Although The Circus (Tsirk) was made in 1936 it was still shown on TV in the 1970’s and 80’s and the songs took on the life of their own with “My Country is So Vast” (Shiroka Strana Moya Rodnaya) becoming the Soviet equivalent of “God Bless America”.
The movie is beautifully done propaganda piece for the Soviet Society where there is no place for racism and hatred and everyone wears white. It stars the most popular actress of that time Lyubov Orlova whose looks and voice dominated the best Soviet movies of the 30’s and 40’s.
Below are some clips I cut and lightly subtitled; some of the scenes are actually in understandable English, the others are musical numbers where no translation is needed; some scenes can be understood without words: in 1930’s actors still knew how to display emotions on their faces from their years in the silent movies.
The movie starts with an angry mob scene, someplace in the racist US of A, where a bunch of screaming people sans torches and pitchforks are chasing Marion Dixon, a mother of an interracial child who happened to be a circus performer.
On the train Marion meets Franz Von Kneishiz, who will become her manager. The story moves to the Moscow Circus where Marion performs her death-defying stunt – “Flight to the Moon”. The music playing in the beginning of the clip is a de facto anthem of the Soviet Circus. I still remember the circus being this grand and amazing.
httpvh://www.youtube.com/watch?v=ud3DLEr1nsE
During the act the Director of the Circus asks his actor -a military hero – Martynov to recreate and improve this act. His partner is to be the Director’s daughter whose fiance also appears carrying flowers. Martynov throws the bouquet to Ms. Dixon. Love is in the air.
Evil capitalist Von Kneishiz threatens Marion Dixon to tell everyone about her black baby. While she is crying over Martynov’s photos, he comes into the room to pick up his suitcase. The scene ends with the war of stares between him and Von Kneishiz.
httpvh://www.youtube.com/watch?v=OYdD7RlTI5g
Von Kneishiz hints that he would like the contract extended, instead the director shows him the new replacement act.
httpvh://www.youtube.com/watch?v=q9zWQd09zCU
Stunt fails and Marion runs downstairs concerned for Martynov. Seeing her interest Von Kneishiz tries to make an announcement about her baby.
Von Kneishiz begs Marion to leave, she refuses. She says that Martynov loves her, but Von Kneishiz screams that no one will love her with her black baby. When he leaves, she sings a lullaby to her baby in Russian but with an “american” accent.
httpvh://www.youtube.com/watch?v=djesek2-e-Q
Notice the black maid. This movie probably employed the whole black population of Moscow. The baby was played by James Lloydovich Patterson who lived in the USSR, served in the Soviet Navy, but later emigrated back to the USA.
Von Kneishiz tries to leave Moscow with Marion, but she is being helped by her Soviet friends. Instead she partners with Martynov for a now successful “Flight to the Stratosphere”.
httpvh://www.youtube.com/watch?v=1aBlL5TIUq8
Von Kneishiz finally gets a chance to tell everyone about the black baby. To his dismay no one cares. Instead the circus patrons, each one of a different nationality takes turns singing a lullaby in there own language. One of the singers is a world-famous Jewish actor Solomon Mikhoels who sings in Yiddish. My Dad always pointed out this scene because this was probably the only Yiddish on film which wasn’t censored. Mikhoels was assassinated on Stalin’s orders after the WWII but in this movie he illustrates the supposed internationalism of the Soviet people.
httpvh://www.youtube.com/watch?v=31kSvUrBd6I
The Circus director tells Marion that the Soviet people love all children – white, black, green, pink with stripes. Marion starts singing “My Country is So Vast”. The scene moves to the Red Square where the Circus performers lead the demonstration singing, marching and carrying portraits of the Soviet leaders.
httpvh://www.youtube.com/watch?v=v1ioY7tD5_E
This movie was immensely popular throughout the Soviet times. As any propaganda movie it wasn’t very truthful, there was a lot of national hatred, antisemitism and conflicts in the USSR; many of them manifested themselves only after the break-up of the Soviet Union, but it didn’t mean that on a personal level many different nationalities didn’t live happily side-by-side. People of different nationalities shared apartments, served in the military, worked in the camps. In these situation nationality took second seat to the necessities of hard life.
I am not a movie critic (but I once had a beer with a real-life professor of cinematography), so I will not comment on the technical aspects or the influences present in this movie. The characters and the musical numbers from this movie are an important part of the Golden Fund of the Soviet culture and you just had a chance to enjoy a small peek at it.
This post should be titled “I have a camera too, you know…”. There are people in this town who are really good at taking pictures, and then there is me. I don’t set an aperture and exposure on my camera, I just push the button. That doesn’t make me any less eager to share my photos. Plus I have better captions.
Only five months after first being reported on this blog the famous Kansas City pothole is no longer with us.
Over its short but storied life this pothole brought joy and adventure to children, small animals and many drivers, as well as plenty of material for no less than 5 posts on this blog.
The extent of the falsification of the official Soviet history is still mind-boggling many years after the USSR went extinct. “The Commissar Vanishes” by David King provides a small glimpse into the Soviet photo manipulation at the time when a Photoshop was an actual photo shop. In the years after the Revolution as the result of the Red Terror and later the Great Purge, the official history had to be corrected to reflect the destruction of millions of the “enemies of the people”. Many of them were prominent revolutionaries, frequently appearing next to Lenin and Stalin in the photographs. It was easier to get rid of a person than completely wipe out the record of their existence, but the Soviet people were persistent and came close to erasing all traces of the entire lives from the record. Some of the materials shown in the book survived only abroad. Even owning a photo could trigger a new way of arrests and murders.
I copied a few photos from the book (I am pretty sure illegally) but it is available from the library so if the subject interests you, go ahead and rent it. I am not even going to list the people on the photos (I am sure you’ll recognize Stalin); what’s important is that each airbrushing or a crop represents death, labor camps, murder, lies and in many cases disappearance of the whole families, their friends, co-workers and sometimes neighbors.
Here is another set:
Do we engage in cleaning up history? The answer is: every day. Sometimes it’s innocent like omitting a distinguished employment at Domino’s, sometimes it’s more serious like erasing some unpleasant facts from a politician’s biography. Hopefully it will never come to this again:
The Soviet National Exhibition in New York City was the outgrowth of a new emphasis on cultural exchanges by both the United States and the Soviet Union in the late 1950s. In January 1958, the two nations signed an agreement designed to increase cultural contact and specifically cited the “usefulness of exhibits as an effective means of developing mutual understanding.” At the end of 1958, both nations agreed to host national exhibitions from the other nation. The Soviet National Exhibition came to New York City in June 1959, and ran until late July. The focal point of the exhibition was Sputnik, the Soviet satellite that had gone into orbit around the earth in 1957. There were also exhibits on Soviet industry and agriculture, as well as musical and theatrical performances. Unknown to most of the U.S. public, until the Times article of July 5, 1959, was that the Soviets had placed comment books around the exhibition hall. Americans, never shy in expressing their opinions, gladly obliged by filling the books up as quickly as they were placed. To a large degree, the comments reflected the existing Cold War animosities. A typical remark was, “I think the main perspective of this Russian exhibit is to show the average American citizen how lucky he is to be an American.” Another sarcastically noted, “I missed seeing your typical Russian home (dump) and your labor camps (slave camps).” And after a performance of Russian folk music, one “critic” declared, “Russian music is for the birds. If they’ll take it.” Other comments were considered too “coarse” to be reprinted.
