Outskirts

A product of Soviet cinema in its early days of experimentation, Outskirts (also known as The Patriots or Okraina), released in 1933, is a war-drama film that meshes the genres of socio-political commentary with elements of poetic realism. Directed by renowned filmmaker Boris Barnet, the movie features stellar performances by Yelena Kuzmina, Mikhail Zharov, and Nikolay Bogolyubov.

Outskirts explores a narrative set against the backdrop of World War I and the subsequent Russian Revolution, beginning in the small town and quickly transitioning to the brutal chaos of the trenches. At its core, it is a biting commentary on the social climate of Tsarist Russia and the futility of war, as seen through the lives of daily working-class people.

Yelena Kuzmina plays a central role as a local woman in the community, who must grapple with the personal consequences of war and socio-political upheavals. Kuzmina’s portrayal brims with authenticity, whether in moments of levity or in times of overwhelming distress. Mikhail Zharov brings to life a German prisoner of war with a complex character arc, while Nikolay Bogolyubov adds depth to the ensemble with his rendition of a patriotic shoemaker skeptical of the changing times.

The film extrapolates the human costs of global conflict by using the microcosm of a shoemakers’ commune in a seemingly insignificant town that becomes deeply affected by the echoes of war. The impacts of national policy decisions and the chaos of war are humanely portrayed, shaping the lives and destinies of ordinary individuals caught in these larger events.

Boris Barnet’s direction strikingly blends comical elements for a lighter counterpoint to the grim reality of war and political change it showcases. He masterfully infuses a range of innovative techniques, particularly on the forefront of sound design. The ‘silent’ sequences looped with metaphorical soundscapes serve to intensify the emotional tone of the film rather than simply providing background noise.

Outskirts beautifully juxtaposes pastoral scenes of Russian life with harsh war landscapes, making use of naturalistic cinematography to capture the stunning Russian outdoors and the grim realities of war. Notably, the film’s innovative approach of incorporating sound and visual imagery has earned it a place in the annals of world cinema history. Barnet takes a fragmented timeline, often shifting between past and present, and draws it seamlessly together, in turn, reflecting the harsh realities of a society in transition.

One of the most intriguing aspects of this film is its melding of genres. While fundamentally a war-drama, Outskirts wears the cloak of a silent film, a comedy, and a socio-political critique, all at once. Barnet masterfully blurs these boundaries to create a film that is not only entertaining but also thought-provoking. His ability to use the vehicle of war to comment on wider societal issues was pioneering for his time and continues to be respected today.

Further, Barnet’s portrayal of the brotherhood of soldiers, irrespective of their national allegiance, provides a heart-rending look at the sense of camaraderie that emerges in times of strife, adding another layer of complexity and humanity to the film.

In essence, Outskirts is a reflection of its times, a movie that does not merely narrate a war-tale, but rather uses the backdrop of war to unveil a moving tale of societal change, individual struggles, and human resilience. Employing affecting performances, innovative techniques, and audacious storytelling, this film by Boris Barnet remains one of the greatest gems of early Soviet cinema, offering a fascinating lens to view history and humanity in all their complex,