Alexander Nevsky

It is difficult to accurately praise Alexander Nevsky because Sergei Eisenstein, the main reason for its existence and excellence, is incomparably above his fellow directors. When, in the course of review, you have exhausted the supply of superlatives describing Kazan, Stevens, De Sica, and the other conventional geniuses, to evaluate Eisenstein is a frightening task.

While the others specialize in high points and "nice touches," emphasizing the actors' talents and individual ideas of pacing, Eisenstein carries the picture and makes himself the film's dominant force. When one speaks of an "art picture" the usual reference is to theme, good acting, and a few well staged scenes. Eisenstein's picture is a series of extremely well constructed scenes. Actually, Alexander Nevsky seems almost to be a set of still shots, posed for an exhibition of exquisite composition, and strung together with a minimum of transition. Contrasted to most pictures in which composition is subordinate to dialogue and action, this film flows entirely on the strength of Eisenstein's elaborately conceived and staged poses.

The oddest factor in the Eisenstein technique is the feeling of motion that he maintains with essentially static grouping and poses. Telling a good part of his story by shifting the camera from group to group, Eisenstein at no time dwells long enough on any subject to create the boredom attending many of the silent films that, like Alexander Nevsky, give the main role to the director and his camera.

Having matured during the twenties and early thirties, many aspects of Eisenstein's art reached a peak in the 1938 Alexander Nevsky. Most startling is the off-center placement of the camera. Often, in his most powerful shots, including close ups, the principals are quite to one side of the center of the screen. This technique gives both feeling of informality to scenes that should not consciously seem posed, and allows background to set-off the striking composition. Most famous of the Eisenstein shots are the long distance views of hordes moving across broad plains. Keeping the camera low, the director includes in these views much sky and a feeling of rolling power and depth. Eisenstein is Motion Picture Arts answer to 3-D lenses.

Unfortunately, the story is not one inspiring real admirition. Of course it is hardly fair to expect a director to stress both magnificent camera work and much meaningful dialogue. The story is one of action, with mass sword play, lance charges and a great battle on an ice flow. Eisenstein sacrificed what psychological vitality he could have given the film with additional dialogue for the real article in physical terms.