La muchacha de la sombrerera

Here's great fun. Sometimes a film, or any art I suppose, is targeted to a specific consumer — someone different than us. Then, perhaps we will find it and experience it in ways not intended, or intended effects are exaggerated.

For me, nearly any old film needs to be considered this way, and many from cultures other than mine, though these are rare these days.

This is a slight comedy of the type Hollywood would patent as screwball, but with the heavy dose of physical humor popular in silents. It was made in the Stalinist "union," for a contemporary audience. So you'll see Soviet commissars and effects of contemporary rules. Certain alien stereotypes, including Russian Jews from a Russian perspective.

What's common here with my world is a pretty girl, lust and greed, the stuff of a universal dynamo. But these are cast off kilter from the way you normally see them, so they seem fresh. It helps that the production values are very high, better it seems that your typical American or French film of the era.

Its light, but its placement makes it profound.

Ted's Evaluation -- 3 of 3: Worth watching.

Natasha (Anna Sten) is a hat maker whose employer Madame Irene (Serafima Birman) is in trouble with the housing committee for falsely claiming that Natasha is renting a room from her. However when Natasha meets a young peasant called Ilya (Ivan Koval-Samborsky) and is then given a winning lottery ticket everything changes. Written by Valentin Turkin and Vadim Shershenevich, and directed by Boris Barnet this 1927 Soviet Russian silent feature film was made to promote the state loan and is an at times slapstick comedy set in a rather capitalist seeming Russia. One of Barnet's earliest films it has Moscow locations (cold looking ones) and an amusing performance from Pavel Pol as Madame Irene's money grubbing husband.

As it happens with his compatriot Evgenii Bauer, Barnet is one of the most unknown and great Russian filmmakers. Of course he passed several seasons in hell, because of the "stalinism" but the average quality of a quite long career is high enough to consider him a master. This is his funniest movie, a delightful, almost screwball comedy played with that old charm and grace that only in silent cinema you can find. Far from politics, socialism and - the great mother Russia that will grow us all- "The girl..." follows the traces of DeMille, La Cava and Lubitsch. Moscow seems even a great city to live, with his problems, but human. Some hilarious moments and laughs assured. Marvellous feature

I'm sure there are probably tons of Russian comedies, but for some reason it seems like most of the Russian movies that have achieved any kind of fame in the US are very heavy and serious, and usually fatalistic. Eisenstein had a great sense of fun, and his films often contain comedic scenes, but they tend to be high-minded and serious overall. I'm pretty sure the Girl with the Hat Box is the first pure Russian comedy I've ever seen. I loved it.

The story and the characters were extremely charming. Anna Sten was beautiful. The baddies were more comical than they were truly evil. And everything turns out happily in the end. It could have almost been a Hollywood movie, except the photography is better.

I'd like to see more Russian comedies.

9/10

This movie is really cute. Unfortunately, that adjective has a rather derogatory connotation, especially when referring to a work of art. I certainly don't mean it that way. Frankly, I could use a little delight of the sort The Girl with the Hat Box provided me. It's an utterly charming story about a young girl who makes hats. The comedy of errors is complicated, and is not worth telling in whole.

Anna Sten stars in the lead. Does that name ring any bells? Well, I didn't recognize the name, but I clicked on it and read up on her. Apparently Samuel Goldwyn brought her over to the United States (surely based on her performance in Hat Box) to be the next Garbo in the early 1930s. She starred in Nana (Dorothy Arzner & George Fitzmaurice, 1934), We Live Again (Rouben Mamoulien, 1934; also starring Frederic March), and The Wedding Night (King Vidor, 1935, and she starred opposite Gary Cooper). All were enormous bombs, each more astronomical than the last. Afterwards, she appeared in several more Hollywood films in secondary roles. I really, really want to see any of her Hollywood films to see what her problem was. You'd never know there was one from The Girl with the Hat Box. She's gorgeous, charming, and very funny.

The male lead is played, also delightfully, by Ivan Koval-Samborsky, who had a major role in 1926's Mother by Pudovkin. He plays a homeless student whom Sten at first pities and tries to help, but they soon find love in each other. The villains in the film are played by Serafima Birman and P. Paul. They are both exceptional. The latter doesn't seem to have any other film credits, but the former later played Efrosinia, Ivan the Terrible's aunt in Eisenstein's Ivan the Terrible movies. I didn't recognize her, as this was 18 years earlier. Plus, in Ivan she is always covered in huge robes. But you can recognize her from the nose.