Nine
Days of One Year (AKA Devyat' Dnei Odnogo Goda)
I don't really know exactly what the "New Wave" movement
in film was all about. I've seen a few Godard and Truffaut
films but there canon often exceeds the "New Wave" banner.
This fall, here in my adopted hometown, the Austin Film
Society is presenting a series of films considered representative
of the Russian New Wave and this film, by Mikhail Romm,
begins the series. Perhaps, when I have seen more of
the films, I will have a better grasp of what the term
"New Wave" means.
"Nine Days of One Year" can be quite dull. Its stark
settings, its dialogue driven plot and its lack of emotion
seems quite distancing. The film centers on nuclear
physicists and their work; could anything make for more
dry subject matter? But Romm, who also co-scripts here,
gives his characters depth and interesting complexities.
We are generally drawn into the story by the characters
here and not by the scientific aspects of the plot.
In other words, this is more like "Silkwood" than "Apollo
13," if that makes sense to you.
This film was made in 1961, when the freedom of expression
in the Soviet Union began to emerge after Lenin's death
and Kruschev's "thaw" of cold war politics. This film
is also a direct reflection of life in the world after
WWII and the invention of the H-bomb. The former is
important to the film's form and some of its dialogue.
The latter a direct influence and reflection of the
film's themes and ideals.
To boil it down to it's simplest form, to reduce it:
The film is about science for war vs. science for improving
life. One scientist here, the main character, is kind
of an asshole but he believes in using nuclear science
to improve the world for humankind. He somewhat rejects
the idea of science for war although he admits it has
been necessary to conquer evil. Meanwhile, his friend,
and a rival for his fiance's affections, seems to have
no qualms with science being used for war. The rival
is a bit of a gentleman when dealing with the female
here, so the irony in the dichotomy of their actions
vs. what they verbalize is important. Meanwhile, the
female rebuffs the more gentle of her suitors to marry
the jerk. She later begins to regret this.
It's very interesting that the characters here have
such freedom to express dissent and unhappiness. This
film may contain a few elements of propaganda, but overall
it is smart and complex and very layered. The fact that
it contains an intelligent female character who has
conflicting thoughts is quite bold for the time, at
least by American standards. The fact the she can express
dissatisfaction with her home life is quite remarkable.
Meanwhile, the male characters seem to express the conflict
going on in the Soviet Union at the time where old school
Communism has begun to be replaced by scientific progress
and more open expression.
The film is beautiful to look at in its stark expressionism.
Unlike Noir, the film relies far more on lighted linear
scenes and sharp angles rather than shadow for expression.
Cold, austere and functional, the sets and images of
the film reflect the sort of cold and stately manner
of the characters. It is with dialogue and narration
only that Romm shows us that his characters are not
the indifferent and calculating automatons that their
scientific existence would otherwise imply. Romm juxtaposes
the cold and calculating nature of science against man's
humanity and intellect and emotion causing the characters
to evolve into three- dimensional images while his backgrounds
stay squarely in the second.
"Nine Days of One Year" ends abruptly and with a moment
that causes us to question all we have seen. In the
end, it seems, the message of the film is about enjoying
life and connecting emotionally rather than "killing"
oneself in some sort of driven existence focused on
working only for the good of humanity. In the end, the
film suggests that true communism is communal, in relating
to other humans and connecting with them and making
them happy. In doing so, it is suggested, one can make
oneself happy. This is an important message in post-
Leninist Russia. The final moment in this film seems
to rebuke Lenin's ideal of all men working for the state.
For surely, the main character here, with heart of gold
but emotions in check, represents a Leninist while his
rival, yet friend, represents humanity with intellect.
The film discusses the conflicts of the two ideals.
The woman, meanwhile, represents the Soviet citizen
who must be cared for by both of the men (and by science
as well). But more importantly, she is a scientist herself.
As a woman, she is also a "part of the system" and part
of society. She is hopelessly unhappy in a world where
she is subjugated to "wife" and cook. In the modern
60's Soviet Union, the woman emerged even more as comrade
and equal to the man. She is as much a part of the communal
society as the men are.
Much of this, of course, I'm speculating about, as I
have no real deep knowledge of the subject. Some of
this information was suggested by Salvatore Botti, Director
of Programming for the Austin Film Society and by a
young woman, an Eisenstein scholar named Jo, both of
whom talked prior to the screening of the film I attended.
One thing is for sure, for a rigid and static film,
"Nine Days of One Year" is also interesting and important.
The film surely serves as a lesson for those who know
little of Soviet politics in the post-Leninist era and
a affirmation for those versed in the topic. For film
students and enthusiasts, the film also acts as instruction
in the new wave, as well as seeming to reference the
20's era films of Eisenstein, neo- realism, the avant-garde
and expressionism. Albeit boring at times, and a real
ass-numbing viewing prospect, the film is nonetheless
important and worthy. Running only 110 minutes, it often
seems like nine days have elapsed while viewing it.
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