Tempête sur l'Asie

The journey of Bair, the Mongol, is almost a ritualistic study of the Mongols fighting alongside the Partisans, who are helping the Soviets against a British occupation. It also shows, in great detail, the plight of the struggling fur-trader in 1920 northern Russia. I think this is the first film from 1928 that I feel suffered a little from being silent, although the musical score provided by the DVD, does help with the pace of the film. The story is slightly jerky though and they do hang on certain scenes a little long. That doesn't mean this is a bad film. By no stretch, is that the case. I loved this film accept for those knit-picks.

Director Vsevolod Pudovkin, choreographed many great battle scenes. They utilize some very cool editing tricks, especially in my two favorite scenes. In the first scene, when the warning goes out to find the man who drew the white man's blood, they use great flip editing and quick-cuts, most notably, during the storm/battle at the end. Lots of metaphorical montage.

The battle in the woods was fantastic also. Great emotion! The death of the Partisan leader shows great emotion, with great facial expressions on the actors. Vsevolod Pudovkin captures moody imagery of the woods that enhances the experience. All-in-all, a beautiful film, which almost attains a flow, that is like a poetic symphony, until it hits those little knit-picks I mentioned earlier.

8.8 (B+ MyGrade) = 8 IMDB.

In his last silent film, Storm Over Asia, Pudovkin changed direction by creating a non-Russian plot. Although the film deals with political situations, it is not about a Soviet worker, farmer or mother-- but about a Mongolian, and for this Pudovkin received a lot of condemnation by the film critics of his time.

The chronicle is set in 1918 (at the time of the Civil War) on the Mongolian steppe. The narrative is focused on one character; the brave Mongol hunter Bair. He comes into a precarious situation when his father falls ill, and Bair must go to the town to trade his pelts for food for the family. After a disagreement with a wealthy British trader over the price of his treasured silver fox fur, the hunter is forced to flee into the mountains where he meets up with a group of Red Partisans. After a visually confusing fighting scene with quick shots and unidentifiable participants, the hunter is captured by the British and taken back to the city. Unable to communicate with the British officers, they order Bair to be executed.

At this point the narrative splits and we follow the actions of the officers and the lengthy execution of our protagonist. The officers soon discover that Bair is a descendant of Genghis Khan (by an amulet that Bair chance acquired) and attempt to stop the execution. After the discovery of Bair's ancestry, the British take our protagonist and attempt to set his up as a prince in order to justify their own control and power. After experiencing several awkward moments and being put on display, Bair becomes enraged and destroys the British headquarters. He then flees the town. The climax, his fight, has quick editing and flashes the words "down," "bandits," "thieves" and "robbers" with an image of our protagonist screaming in rebellion. Pudovkin juxtaposes the dramatic and quickly edited scene with a subsequent attack on the Mongolian steppe. The protagonist is on horseback wielding a sword and followed by a great horde of warriors, evoking images of Genghis Khan. The dust and debris of the steppe follows this attack, forming the image of a storm sweeping over the land and attacking the British.

The scenes on the steppe are very significant to the mood of the film. When all is well in the film, the steppe echoes this seemingly peaceful feeling. During the climax, the steppe becomes violent and windy, much like the horde of warriors. These natural shots set the mood for the narrative and reflect the emotions of the protagonist. Pudovkin implements fade-ins and outs. This is one of the earliest films where this cinematic technique has been implemented in a productive way, pertaining to the narrative by signaling a time lapse or location change.

This film is very unique for its time. It is one of the first Russian films with non-Russian characters (all of the Mongolian cast are real Mongolians). It also focuses on political themes that do not glorify Soviets. Many critics at the time of release saw this film as non-Soviet and non-political because it neither deals with Russia nor serves a direct purpose for a propaganda film. Pudovkin's critics were ruthless and alleged that moving away from Soviet themes was going to lead a film crisis. Where films would no longer confront and convey the complex problems of Soviet society. Many also alleged that Pudovkin's endeavor was unattainable and uninteresting for audiences, who just could not grasp the meaning behind the film. There was no purpose for Storm over Asia to serve in the propaganda films of the time. This detachment from the Soviet themes was refreshing for me, so I would infer that it would also be for Russians at the time.

"Storm Over Asia" is a well made film. As other reviewers have pointed out, the film expertly uses film editing to make a very modern style film for 1928. It is really artistic and worth seeing--though there are also some serious lulls in the film that could have been tightened up a bit. However, that being said, the film is very obvious propaganda by the new Soviet government--and it sure isn't subtle about it.

A Mongol goes to town to sell a very valuable silver fox skin to the evil capitalists. Naturally, being evil (and fat) capitalists, they cheat the simple Mongolian man BUT they have a surprise--he won't just stand there and accept this maltreatment. He attacks the bad white men and flees to the hills--and eventually becomes a member of the communist partisans in the Russian Revolution. At this point, the film seems to drop this plot and A LOT of footage of Mongolian Buddhists is shown--including their costumes, dances and the like. At first, it seems like a nice bit of footage about these people but eventually you realize that the film is meant to mock Buddhist beliefs about the reincarnated Lama. Then, the communist forces attack--trying to kill off the evil forces of counter-revolution and international capitalism. Well what about our Mongolian hero? Where does he come into all this? See the film and find out for yourself--and you'll probably be quite surprised where the film goes next.

From an artistic point of view, the film is pretty good. The ending is also quite rousing. But as propaganda, it's very heavy-handed and not nearly as convincing or realistic as the much more famous film, "Potemkin" (also called "Battleship Potemkin"). I do understand that the new Soviet government was attempting to legitimize itself and drum up support by this film, but it just seemed to take the wrong approach as it lacked subtlety. As another reviewer pointed out, the villains in this film are just caricatures.

By the way, IMDb lists the film at 82 minutes. The DVD I watched clocks in at 125 minutes!! Is IMDb wrong or are there multiple versions and I just saw a longer one?

Storm Over Asia (1928) : Brief Review -

A great attempt to panegyrize Soviet propaganda through a Mangolian revolt against British. During 20s and 30s decade almost all the foreign language cinemas were doing fine with Propoganda films, actually even better than Hollywood. Storm Over Asia is another fine example of it but sadly not very popular. Thankfully it has made it to the list of 1001 Movies You Must See Before You Die hence it came in my watchlist otherwise i don't think i would have ever heard of this film. It doesn't matter what propaganda film tries to prove, i only care about cinematic aspects of the filmmaking unless it goes terribly wrong with its conviction over any revolutionary subject. Storm Over Asia is the story about the unknown heir of the great Genghis Khan. After a run-in with the law, a Mongolian man becomes a fugitive and joins the Russian Civil War. He thrashes the opportunistic friendliness of British army and gathers his people to fight for their freedom. In 120 minutes, this film could have been more gripping. I don't know why but it looked little slow. Practically, the climax deserved more time than what it got and i think that quick-ripped conclusion could have been much bigger and better. That momentum was missing which was earlier there in the first half. The film has some issues with the intertitles too. The characters act but the intertitle appears even before we see them talking on screen. So, it feels like a rehearsed puppet show than a silent feature film. I think that can be overlooked considering the standards of the filmmaking of that particular cinema industry. Otherwise, it's a very good movie with detailed information and grand presentation. I don't know much about the history of that particular subject but i liked the sense of historic storytelling of the director Vsevolod Pudovkin. Few erros but overall an enjoyable flick.

RATING - 7/10*

By - #samthebestest.

There's a scene early on in Storm Over Asia where Mongolian fur traders are bringing in their pelts for a British imperialist to purchase. The power dynamic is so stilted and he treats them with no humanity, haughtily tossing down a couple of coins for what he deems a piece is worth after having seized it. When he does this with a particularly beautiful and rare fur, the previously placid locals get rankled over how unfair he's being, and the tension is palpable. It's a fantastic scene and while it may seem like communist propaganda, it was a completely legitimate critique of capitalism, a system which if unchecked, invariably allows for the selfish exploitation of the poor by the wealthy - much like an American film like Ninotchka contained valid criticisms of communism in the Soviet Union. This was a five star moment and I wish the film had managed to remain focused. The visuals are also brilliant, including breathtaking landscapes in Mongolia, artistic close ups, and fast cut montage sequences. These scored high marks for me as well.

Where the film falters is in the story it tells, and the excruciatingly slow pace it takes to tell it. Shortly after the fur trading scene, the local flees and comes across a group of Russian partisans fighting British forces. Huh? You might think, wondering when such activity took place, and you'd be right to doubt it. And the history here matters, because it was actually the Soviet Union that was actively involved in undermining local autonomy in this region. To make a film showing someone else committing the evil your protagonists actually committed is similar to old American westerns which are heavy on Native-American violence instead of showing any semblance of the brutal genocide, and it's wrong to do so, no matter how skilled the filmmaker.

The film shows some authentic footage of Buddhist ceremonies which held some interest to me, but they aren't filmed in a way to foster understanding of the culture, but rather, seem to emphasize how "exotic" the natives are. Ordinarily I wouldn't care as much and just be happy something like this was filmed for posterity, but here it felt out of place and elongated and already bloated film. The shots of the reincarnated Lama on his throne as a baby were pretty fun for me though, I must confess.

The business of making the supposed descendant of Genghis Khan a puppet leader takes far too long to unfold though, and the scenes with the British aristocrats were a chore to sit through, even they it did bring us back around to the beautiful pelt in the story line. There is something to be said for the fury of the Mongolian man at the end, and it's impressive that he's shown to be righteous in the face of racism. Right before that, you see, the British businessman has said white people "must be protected from the encroachments of colored scoundrels!", and the British general, smoke billowing out from behind him as if he were the devil, orders him to withdraw, because he has his own plans. That's a wonderful moment.

Ultimately, I liked the power in the anti-imperialist message and the visual artistry, but 131 minutes was too long, and the historical distortion was too tough for me to overlook. In any event, it's not one I'd like to see again, except in clips of the finer moments.