Cinema as Social Criticism: The Early Films of Fridrikh Ermler

In 1926 a movie was released that embodied all the characteristics that socially and politically active Soviet filmworkers and critics had demanded for the new Soviet picture-it dealt with contemporary problems, it had a plot and a hero; its style was realistic; it was entertaining and easily comprehensible. The pedigree of its obscure young director, moreover, was a propagandist’s dream. He was a genuine proletarian, a party member, and a former Chekist.