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Gillespie finds the ending "ambivalent". He notes that the film consistently emphasizes false images of Russia, and therefore the audience can't be confident the closing images are actually true. The ending includes an incongruous scene of factory workers, which is unconnected to the plot and not observed by West himself. Denise
Youngblood speculates Kuleshov may have been forced to include the scene, but Miguel Gaggiotti suggests the film juxtaposes the workers' naturalism against the artificiality of the parade, emphasizing that the parade is merely another performance.
610:, in which a time traveler named Julian West visits a utopian Socialist future. In Christensen's analysis, this allusion emphasizes the Soviet Union's failure to achieve Bellamy's ideals. He notes that the film depicts Russia as a nation of poor criminals, and that the ending merely celebrates pre-revolutionary architecture, not anything created by the Bolsheviks themselves. Conversely, Marina Levitina does interpret the film's final shot of a Russian radio tower as a boast of new technological achievements.
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247:. West is wealthy but naive, and he expects the country to be barbaric. A Soviet gang leader exploits West's fears by staging a fake arrest and trial, then offers to "rescue" him in exchange for money. When West is actually rescued by the Soviet police, he realizes his expectations and stereotypes were wrong and celebrates the country.
408:
Many
Russian filmmakers left after the revolution, but Kuleshov stayed and worked to develop a new Soviet cinema. He organized a workshop called the Kuleshov Collective to develop a new approach to filmmaking. His approach was informed by film shortages. The workshop staged theatrical "films without
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s accessible
American style, and it was Kuleshov's most popular film. In retrospect, it is considered the beginning of a "golden age" of Soviet cinema. Peter Christensen notes that the film has endured better than other Soviet comedies of the time, and David Gillespie considers it a "masterpiece of
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The film satirizes
Western perceptions of the Soviet Union, but it has also been read as critiquing the Soviet Union itself. Rimgaila Salys says the film showcases the negative effects of Lenin's New Economic Policy. Vlada Petrić suggests that West's kidnapping and show trial, as well as the police
294:
Zhban's scheme is interrupted by the police, who arrive with Jeddy and Ellie. The police give West a real tour of Moscow, showing him the still-standing
University and Theatre and a military parade. Impressed, West sends home a telegram asking his wife to burn the magazines and hang up a picture of
543:
Kuleshov arranged objects, characters, and motion along grid lines and 45 degree angles, which he felt made the action easiest for audiences to understand. For example, when Jeddy crosses the tightrope between buildings, the wire is horizontal and the buildings are vertical. In one scene, a jug is
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West and Jeddy hire a taxi, but Jeddy gets separated and forgets the car's license plate. Frustrated and concerned for West's safety, he hijacks a carriage. When the police try to arrest him, Jeddy escapes by fleeing along rooftops, then unexpectedly reunites with Ellie, a woman he once saved from
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to deceive Mr. West, and that West remains equally credulous throughout the film. He accepts the police officer's tour exactly as he accepted Zhban's fake tour, and he's impressed by the military parade, which a title card asserts is "real" although it's actually an editing trick. Likewise, David
613:
Greta
Matzner-Gore observes that the film is built around nested and metatextual imitations, highlighting cinema's potential to mislead. West's kidnappers imitate pictures of Americans who were imitating stereotypical Russians, but in reality, the "Americans" in the photos were played by the same
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and gun. His appearance and behavior are conspicuously out of place in snow-covered Moscow. West and Jeddy are satirical characters, but they are portrayed as well-intentioned and more noble than the
Russian criminals. For example, West's patriotism inspires him to fight like a "real American" to
250:
Upon its initial release, the film garnered popularity among Soviet audiences; however, Soviet critics criticized its emphasis on
American themes and its lack of political engagement. Despite its initial popularity, the film was censored two years after its release. Today, critics and historians
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have been destroyed. One of Zhban's gang members, the
Countess, tries to seduce West. Zhban hires another group of criminals to dress as exaggerated Russian stereotypes, kidnap West and the Countess, stage a show trial, and sentence them to death. Zhban then "rescues" West and the Countess in
409:
film", using curtains and lighting to represent cuts and close-ups and a "spacial metric grid" to visualize the hypothetical movie screen. He developed a preference for short shots over long shots to avoid mistakes. Kuleshov believed editing distinguished film from theater, and considered
536:. The cinematography and editing reflect the characters' mindsets: when West is homesick, the film superimposes American faces onto Soviet women, and when Jeddy forgets West's license plate number, it shows the number 999 dissolve into 666. Instead of simply providing exposition, the
592:. He argues that Soviet audiences would have recognized the implication that the gang does represent the Bolsheviks after all, and he interprets West's final telegram as mocking unrealistic communist rhetoric. Peter Christensen believes the name "J. S. West" not only alludes to the
509:
is a satirical comedy. Kuleshov considered the film a "verification" of his approach to montage and production, and
Rimgaila Salys describes it as a "compendium" of his cinematic ideas. The film includes chases and stunts inspired by popular American cinema, rapid editing,
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Despite the film's success, Kuleshov was criticized for his focus on aesthetics and technique over ideology and his focus on American characters; six of Kuleshov's 13 films would feature American characters and themes. In particular,
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called "The Adventures of Mr. Stupidhead in Russia", which also featured a foreigner who believes Russia is barbaric; when Mr. Stupidhead instead sees a functional society, he assumes it's a facade. The film's working title was
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defend himself and the Countess. As Jeddy learns that Russia does not match his stereotypes, he also stops looking like a stereotypical cowboy. By the end of the film, he wears plain contemporary clothes.
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wrote an initial script for the film, but Kuleshov and Pudovkin extensively rewrote it. Kuleshov later said they kept only the characters' names. The plot may have been influenced by a 1923 story in
282:
Zhban returns West's suitcase, claiming he recovered it from a barbarian, and invites West to stay with him for safety. He gives West a fake tour of Moscow, which purportedly shows that the
481:
to avoid wasting film. In one scene, Boris Barnet fell while traversing a tightrope, claiming that Kuleshov left him hanging for a half hour while criticizing his insufficient training.
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offer comments like "Comfort is a relative concept". In one instance, an intertitle explains that West sees the room spinning, and the camera shows the spinning room that he perceives.
275:, a thief steals one of their suitcases and brings it to a gang leader named Zhban. Realizing that West is wealthy and distrusts Russians, Zhban concocts a plan to scam him.
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279:
being mugged in the United States. Ellie vouches for his character, explaining that he falsely believed Russians were savages, and convinces the police to let him free.
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placed close to the camera to emphasize its eventual destruction; Kuleshov determined the most impactful framing of the jug using a mathematical formula he devised.
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or filming against solid black backgrounds. This was partly a stylistic choice to focus on the actors and key objects, and partly a response to material shortages.
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required it to fund itself. The state paid for new Soviet cinema with profits from imported American films. These imported films were extremely popular, leading
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271:. His wife reads magazine articles that portray Russians as barbarians, and asks him to bring Cowboy Jeddy as a bodyguard. When West and Jeddy arrive in
1228:"A Copy of a Copy (of a Copy): The Search for Authenticity in "Mess-Mend" and "The Extraordinary Adventures of Mr. West in the Land of the Bolsheviks""
425:, which focused on psychology and emotion. Instead, Kuleshov wanted his actors to emphasize precise, legible movements. He found Hollywood action and
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344:
567:, naive, prudish, and excessively patriotic, waving an American flag when arriving in Moscow and wearing American flag socks. Jeddy, modeled on
1061:
Petrić, Vlada (2013). "A Subtextual Reading of Kuleshov's Satire Mr. Kuleshov in the Land of the Modernists (1924)". In Salys, Rimgaila (ed.).
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The actors' performances are physical and exaggerated. In contrast, the production design is minimalist. Many scenes avoid sets by using
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technique". The film also has historical value as a record of Moscow in the 1920s, showcasing architecture like the original
852:
Roberts, Graham (2007). "Dream Factory and Film Factory: The Soviet Response to Hollywood 1917-1941". In Cooke, Paul (ed.).
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Salys, Rimgaila (2013). "The Extraordinary Adventures Of Mr. West In The Land Of The Bolsheviks". In Salys, Rimgaila (ed.).
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514:, flashbacks, and re-contextualized documentary footage. Kuleshov includes visual jokes (such as Zhban getting hit with a
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Olenina, Ana (Fall 2013). "Engineering Performance: Lev Kuleshov, Soviet Reflexology, and Labor Efficiency Studies".
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the beginning of a "golden age" of Soviet cinema. The movie satirizes American perceptions of the Soviet Union.
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Soviet Union. Western countries largely condemned the revolution's violence; the United States would not
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Yankees in Petrograd, Bolsheviks in New York: America and Americans in Russian Literary Perception
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criticized the film for not being sufficiently Russian. Critics unfavorably compared Kuleshov to
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Fast forward: the aesthetics and ideology of speed in Russian avant-garde culture, 1910 - 1930
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Kepley, Vance (2013). "Mr. Kuleshov in the Land of the Modernists". In Salys, Rimgaila (ed.).
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The Legend of the Glorious Adventures of Tyl Ulenspiegel in the Land of Flanders and Elsewhere
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881:"A 'Cinema for the Millions': Soviet Socialist Realism and the Problem of Film Comedy"
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as its first feature. Kuleshov himself directed the film, and his students, including
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Kuleshov and his actors choreographed scenes and rehearsed using stopwatches and
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Russian actors who "imitate" them. She notes that the film compares Zhban to a
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Christensen, Peter G. (Fall 1993). "Contextualizing Kuleshov's 'Mr. West'".
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The film follows J. S. West and Cowboy Jeddy, two Americans who visit the
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Cinematic Cold War: the American and Soviet struggle for hearts and minds
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was censored. Despite this backlash, Kuleshov was eventually awarded the
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The Extraordinary Adventures of Mr. West in the Land of the Bolsheviks
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The Extraordinary Adventures of Mr. West in the Land of the Bolsheviks
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The Extraordinary Adventures of Mr. West in the Land of the Bolsheviks
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The Extraordinary Adventures of Mr. West in the Land of the Bolsheviks
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The Extraordinary Adventures of Mr. West in the Land of the Bolsheviks
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The Extraordinary Adventures of Mr. West in the Land of the Bolsheviks
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The Extraordinary Adventures of Mr. West in the Land of the Bolsheviks
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Movies for the Masses: Popular Cinema and Soviet Society in the 1920s
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The Extraordinary Adventures of Mr West in the Land of the Bolsheviks
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Lenin nationalized the country's film industry in 1919, but his 1921
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Neobychainye priklyucheniya mistera Vesta v strane bolshevikov
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518:), parodies of religious icons, and references to films like
1150:. Madison, Wis: University of Wisconsin Press. p. 181.
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764:. Lawrence (Kan.): University Press of Kansas. p. 37.
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199:Необычайные приключения мистера Веста в стране Большевиков
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1289:. Austin, TX: University of Texas Press. pp. 32–33.
1178:. Cham, Switzerland: Palgrave Macmillan. pp. 39–45.
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Early Soviet Cinema: Innovation, Ideology and Propaganda
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Kovacs, Steven (Spring 1976). "Kuleshov's Aesthetics".
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1065:. Boston, : Academic Studies Press. pp. 101–105.
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more engaging than the work of Russian directors like
951:. Boston, : Academic Studies Press. pp. 95–100.
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Its ultimate title alludes to adventure stories like
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raid that saves him, echo the tactics of the Soviet
1470:. Cambridge; New York: Cambridge University Press.
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858:. Basingstoke: Palgrave Macmillan. pp. 39–41.
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796:. Lanham, Md: Scarecrow Press. pp. 379–383.
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1113:. London New York: I.B. Tauris. pp. 89–92.
1037:. Cornell University Press. pp. 202–203.
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359:was produced and set in the aftermath of the
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760:Shaw, Tony; Youngblood, Denise J. (2010).
727:: Academic Studies Press. pp. 87–94.
441:In 1924, the Kuleshov Collective released
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1451:. London: Wallflower. pp. 1–37.
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1830:Soviet Union–United States relations
1565:. Cambridge: Cambridge Univ. Press.
1468:Cinema and Soviet Society, 1917–1953
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974:Directory of World Cinema: Russia 2
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667:shortly before his death in 1970.
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367:overthrew the Russian government,
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1176:Nonprofessional Film Performance
369:executed the Tsar and his family
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885:Journal of Contemporary History
641:Cathedral of Christ the Saviour
232:, and he drew inspiration from
1825:Films directed by Lev Kuleshov
1559:Youngblood, Denise J. (1999).
1285:Youngblood, Denise J. (2014).
563:. He is gullible, effeminate,
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1840:Russian black-and-white films
1655:The Project of Engineer Prite
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383:the Soviet Union until 1933.
363:. Led by Vladimir Lenin, the
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1845:Russian silent feature films
1835:Soviet black-and-white films
1805:Russian fantasy comedy films
1552:10.13110/discourse.35.3.0297
1536:10.13110/discourse.35.3.0297
1445:Gillespie, David C. (2000).
1226:Matzner-Gore, Greta (2013).
1109:Levitina, Marina L. (2015).
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413:as fundamental to cinema as
263:J. S. West, director of the
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1860:Silent fantasy comedy films
1815:Soviet silent feature films
1800:Soviet fantasy comedy films
291:exchange for West's money.
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1795:1920s fantasy comedy films
1174:Gaggiotti, Miguel (2023).
897:10.1177/002200948301800305
527:The Cabinet of Dr Caligari
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1063:The Russian Cinema Reader
949:The Russian Cinema Reader
721:The Russian Cinema Reader
559:J. S. West is modeled on
417:is to music. He rejected
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381:diplomatically recognize
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1662:An Unfinished Love Song
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284:Moscow State University
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375:, and established the
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1466:Kenez, Peter (1992).
725:Boston, Massachusetts
533:Dr Mabuse the Gambler
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431:Aleksandr Khanzhonkov
267:, plans to visit the
1690:Locomotive No. 10006
627:Reception and legacy
321:Aleksandra Khokhlova
94:Aleksandra Khokhlova
1850:Films set in Moscow
1607:(English subtitles)
1146:Harte, Tim (2009).
837:, pp. 319–321.
555:Themes and analysis
388:New Economic Policy
335:as The One-Eyed Man
213:) is a 1924 Soviet
112:Aleksandr Levitskii
1735:The Great Consoler
1641:Films directed by
579:, complete with a
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466:How Will This End?
361:Russian Revolution
245:Russian Revolution
1855:Films set in Ohio
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1767:We from the Urals
1702:Your Acquaintance
1402:, pp. 34–35.
1270:, pp. 30–31.
1185:978-3-031-32381-2
1120:978-1-78453-031-0
1072:978-1-61811-212-5
958:978-1-61811-212-5
803:978-0-8108-7619-4
734:978-1-61811-212-5
657:Vsevolod Pudovkin
653:Sergei Eisenstein
573:Douglas Fairbanks
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451:Vsevolod Pudovkin
394:to coin the term
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220:film directed by
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1530:(3): 297–336.
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1487:Film Quarterly
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1086:Gillespie 2000
1078:
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1002:, p. 128.
989:
982:
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891:(3): 440–441.
871:
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665:Order of Lenin
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620:visual effects
604:'s 1888 novel
602:Edward Bellamy
600:, but also to
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457:Nikolai Aseyev
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1409:Bibliography
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341:as The Dandy
315:Boris Barnet
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269:Soviet Union
262:
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241:Soviet Union
238:
222:Lev Kuleshov
189:
188:
187:
154:Soviet Union
142:Running time
119:Release date
89:Boris Barnet
68:Lev Kuleshov
45:Lev Kuleshov
18:
1727:The Horizon
1683:Luch Smerti
1424:(1): 3–19.
1400:Kovacs 1976
1238:: 156–158.
820:Kovacs 1976
538:title cards
512:slow motion
373:a civil war
178:intertitles
41:Directed by
35:Film poster
1790:1924 films
1784:Categories
1696:By the Law
1388:Kenez 1992
1337:Kenez 1992
671:References
479:metronomes
437:Production
365:Bolsheviks
352:Background
243:after the
146:86 minutes
51:Written by
1544:1522-5321
1524:Discourse
1507:0015-1386
1493:(3): 37.
1430:0163-5069
1244:0163-450X
905:0022-0094
676:Citations
598:Wild West
565:bourgeois
549:close-ups
521:Neighbors
427:slapstick
377:communist
371:, fought
204:romanized
159:Languages
1742:Dokhunda
1438:44075988
1252:23595429
661:Mr. West
633:Mr. West
596:and the
461:Krokodil
400:American
347:as Ellie
329:as Zhban
253:Mr. West
77:Starring
1605:YouTube
1515:1211711
569:Tom Mix
415:harmony
411:montage
230:montage
226:editing
206::
195:Russian
175:English
171:Russian
151:Country
128: (
1770:(1943)
1762:(1942)
1756:(1941)
1750:(1940)
1744:(1934)
1738:(1933)
1730:(1932)
1722:(1931)
1716:(1929)
1710:(1929)
1704:(1927)
1698:(1926)
1692:(1926)
1686:(1925)
1678:(1924)
1670:(1920)
1664:(1919)
1658:(1918)
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577:cowboy
530:, and
273:Moscow
218:comedy
215:silent
166:Silent
1548:JSTOR
1511:JSTOR
1434:JSTOR
1248:JSTOR
909:JSTOR
636:'
581:lasso
485:Style
402:-itis
1594:IMDb
1567:ISBN
1540:ISSN
1503:ISSN
1472:ISBN
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1291:ISBN
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1180:ISBN
1152:ISBN
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1067:ISBN
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978:ISBN
953:ISBN
901:ISSN
860:ISBN
798:ISBN
766:ISBN
729:ISBN
655:and
571:and
516:žban
449:and
303:Cast
286:and
265:YMCA
259:Plot
228:and
173:and
1603:on
1592:at
1532:doi
1495:doi
893:doi
421:'s
405:).
1786::
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1368:^
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197::
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398:(
193:(
132:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
