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Old and New, also known as The General Line, is a 1929 silent film directed by the renowned filmmaker Sergei Eisenstein. The film is substantial in the context of Soviet cinema and is significant historically due to its articulation of revolutionary themes and propaganda. The film features Marfa Lapkina in the central role, with M. Ivanin and Konstantin Vasilyev playing supporting parts.

Set in the Soviet Union during the 1920s, the narrative of Old and New reflects the changes and turmoil that the country was undergoing during this period, particularly emphasizing the transition from the old ways of peasant life to the new collective and industrialized agriculture system being introduced across the Soviet countryside. At its core, it follows the journey of Marfa, a strong-willed peasant woman who becomes a protagonist for change and a symbol of the new socialist order.

Marfa inherits a small, inefficient farm, and her story embodies the struggle of peasants grappling with their outdated, individual methods of farming. The film highlights the hardship she faces in her daily routines and the inefficiency of traditional, individualistic farming. Marfa's character is representative of a larger movement; she becomes an advocate for collectivization, the joining together of smaller farms into collective farms that would benefit from modern technology and shared resources.

The character of Marfa is quintessential to the film’s narrative, as it emphasizes her growth and determination to bring about modernization to her community. Lapkina's performance as Marfa has been celebrated for its authenticity and emotional depth, as she captures the fervent desire for progress amidst a maze of social, cultural, and economic challenges. Her character interacts with various figures in the village, from the skeptical to the supportive, symbolizing the variety of responses that the new collectivist movement faced among the populace.

Supporting characters played by M. Ivanin and Konstantin Vasilyev add to the dynamic within the village, offering differing perspectives on the changing times. These characters help to portray the ideological battles being waged on the ground level as the villagers must decide whether to join the collective farming effort or maintain their independence. Conflict arises as traditional ways are questioned and tensions mount between those resisting change and those embracing it.

As an Eisenstein film, Old and New is noteworthy for its technical and aesthetic innovations. Eisenstein was known for his intellectual filmmaking style and his pioneering use of montage, which he employs in Old and New to show the collision of ideas and the rhythm of progress. The montage sequences, as much as narrative devices, are powerful ideological tools that showcase the supposed superiority of the collective system over the disorganized and inefficient methods of the past.

The film also has a strong visual style that combines realism with expressive cinematography. Eisenstein uses visual metaphors, symbols, and impressive shot compositions to communicate the thematic elements of the film. The images present both a poetic rendering of the countryside and the vehement fervor associated with Soviet industrialization.

Old and New addresses the political propaganda of its time, supporting the goals of the Soviet government to electrify and modernize agriculture. It projects a sense of optimism for the future of socialism and portrays the Soviet project as a fundamentally utopian endeavor. The government’s involvement in shaping the film's direction demonstrates how the cinema of the era was used as a medium to support and disseminate the ideological goals of the state.

While Eisenstein's enthusiasm for the virtues of collective farming are at the forefront, even within the film's revolutionary fervor, there is a humanitarian strain. Marfa's determination to improve the lives of her neighbors and her community reflects an underlying narrative of hope and unity through collective action. The director's idealistic and sometimes romanticized depiction of the countryside and the modernization process is balanced with moments that capture the authenticity and the rough edges of peasant life.

Old and New, despite being a film from the era of silent cinema, tells a rich and complex story of change and resistance to change. It is both a time capsule of a particular historical moment and a testament to Eisenstein's vision as a filmmaker. Its portrayal of Marfa and her community, grappling with the promises and challenges of a new social and economic order, makes it a relevant and captivating piece of cinematic history. For students of film and scholars of Soviet history alike, Old and New remains an important work, reflecting the evolution of society and cinema during a time of great transformation.

Old And New is a 1930 drama with a runtime of 2 hours. It has received mostly positive reviews from critics and viewers, who have given it an IMDb score of 7.2.