In a remarkable blend of history and visual storytelling, director Sergei Loznitsa revives nearly three hours of forgotten Italian footage captured in the early 1970s, chronicling the diverse tapestry of life across the Soviet Union. Spanning from bustling cities to serene villages, the documentary “Imperium” sheds light on a reality often obscured by the monolithic image that dominated Western perceptions of the Soviet regime. This project, originally intended as a multi-part television series, offers a unique window into a multicultural empire, now expertly pieced together to challenge what many thought they knew about the Soviet experience.
The Journey Through the USSR
Loznitsa embarks on this cinematic journey using 60 hours of restored 16mm footage, navigating the vast expanse of the Soviet Union from Moscow to the east, before circling back through Central Asia and the Baltic states, ultimately concluding in Leningrad. The film’s structure is organized geographically, presenting an impressive array of regional cultures and traditions that persisted despite the Soviet Union’s centralized push for uniformity. Loznitsa incorporates snippets of conversation and music, enhancing the authentic feel of the documentary while adhering closely to the original material.
A Reflective Examination of History
While “Imperium” is visually captivating, its nearly three-hour runtime may be felt more acutely than in Loznitsa’s previous works like “Maidan” or “State Funeral.” In those films, the momentum of history drives the narrative, leading audiences toward pivotal moments with lasting implications. In contrast, “Imperium” presents a rich tableau of life that, while fascinating, lacks the same linear trajectory. It’s a film deeply resonant for those who remember the Soviet Union as it was discussed in the West, particularly before the oversimplified “Evil Empire” characterization popularized by Ronald Reagan. Loznitsa’s focus remains within the borders of the Soviet Union itself, inviting viewers to explore the complexities often overshadowed by external perceptions.
Vibrant Footage and Cultural Insights
The film opens with a vibrant parade in Red Square celebrating the 24th Congress of the Central Committee of the Communist Party, featuring familiar slogans touting productivity. It transitions to consumerist glimpses within the GUM department store, showcasing luxury goods that prompt questions about who the affluent purchasers were in early 1970s Moscow. Notably, the film addresses the coexistence of state atheism and persistent traditions, exemplified by a Christmas decorations trade that persists under authoritarianism—a prelude to the religious maneuvers seen today under Vladimir Putin’s regime.
As the footage journeys eastward, the stark contrast in consumer availability becomes evident. Scenes from Suzdal depict an elderly woman washing clothes in ice, while towns like Vladimir evoke imagery from pre-Revolutionary days. The exploration culminates in lively winter carnivals, evoking customs that predate Soviet ideology. In Siberia, the camera captures nuanced local traditions, including Bactrian camel races and reindeer sledding. Here, Loznitsa’s footage becomes particularly potent, revealing a tension between Caucasian Russians and the local Yakut population, subtly critiquing the Soviet Union’s approach to cultural homogenization.
The Resistance of Tradition
One of the most profound revelations in “Imperium” is the tenacity of centuries-old traditions that resisted the Soviet drive for homogenization. People continued to flock to mosques in Bukhara and churches in Etchmiadzin, clinging to their cultural practices despite the systemic pressures of collectivization. In stark contrast, contemporary Russia presents a different landscape, where the forces of rampant capitalism and the influence of the internet have transformed these resilient communities into consumers drawn to Western goods.
The Unanswered Questions of Propaganda
Reflecting on the potential impact had Italian television aired the majority of these films upon their release raises intriguing questions. The struggle for a genuine understanding of Soviet life was often mired in the global rhetoric of the Cold War. In the U.S., 1977’s National Geographic publication “Journey Across Russia: The Soviet Union Today” served as an essential counterpoint to the oversimplified narrative of a collective proletarian society.
Italy’s own political landscape, with a strong communist party, faced challenges in confronting the abuses of the Politburo, complicating perceptions of the USSR. Complementing “Imperium,” Federico Ferrone and Michele Manzolini’s 2013 documentary “The Train to Moscow: A Journey to Utopia” uncovers similar themes through found footage from an earlier era, revealing a party member’s disillusionment as his colleagues in Italy silenced his findings. Loznitsa’s “Imperium” offers not only a historical exploration but also challenges viewers to confront the persistent allure of utopian narratives that often accompany empires—an invitation to reflect on why so many continue to embrace them.
