film and, more importantly, racism and sexism. Consequently, through the representation of various themes, Aleksandrov is able to create multiple meanings that transcend the superficial title of "propaganda film." Taking place in contemporary (1936) USSR, the film centers on Marion Dixon, an American, who represents a foreigner in the Soviet Union. After fleeing America for having an interracial baby, Marion meets Von Kneishitz, a German, who becomes her manager throughout her tour of Russia. Von Kneishitz loves Marion and is very overprotective over her which causes conflict between the two characters. In Moskau, Marion meets an engineer named Ivan Petrovich Martynov with whom she falls in love. When the circus director views the American's circus performance he decides he wants to copy it. Recruiting his daughter Rayechka, his daughter's lover Skamejkin, and Martynov, the circus director develops a show similar to Marion's show. As Martynov and Marion become close, Von Kneishitz becomes jealous and blackmails Marion. Unable to see Martynov for fear of her secret being revealed, Marion writes him a note which leads to a complicated misunderstanding with Rayechka and Skamejkin. After Rayechka clears up the misunderstanding, she persuades Marion into pursuing the love of Martynov. After Marion and Martynov finally rekindle their love, Von Kneishitz reveals to the entire audience that Marion has an interracial baby. However, the Soviet people and state accept Marion and her baby.
One major theme that appears at the end of the film is that a communist state accepts all outcasts of the capitalistic world because of the climactic musical scene. Marion, who is shown running away from an American mob for having an interracial child at the beginning of the film, is portrayed as an outcast from her own country. Even in the Soviet Union she is portrayed as strange because she has difficulty speaking the Russian language and wears "Western" clothes. It is because she has been an outcast in America and feels like one in the Soviet Union that she does not reveal the secret about her child. However, the plot at the end of the film changes when Von Kneishitz reveals her secret. To Marion's surprise, the Russian people do not reenact the scene at the beginning of the movie. In fact, the scene is completely opposite. The baby and Marion are accepted. This moment provides an interesting transition in the plot. Through the singing of the song, "Shiroka strana moja rodnaja"/"My wide home country," the Russian people become characters within the film and also representations of the communist state. Through the portrayal of Russians from various backgrounds, regions, races, and religions, the director suggests that there is a unity within the Soviet Union. While each region has its own language and dress, they are still united in their belief of acceptance of difference, their Russian nationality, and, most importantly, their communist ideals. By passing around the baby and singing a popular nationalist song, the people are accepting Marion and her child while also assimilating them within the culture. As a result, the beginning and ending scenes are meant to contrast capitalist and communist ideals: the west is racist and not accepting of difference, while Russians are accepting of others. The ending musical scene is able to create a sense of community and friendship, while the beginning mob scene is chaotic and scary. While the musical scene does have a "mob" of people, this mob is of peaceful, accepting people who do not chase and ostracize Marion like the American mob. Instead, Marion and her baby become a part of the collective mob which indicates a communist state of acceptance.
As a big fan of musicals, I really enjoyed the film. The Berkeley-like dance scene was particularly beautiful. The complicated choreography alone makes the film worth watching. Furthermore, the music is enchanting. The rendition of "Shiroka strana moja rodnaja" in different languages and dialects provides an interesting look at Russian culture.
Even though the film is an obvious propaganda piece, I enjoyed many aspects of it. As mentioned before, the musical and spectacle aspects of the film are great. Also, the beautiful Lyubov Orlova as Marion Dixon shines. Although her American accent is not great, she does give a great performance as a conflicted, ostracized circus act.
I would recommend this film to my friends, especially those who enjoy the Hollywood musicals of the 1930s and 40s. It is also a good film that illustrates the power of propaganda during Stalin's time. Whether one views the film as a musical film or as a propaganda piece, the film is still worth watching as a representation of Russian cinema in the 1930s.
This film is Aleksandrov's obvious attempt at Soviet propaganda; yet, regarding the film just as a propaganda piece is a mistake. The purpose becomes much more than just depicting communist Soviet Union ideology. It comments on comedy, the Hollywood film and, more importantly, racism and sexism. Consequently, through the representation of various themes, Aleksandrov is able to create multiple meanings that transcend the superficial title of "propaganda film." Taking place in contemporary (1936) USSR, the film centers on Marion Dixon, an American, who represents a foreigner in the Soviet Union. After fleeing America for having an interracial baby, Marion meets Von Kneishitz, a German, who becomes her manager throughout her tour of Russia. Von Kneishitz loves Marion and is very overprotective over her which causes conflict between the two characters. In Moskau, Marion meets an engineer named Ivan Petrovich Martynov with whom she falls in love. When the circus director views the American's circus performance he decides he wants to copy it. Recruiting his daughter Rayechka, his daughter's lover Skamejkin, and Martynov, the circus director develops a show similar to Marion's show. As Martynov and Marion become close, Von Kneishitz becomes jealous and blackmails Marion. Unable to see Martynov for fear of her secret being revealed, Marion writes him a note which leads to a complicated misunderstanding with Rayechka and Skamejkin. After Rayechka clears up the misunderstanding, she persuades Marion into pursuing the love of Martynov. After Marion and Martynov finally rekindle their love, Von Kneishitz reveals to the entire audience that Marion has an interracial baby. However, the Soviet people and state accept Marion and her baby.
One major theme that appears at the end of the film is that a communist state accepts all outcasts of the capitalistic world because of the climactic musical scene. Marion, who is shown running away from an American mob for having an interracial child at the beginning of the film, is portrayed as an outcast from her own country. Even in the Soviet Union she is portrayed as strange because she has difficulty speaking the Russian language and wears "Western" clothes. It is because she has been an outcast in America and feels like one in the Soviet Union that she does not reveal the secret about her child. However, the plot at the end of the film changes when Von Kneishitz reveals her secret. To Marion's surprise, the Russian people do not reenact the scene at the beginning of the movie. In fact, the scene is completely opposite. The baby and Marion are accepted. This moment provides an interesting transition in the plot. Through the singing of the song, "Shiroka strana moja rodnaja"/"My wide home country," the Russian people become characters within the film and also representations of the communist state. Through the portrayal of Russians from various backgrounds, regions, races, and religions, the director suggests that there is a unity within the Soviet Union. While each region has its own language and dress, they are still united in their belief of acceptance of difference, their Russian nationality, and, most importantly, their communist ideals. By passing around the baby and singing a popular nationalist song, the people are accepting Marion and her child while also assimilating them within the culture. As a result, the beginning and ending scenes are meant to contrast capitalist and communist ideals: the west is racist and not accepting of difference, while Russians are accepting of others. The ending musical scene is able to create a sense of community and friendship, while the beginning mob scene is chaotic and scary. While the musical scene does have a "mob" of people, this mob is of peaceful, accepting people who do not chase and ostracize Marion like the American mob. Instead, Marion and her baby become a part of the collective mob which indicates a communist state of acceptance.
As a big fan of musicals, I really enjoyed the film. The Berkeley-like dance scene was particularly beautiful. The complicated choreography alone makes the film worth watching. Furthermore, the music is enchanting. The rendition of "Shiroka strana moja rodnaja" in different languages and dialects provides an interesting look at Russian culture.
Even though the film is an obvious propaganda piece, I enjoyed many aspects of it. As mentioned before, the musical and spectacle aspects of the film are great. Also, the beautiful Lyubov Orlova as Marion Dixon shines. Although her American accent is not great, she does give a great performance as a conflicted, ostracized circus act.
I would recommend this film to my friends, especially those who enjoy the Hollywood musicals of the 1930s and 40s. It is also a good film that illustrates the power of propaganda during Stalin's time. Whether one views the film as a musical film or as a propaganda piece, the film is still worth watching as a representation of Russian cinema in the 1930s.