Watch The New Gulliver

The New Gulliver is a Soviet Union film that emerged during the mid-1930s, a period characterized by a fascination with both cinematic innovation and the ideals of Communism. A unique feature of this pioneering movie is its combination of live-action with avant-garde stop-motion animation, predating many of the techniques that would later become mainstream in cinematic special effects. Directed by Aleksandr Ptushko, The New Gulliver stands out as an imaginative reworking of Jonathan Swift's classic tale, "Gulliver's Travels." Through its narrative and visual style, the film refashions the original story's satire to reflect the sociopolitical landscape of 1930s Soviet Russia, becoming not only a source of entertainment but also a vehicle for ideological expression.

Set against the backdrop of Swift's narrative framework, The New Gulliver is centered on a young boy named Petya (played by Vladimir Konstantinov), who embodies the titular character through his imaginative journey. As an ordinary Soviet schoolboy, Petya is absorbed in the reading of Swift's "Gulliver's Travels," allowing his consciousness to drift away into a dream-like adventure where he takes up the role of Gulliver himself.

What follows is a remarkable odyssey that transports Petya to the island of Lilliput, the land of tiny inhabitants famously depicted in Swift's original tale. The Lilliputians of The New Gulliver are skillfully brought to life using groundbreaking stop-motion animation, where the tiny inhabitants are animated figures standing in stark contrast to the live-action "giant" Petya. The ingenuity and creativity of Ptushko's animation left an indelible mark on the annals of film history, demonstrating the boundless potential of special effects in storytelling.

The appearance of Ivan Yudin, Ivan Bobrov, and other actors in supporting roles provides a depth to the movie's portrayal of the Lilliputian society, which, in this reimagined narrative, reflects the social and political attitudes of the time. Through the experiences of Petya, the audience is exposed to a satirical depiction of bourgeois values, class struggle, and the contrast between the old world and the ideals of Communism. By shrinking capitalist society down to a miniature scale and juxtaposing it with the gigantic protagonist representing the USSR ideals, the film casts a critical eye on capitalist society, weaving Swift's themes of human folly into a contemporary critique on exploitation and social injustice.

As the story progresses, the movie delves deeply into the Lilliputians’ society, highlighting their government, legal system, and cultural practices. However, unlike the bleak outlook on humanity often found in Swift's writing, The New Gulliver infuses its narrative with a sense of hope and idealism. Petya not only interacts with the inhabitants of Lilliput but also serves as a catalyst for social change, showcasing the virtues and values of the Soviet system.

With a running time of approximately 75 minutes, The New Gulliver offers its spectators a rich tapestry of humor, politics, and pioneering visuals. Its portrayal of the conflict between exploitative capitalists, known as the Blefuscudians, and Petya's revolutionary spirit serves to dramatize the class struggles of the era, translating them into the metaphorical battles of Lilliput. The film adeptly navigates the allegorical use of Swift’s material to create an engaging propaganda piece that emphasizes the strengths of Soviet socialism.

The film's cinematography and visual effects, especially for its time, are notable. Smart use of perspective, camera angles, and matte paintings, along with the meticulously crafted stop-motion animation, project a sense of wonder and believability to the fantastical elements of the story. The attention to detail in the design and animation of the Lilliputians showcases the painstaking efforts of the filmmakers to craft an enchanting world that serves both the narrative and thematic goals of the film.

Aesthetically, The New Gulliver is black-and-white, which was typical of the era it was produced in, yet the sharp contrasts and shadows give an additional gravitas to the film, as well as an atmospheric quality that further immerses the viewer in Petya’s dream-world. The score, which was often an accompaniment to films of this period, lent further emotional resonance, underscoring the action and elevating the storytelling.

While The New Gulliver was undoubtedly a product of its time, designed to champion the virtues of the ideology of its creators, its cinematic achievements transcend its propaganda objectives. The film remains an innovative piece of cinema, a testament to the power of imagination and a pioneering example of early special effects in motion pictures. It stands as a significant marker in the evolution of cinematic art and technique, as well as in the development of films as tools for conveying social and political messages.