We Live Again (1934)

User Rating:

6.1/10   

Director:

Rouben Mamoulian

Writers:

Maxwell Anderson (writer)
Leonard Praskins (writer)

Release Date:

1 November 1934 (USA)

Genre:

Drama

Plot:

Nekhludoff, a Russian nobleman serving on a jury, discovers that the young girl on trial, Katusha, is...

Plot Keywords:

Based On Novel

Cast

Anna Sten	...	Katusha Maslova
Fredric March	...	Prince Dmitri Nekhlyudov
Jane Baxter	...	Missy Kortchagin
C. Aubrey Smith	...	Prince Kortchagin
Sam Jaffe	...	Gregory Simonson
Ethel Griffies	...	Aunt Marie
Gwendolyn Logan	...	Aunt Sophia
Jessie Ralph	...	Matrona Pavlovna
Leonid Kinskey	...	Simon Kartinkin
Dale Fuller	...	Botchkova
Morgan Wallace	...	The Colonel
Crauford Kent	...	Schonbock
rest of cast listed alphabetically:
Fritzi Ridgeway	...	The Redhead

Runtime:

85 min

Country:

USA

Language:

English

Color:

Black and White

Aspect Ratio:

1.37 : 1

Sound Mix:

Mono

Company:

Samuel Goldwyn Company, The

Movie Connections:

Version of Katyusha (1914)

superior sketch of Old Russia

With Samuel Goldwyn as producer, I knew this would be a cut above average but I was unprepared for the jolt it gave me. This adaptation of the Tolstoy novel was made by people with intelligence and soul and it shows. Director Rouben Mamoulian and his team provide - by Hollywood standards, at least - an evocative slice of 19th century Russian life in this moving tale of a young aristocrat who under pressure from family abandons his populist leanings to pursue a military officer's career; he also uses and abuses a beautiful servant girl (Anna Sten), only to encounter her years later while serving as a juror at her trial for murder. His way of coming to terms with the situation is what makes the story great.

Mamoulian, ever the cerebral showman, serves up generous tableaux of Old Russia: peasants laboring in the fields, Eastern Orthodox church ritual, decadent aristocratic house parties – all adding to our understanding of the era and the forces that shaped it. The film is filled with beautifully staged pictures packed with information about that place at that time. Deftly constructed scenes illustrating the social divide are interspersed with gently erotic interludes between the major players. The ideas which captivated the minds of millions during the Russian revolutions of the 20th century are clearly spelled out in brief but pointed conversations among philosophical adversaries. Gregg Toland's ravishing cinematography serves the script, never going for the elaborate effect unless the effect serves to heighten the story and the point being made at the moment.

Anna Sten is notable for the honesty of her emotional expressions. Her reaction when she realizes that March has used her as a common whore is original and unconventional by the standards of the period. She was an actress of both passion and charm who was mishandled by the studio system and derailed from what could have been a major film career. Some say her "thick Russian accent" destroyed her Hollywood career, but no one seeing this film could possibly agree. Yes, she has an accent, but far thinner than Garbo's in Anna Christie or Grand Hotel. No, there had to be other reasons for her drift into comparative oblivion, and those reason are related to the unreal commercial hype surrounding her introduction to American audiences.

Fredric March was one of the better and more versatile actors of his generation. His moments of self-revelation toward the end of this film are masterfully executed. The supporting cast includes C. Aubrey Smith as an insufferably smug pillar of society, Ethel Griffies (the crusty ornithologist in Hitchcock's The Birds three decades later) as March's conservative and doting aunt, and the warm and homely Jessie Ralph as one of Sten's servants. A bearded Sam Jaffe plays a radical polemicist in a manner as sane and clear-headed as he was insane and pinheaded in The Scarlet Empress. Leonid Kinsley is very well cast as a peasant on the dock with Sten at the trial. It is worth mentioning that March played another selfish 19th century military man in another Tolstoy adaptation a year later – namely Vronsky in Selznick's Anna Karenina. This film must have been good practice.