At Home Among Strangers, a Stranger Among his Own is a rollicking action and adventure film that nonetheless calls attention to deeply important themes in Russian history. Set directly after the Russian Civil War, the film looks and feels very much like an American Western, embodying motifs of greed, justice, honor, and betrayal. In the film, a shipment of gold being sent to Moscow for the purchase of food supplies is intercepted by a band of train robbers, who are themselves infiltrated by a Red veteran–accused of trying to steal the gold–out to see justice done and clear his name, and by the murderous villain who framed him. Meanwhile, the local Cheka attempts to solve the crime, leading to numerous chases and gunfights.
Along with the action and suspense that drive the film's plot, At Home Among Strangers explores the challenges in Russia following the Red victory over the Whites. After the war, an entirely new struggle of rebuilding a divided country begins. The film showcases victorious but overwhelmed reds, defeated but still greedy Whites, and bandits surviving however they can, bearing no political or ideological affiliation. The chairman of the Cheka embodies the struggle of uniting a country made up of such disparate factions; he struggles to do everything that must be done to transition from wartime to socialist peace. Likewise, a former cavalry officer grapples with settling finances, doing his part for peacetime when the battlefield is all he knows. Finally, demonstrating the fundamental divisions within Russian society, the hero Shilov struggles to retain the trust of his fellows, who know that his brother fought for the White army.
Stylistically, this "ostern" pays homage not only to the popular American cinema it emulates, but also to previous triumphs of Russian film. A scene in which machine guns are fired from atop cliffs at the water below recalls the final minutes of the Vasilyev Brothers' Chapaev, and some scenes in the movie, like flashes of comrades-in-arms celebrating their victory amid feelings of betrayal, and an image of a wagon tumbling down a hill as the exhausted Shilov makes his way down a similar decline to his waiting comrades, are unmistakable nods to the montage style made famous by Eisenstein and his contemporaries. When the gold is finally returned and old friends regain their mutual trust, shots of the men celebrating the end of the war are interspersed with those of them celebrating the safe return of their valuables. Ironically, their glee over the gold is matched only by the joy they had taken in their victory over such material possessions, and the superimposition serves to remind audiences that now, even amid all their struggles, wealth and camaraderie go hand in hand, and that hard-earned gains are for the benefit of all.
Along with the action and suspense that drive the film's plot, At Home Among Strangers explores the challenges in Russia following the Red victory over the Whites. After the war, an entirely new struggle of rebuilding a divided country begins. The film showcases victorious but overwhelmed reds, defeated but still greedy Whites, and bandits surviving however they can, bearing no political or ideological affiliation. The chairman of the Cheka embodies the struggle of uniting a country made up of such disparate factions; he struggles to do everything that must be done to transition from wartime to socialist peace. Likewise, a former cavalry officer grapples with settling finances, doing his part for peacetime when the battlefield is all he knows. Finally, demonstrating the fundamental divisions within Russian society, the hero Shilov struggles to retain the trust of his fellows, who know that his brother fought for the White army.
Stylistically, this "ostern" pays homage not only to the popular American cinema it emulates, but also to previous triumphs of Russian film. A scene in which machine guns are fired from atop cliffs at the water below recalls the final minutes of the Vasilyev Brothers' Chapaev, and some scenes in the movie, like flashes of comrades-in-arms celebrating their victory amid feelings of betrayal, and an image of a wagon tumbling down a hill as the exhausted Shilov makes his way down a similar decline to his waiting comrades, are unmistakable nods to the montage style made famous by Eisenstein and his contemporaries. When the gold is finally returned and old friends regain their mutual trust, shots of the men celebrating the end of the war are interspersed with those of them celebrating the safe return of their valuables. Ironically, their glee over the gold is matched only by the joy they had taken in their victory over such material possessions, and the superimposition serves to remind audiences that now, even amid all their struggles, wealth and camaraderie go hand in hand, and that hard-earned gains are for the benefit of all.