In the tumultuous years preceding World War II, the Stalin regime recognised the need to prepare Soviet citizens for the impending conflict through propaganda. This realisation led to a shift in focus from the utopian socialist future to the glorious past of Russia, where grand historical figures, previously portrayed as oppressive and primitive through the prism of Marxist dogma, could now be used as positive role models. This approach was heavily employed in cinema, with Alexander Nevsky being a notable example.
Another ambitious film with the same agenda was Peter the Great, a two-part historic biopic directed by Vladimir Petrov, which tells the story of Peter the Great, the Russian Tsar who transformed Russia from a backward and primitive country into a powerful and modern Westernised state.
The main creative force behind the film was Alexey Nikolayevich Tolstoy, one of the most prominent authors of Russian literature in the first half of the 20th century. As a member of a noble family, Tolstoy was initially opposed to the Bolshevik Revolution but later returned to Russia and embraced the new regime, earning him generous rewards for his change of heart. Tolstoy wrote many notable works, but his magnum opus was a play about Peter the Great, partly inspired by his own family's history. Many saw the play and the unfinished novel as a homage to Stalin, noting the obvious parallels between the two rulers. Based on his material, Tolstoy co-authored the film's script with Petrov and Nikolai Leshchenko.
The plot of the film chronicles the most significant event of Peter's reign—the Great Northern War, which lasted from 1700 to 1721. During this conflict, Russia, as part of a coalition of European countries, challenged Swedish hegemony over Northern Europe, while Russia itself sought to gain access to the Baltic Sea. The war began poorly, with the Russian army suffering a humiliating defeat at the Battle of Narva. However, Peter (played by Nikolai Simonov) is not discouraged and sees the fiasco as an opportunity to learn from his mistakes and further impetus for his far-reaching military, economic, and social reforms, based on the rapid adoption of European technology and fashion.
These efforts gradually bore fruit, and the Russians captured an important Swedish fort, which Peter would soon use to build a new city and future capital named St Petersburg. The Swedish king, Charles XII (played by Edgar Garrick), tried to conquer Moscow but suffered a decisive defeat in the Battle of Poltava. The war continued, with the greatest danger for Russia now coming from within—religious conservatives, boyars unhappy over the loss of privileges, and corrupt state officials. They all found their champion in Peter's son and heir, Alexei, played by Nikolay Cherkasov, a weak young man who despised Peter's reforms and wanted Russia to return to its old ways. He began to take part in various conspiracies, which forced Peter to use brutal force against his own son.
Despite a relatively large budget, the film's image quality would be noticeable to modern viewers due to its age. However, the battle scenes featuring hundreds of extras are quite spectacular, and the naval combat is reconstructed in a convincing and impressive manner that would even give 1930s Hollywood a run for its money.
The acting in the film is top-notch. Nikolai Simonov is great as Peter, portraying him as an intimidating, larger-than-life figure who is often tyrannical and capricious but also very human, especially in heart-wrenching scenes where he has to deal with his own flesh and blood. Nikolay Cherkasov, best known for his heroic titular role in Alexander Nevsky, plays a completely different kind of historical figure as Peter's weak and pathetic son. Mikhail Zharov is equally effective as Peter's friend and chief assistant, Duke Menshikov, a character whom the audience might like despite some of his actions being questionable. Alla Tarasova is also effective as Catherine, a common maid who would become Peter's consort.
The two-part film with its long running time has a mostly episodic plot, leaving more perceptive viewers plenty of opportunity to see how the late 1930s Soviet Union began to reconcile itself with segments of the pre-revolutionary past or treat history differently than Hollywood. The film features some male nudity and references to women in cities captured in battle considered prizes, including Catherine. The character of Abdurahman, an Asian servant played by N. Korsakpaev, who becomes a high-ranking naval officer, is a reflection of the multi-ethnic and meritocratic nature of the Soviet state. The character of Fedka, played by Viktor Dobrovolsky, a former serf who goes through his own rags-to-riches story, serves to portray Peter's era through the prism of ordinary masses that the Soviet state was supposed to represent.
While well-acted, solidly written, and competently directed, Peter the Great might not look great to viewers more familiar with certain dark chapters of 20th-century history. The film's production and release coincided with the Great Purge, and it isn't hard to imagine scenes showing conspiracies, internal dissenters being in league with foreign powers, as well as the brutal way Peter handled them as a clear justification of Stalinist atrocities.
Despite these considerations, Peter the Great is a great film that deserves to be recommended, at least to those interested in seeing how the distant past gets used in its own propaganda makeover in the present.
RATING: 6/10 (++)
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