One of the last films of one of the first geniuses Hollywood has always had its own rules and dogmas, which eventually became a tradition. This largest film mechanism in the world has always been famous for the ability to effectively and effectively use its financial resources, the mere presence of which seduces, seduces and will seduce a lot of talented filmmakers from all corners of the globe.
And it’s not just about fees with even more zeros. “Green men”, among other things, give artists the opportunity to realize their most daring film fantasy, without worrying about budget spending. Victor Sjoström, who was one of the pioneers of cinema and had a huge influence on the transformation of film science into film attractions, and then into film art, was one of those who could not resist.
The great Swede decided to put his hand in the formulation of the film industry. Of course, the terms “mainstream” and “vanguard” did not exist at that time. The boundary between films aimed at the masses, and films shot, as they say, “amateur”, has only just begun to make itself felt, however, despite the infancy, the notes of commerce were felt.
"The Wind" begins with a curtsey made for a tick towards the most popular genre in the United States, namely the western. Then Sjoström continues the narrative, entering a more native environment of mystical romanticism, imbued with Scandinavian attitude. This is manifested in everything from nature, which becomes an actor in the frame, to eschatological motifs.
The white horse in the sky unobtrusively refers the viewer to the legendary “Appealer”, becoming a kind of metaphor for one of the horsemen of the Apocalypse, a kind of introspection of the end of the world for a particular person who does not yet realize his spiritual desolation, but feels with his whole soul. Lillian Gish says more with a glance than any credits. Bravo!
After the tour, designed to acquaint us with the plot and metaphysical canons of the tape, Six begins to juggle everything possible, starting with genres, ending with conflicts. Western goes into drama / melodrama, which, in turn, quickly flows into tragicomedy, then, with the arrival of a tornado, which, by the way, really tickles the nerves and does not give a single chance to see in itself only a painted special effect, “The Wind” again appears before the viewer of an existential parable.
The same goes for the development of characters. One relationship conflict is replaced by another, not having time to disclose sufficiently. The so-called “cosmic conflict” of this picture is a separate topic for conversation, since Sjostrom was one of the first (and possibly the first) who practiced the manner of presenting such a conflict at the level of the already mentioned conflict of relations. This, by the way, is still in scripting skills is the only known method of presenting such material.
Despite the individual moments (especially I want to mention the brilliant “dialogue of the legs”), the weakest side of this film is the director’s production. The lack of harmony of form once again rendered a disservice to the Sjöström, but if in Voznitsa this was caused by the desire to say and show as much as possible, then in this case the matter is to strive to please everyone and everyone, preserving his face. This was partly successful, but only partly so. Once again we have seen that compromise in art is inappropriate.
But the philosophical component of the tape is impossible to blame. The sand that hints that all our tracks will be swept away, the wind that makes it clear that we are only dust in the wind – all this is conveyed with ingenious simplicity. But if we are nobody, it is better to be nobody with someone, someone loved.
7 out of 10