Èx, dorogi: Conflicting Paths in Pavel &Chachek;uxraj's Vor
J. Alexander
Ogden
Pavel &Chachek;uxraj chooses an historical theme for his film
Vor (1997), but one with strong implications for
present-day Russia. &Chachek;uxraj, born in 1946 (as is his fictional
protagonist, Sanja, in the movie), has discussed Vor as a
study of his own generation and of the generation now in power in
Russia. This paper presents a close analysis of &Chachek;uxraj's film
(in its variant versions) in the context of post-Soviet Russian
debates on the Soviet legacy and Russia's future. I will concentrate
on three issues: &Chachek;uxraj's points about blood relationships
versus surrogate parentage, the competing sets of images evoked by the
movie's two recurring songs, and the use of road and rudder imagery as
symbolic of choices (both individual and national).
Stalin is a constant presence in the daily life presented in the
movie, both in portraits, toasts, and other references, and in the
figure of Toljan, the thief and surrogate father figure to Sanja. Much
of the movie deals with the struggle inside Sanja between his vision
of a father he never knew and this interloper in his family. Toljan
claims that Stalin is his father, and emphasizes the blood
relationship to Sanja with the use of rodnoj.
Similarly, Toljan insists that Sanja treat him as a real father;
throughout much of the movie Sanja resists, but as Toljan is driven
away to the camps the boy runs after him crying Papka
rodnen&soft;kij.
My paper explores &Chachek;uxraj's symbolic
use of this contrast.
Paralleling Mixalkov's use of the tango Utomlennoe
solnce
in Utomlennye solncem, &Chachek;uxraj
weaves two songs through Vor. These songs do more than
simply evoke the period through its music. Both are closely linked to
Toljan, but to two very different aspects of what he represents in the
movie. The minor-key verses of Èx, Dorogi (words
L. Osanin, music A. Novikov) let Toljan, in his guise of Red Army
soldier, appropriate the hardships in the song for himself and join in
comradeship with others. It is one of the key elements in creating the
illusion of solidarity on which Toljan relies. The Russian version of
La Paloma, on the other hand, is linked in the movie to the
contrasts between surface and essence that Toljan embodies and the
wish-fulfillment that he offers from the movie's first scene. Its
associations are escapism but also the degradation inherent in
Toljan's deception.
&Chachek;uxraj uses recurring imagery of roads, railways, and
rudders to raise issues of Sanja's future path and that of his
country. Toljan (who pays only passing attention to Sanja's mother
Katja) seems genuinely interested in instructing the boy. Sanja, seen
near the end with a bicycle handlebar (rul&soft;), seems to be
following the path of his Stalinesque mentor—and of Stalin the
Helmsman himself. In considering &Chachek;uxraj's commentary on his
generation and on contemporary Russia's plight, I analyze the
implications of the scenes missing from the American release of the
movie (most importantly the ending scene set in the post-Soviet
Russia).