This is called the first Soviet science fiction film because of its “futuristic” sets on Mars, although most of it takes place in Moscow. The movie is set at the beginning of the NEP (New Economic Policy) in December, 1921. A mysterious radio message is beamed around the world, and among the engineers who receive it are Los, the hero, and his colleague Spiridonov. Los is an individualist dreamer. Aelita is the daughter of Tuskub, the ruler of a totalitarian state on Mars in which the working classe are put into cold storage when they are not needed. With a telescope, Aelita is able to watch Los. As if by telepathy, Los obsesses about being watched by her. After some hugger-mugger involving the murder of his wife and a pursuing detective, Los takes the identity of Spiridonov and builds a spaceship. With the revolutionary Gusev, he travels to Mars, but the Earthlings and Aelita are thrown into prison by the dictator. Gusev and Los begin a proletarian uprising, and Aelita offers to lead the revolution, but she then establishes her own totalitarian regime. Los is shocked by this development and attempts to stop Aelita, and then reality and fantasy become confused, and Los discovers what has really happened. –IMDb
Yakov Alexandrovich Protazanov (Russian: Яков Александрович Протазанов) (January 23 (O.S. February 4), 1881 – August 8, 1945) was Russian and Soviet film director and screenwriter, and one of the founding fathers of cinema of Russia.
In the period from 1911 to 1918 he directed some 80 features, including The Queen of Spades (1916) and Father Sergius (1917), which have been acclaimed as his masterpieces. Ivan Mozhukhin starred in many of his early films.
After the Russian Revolution Protazanov resolved to stay in Europe but returned to USSR in 1923. The following year, he produced Aelita, arguably the first Soviet movie and the first film on space travel.
In 1928, he directed the White Eagle, with Vsevolod Meyerhold and Vasili Kachalov. The Three Million Trial (1926) and St. Jorgen’s Day (1930) launched the film careers of two outstanding Soviet actors, Igor Ilyinsky and Mikhail Zharov.
His last acclaimed feature was a screen version of Alexander Ostrovsky’s… read more
An overlooked early Soviet masterpiece--strange but delightful mixture of social comedy, melodrama and adventure fantasy.
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Two stylistic tours-de-force from Fedor Ozep, camera stylist and embodiment of the Pathe-Natan house style.
The film is confusing but fun, the best parts of it are the scenes of Mars with it’s crazy and imaginative retrofuturistic sets and costumes. it’s cute to watch the sincere optimism of the 20s Soviet… read review
