ALEXANDER NEVSKY
Alexander Nevsky (1938), by the Soviet (Russian) director, Sergei Eisenstein (co-directed by Dmitri Vasilyev) will be studied in terms of visual design. But the student should be aware of other factors. Eisenstein was a master of montage, in the special sense of expressing ideas and arousing emotions by editing). Note especially the use of accelerated montage right before the Russians combat the Germans in the famous Battle on Ice sequence. (Accelerated montage means a sequence of progressively briefer shots, thus arousing excitement.)In terms of blocking, or the movement of characters in a scene, notice the animated sequence, left, when Nevsky first moves away from Russians begging his military leadership, then moves near them again, before accepting.
Alexander Nevsky is especially memorable in its galaxy of faces, hooded, helmeted (the Germans), or idealized (the Russians). See picture, right, of a German cleric.
Ideologically, one can see how Eisenstein's visual design mocks the Germans as well as the Christian religion (Eisenstein was a Soviet director, regardless where his real sympathies lay).
Besides the visuals, pay special attention to Sergei Prokofiev's memorable score, with its use of low brass timbres to evoke a sense of menace, not to mention the great dirge and patriotic hymns. The score, in concert version, is easily available in the classical music section of most CD stores.
To see the complete film online, click here. It will be in eleven parts; so search for 1/11, 2/11, etc.
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