THE VOLGA BOATMAN

Evening Post, Volume CXIII, Issue 114, 17 May 1927, Page 5

THE VOLGA BOATMAN

Russia was rife with plots of revolution; the lower classes were in a constantly simmering hatred against the aristocrats", «ho kept them in bondage and treated th An little better than the beasts of the field. Iv such a state was Russia when the story of the "Volga Boatman" and the peasants' rising to break their bonds and regain freedom began. The tale traces that revolt from its outset, when it was but an eddy in the great tide of life, until it grew to the maelstrom of carnage and destruction that reddened the white snows of Russia. Naturally such a story embracing so spectacular and fearful a. period lends itself to vividness of detail, but -"The Volga Boatman" is tinged with such a delightful vein of romance that the tragic parts of the film are not overwhelming, and the story becomes a composite ■whole which never fails to enthrall from end to end. The mob scenes are colourful' and realistic in the extreme, and one, feature which stirs the imagination is the picturisation of the Volga boatmen toiling at their collars, hauling the huge cargoladen barges against the strong tide, all the while taking courage from the singing of that mournful song, "The Volga Boatmen," which seemed to be played upon the bruised and -broken heart strings of a down-trodden people. Perhaps it is v a little unfair to single' out any actor where all are so fine, but William Boyd, in the title role, gives a portrayal which should certainly find a warm spot in the hearts of _all lovers of the silent drama. Elinor Fair also, who plays opposite him, makes one of the greatest successes of her screen career. But it is the whole film that attracts. : • ' .