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Torn Boots (1933)

5.51h 25mDrama
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Synopsis

Working with children led Barskaya to create superb direct sound and an inspired style of shooting. Don’t look for conventional cinematic syntax here. The film is chaotic in the way that Soviet films still knew how to be, and Langlois couldn’t help but be seduced by its rebellious spirit, its anarchy and love of children, comparable to Vigo’s Zero de conduite. As well as being a film made with and for children, it offers a complex take on Western society. Pre-Nazi Germany is not named as such but is carefully reconstructed, possibly under advice from Karl Radek, and children offer a playful reflection of class struggle – doubly excluded, as proletarians and as minors. “They play in the same way that they live”, one intertitle says. The interaction between their comical games and the yet more ludicrous ones played by adults is developed on several levels.

Movie Information

Director
Margarita Barskaya
Writers
Margarita Barskaya
Release Year
1933
Runtime
85 minutes
Genre
Drama
Language
RU
Country
Soviet Union
Status
Released
Rating
5.5 / 10 (2 votes)

Top Cast

Mikhail Klimov — cast portrait as Pastor
Mikhail Klimov
Pastor
Ivan Novoseltsev — cast portrait as Valter's father
Ivan Novoseltsev
Valter's father
👤
Varvara Alyokhina
School teacher
Klavdiya Polovikova — cast portrait as Blind woman
Klavdiya Polovikova
Blind woman
Vladimir Uralskiy — cast portrait as Police agent
Vladimir Uralskiy
Police agent
👤
Lev Losev
👤
Nikolay Losev
👤
Anna Chekulaeva
Valter's mother

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Working with children led Barskaya to create superb direct sound and an inspired style of shooting. Don’t look for conventional cinematic syntax here. The film is chaotic in the way that Soviet films still knew how to be, and Langlois couldn’t help but be seduced by its rebellious spirit, its anarchy and love of children, comparable to Vigo’s Zero de conduite. As well as being a film made with and for children, it offers a complex take on Western society. Pre-Nazi Germany is not named as such but is carefully reconstructed, possibly under advice from Karl Radek, and children offer a playful reflection of class struggle – doubly excluded, as proletarians and as minors. “They play in the same way that they live”, one intertitle says. The interaction between their comical games and the yet more ludicrous ones played by adults is developed on several levels.

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