The Volga Boatman

In her movie diary for 1926, Ayn Rand gave the Cecil B. De Mille silent movie The Volga Boatman a rating of 5+, the highest rating on her scale. The story is set during the Russian Revolution, and revolves around a love triangle. The woman is a Princess, who is loved by a Russian noble, and by a revolutionary leader. On that level, the plot is similar to AR's We the Living, and no doubt to many other novels.

As in We the Living, the revolutionary, named Feodor, is idealistic, although not nearly as intellectual as Andrei Taganov. The Russian noble, named Dmitri, is brave and arrogant, like Leo. The Princess, named Vera, does not resemble Kira particularly, but does have similarities with another Ayn Rand creation - Dominique Francon.

One scene that emphasizes this connection occurs near the beginning of the movie. Princess Vera hears some Volga boatmen singing as they pass near her home. The Volga boatmen are peasant laborers who pull boats against the current, up the Volga river, by means of ropes harnessed to their bodies. One of the singers in particular catches her ear, and she goes down with Dmitri to investigate who it is that sounds like "the soul of Russia."

So the wealthy young woman goes to look at the laborers, and sees the man she had heard singing, as he and the other boatmen are taking a rest break and a drink of water. She stares at the man, Feodor, in open admiration - and he stares right back, as openly as she. This recalled to my mind the scene in The Fountainhead in which Dominique went to her father's quarry and stared at Roark, who stopped working and stared back.

Then Dmitri intervened, and ended up giving Feodor two lashes across the face with his whip, leaving nasty cuts each time. Feodor took the blows without flinching. This too recalls the same sequence in The Fountainhead, although there it was Dominique who wielded the whip, and not a rival lover.

I don't know, of course, but it seems likely to me that AR wrote that scene as something of an homage to the similar scene in The Volga Boatman.

The movie itself claims to take no side in the conflict of the Russian Revolution, although it pretty clearly does favor the revolutionary side. Still, the heroes all run afoul of the revolution at one point or another.

I recommend the movie, which is available now on DVD.

Silent Movies

Silent movies seem to be an acquired taste. I usually have a hard time watching them. They seem hopelessly archaic compared to modern movies. But while the technology of silent films certainly is archaic, the stories themselves are not. And since these movies were made in the early twentieth century, they are less infected with all the maladies of the modern intellectual and literary world. Silent movies are closer in time to the era of Romantic art - Cyrano de Bergerac was published in 1897 - and so some of that spirit exists in them which no longer survives in the modern world.

Among the silent movies that were enjoyed by the arch-romanticist, Ayn Rand, were The Indian Tomb (Part 1: The Mission of the Yogi; Part 2: The Tiger of Bengal), The Nibelungen (Part 1: Siegfried; Part 2: Kriemhild's Revenge), The Thief of Baghdad, The Mark of Zorro (and many other silent films starring Douglas Fairbanks), The Oyster Princess, and The Volga Boatman. All of the above movies are availabe on DVD now, and more seem to be coming on the market all the time.

One I recently watched is The Winning of Barbara Worth, starring Ronald Colman, Vilma Banky, and Gary Cooper. This movie still has something of the heroic spirit of nineteenth century America in it, when American businessmen and engineers were taming the vast expanses of the West. Colman is an Eastern engineer who comes out West to build a dam to bring water to a desert wilderness and bring it to fruitful life. Gary Cooper is a native Westerner who is initially unimpressed with the soft Easterner. Vilma Banky is the woman they both adore.

The financier who funds the building of the dam is a villain who is willing to rob and kill to defeat his competitors. When this becomes clear, Colman switches sides, and convinces another Eastern financier to rescue the project (which suffered through a natural disaster), by appealing to his self interest, as well as his good will.

Colman is the hero of the story, who transforms the desert into farmland, against the natural obstacles, and against the man made interference. Cooper is a rugged Westerner who helped him achieve that goal, in spite of their rivalry over Vilma Banky.

It's a benevolent silent movie I can recommend. It's not a bad starting place if you want to begin exploring the world of silent movies.