The superhero genre often seems at odds with the principles of Soviet cinema, primarily due to the inherent conflict between the notion of an extraordinary individual and the collective ethos that underpins official Communist ideology. In a society where the collective is celebrated as the foundation of social order, the idea of a singular hero saving the day poses a challenge. Nevertheless, for those seeking a cinematic experience akin to modern superhero films within Soviet cinema, Amphibian Man emerges as a noteworthy contender. Released in 1961 and directed by Gennady Kazansky and Vladimir Chebotarev, this science fiction adventure film not only captured the imagination of audiences but also became the most popular Soviet film of its time.
The film is based on the 1927 novel of the same name by Alexander Belyaev, a prolific author of early science fiction who earned the nickname "Russian Jules Verne" due to his imaginative and visionary storytelling. Belyaev's works often explored the intersection of science, technology, and society, and Amphibian Man is no exception, delving into the consequences of playing with nature and the boundaries between human and animal.
The plot is set in Argentina and begins with Pedro Zurita (played by Mikhail Kozajov), a greedy and ambitious owner of a schooner, attempting to accumulate wealth by collecting pearls. However, most of his divers are hesitant to work due to stories about a mysterious creature nicknamed the "Sea Devil" that is said to roam the waters. Zurita is accompanied by Guttiere (played by Anastasia Vertinskaya), a beautiful young woman whose hand has been promised to him by her father, Balthasar (played by Anatoly Smiranin), in exchange for settling his debts. When Guttiere goes for a swim, she is stalked by a shark but ultimately gets saved by the "Sea Devil," who is revealed to be a human, albeit with extraordinary abilities.
This human, Ichtyander (played by Vladimir Korenev), is the son of Doctor Salvator (played by Nikolai Simonov), a doctor and brilliant scientist who, in a desperate bid to save his son's life, had him transplanted with gills when he was young. As a young adult, Ichtyander is able to live underwater and periodically come onto land, possessing a unique connection to the sea. Doctor Salvator later explains to his friend, journalist Olsen (played by Vladlen Davydov), that he hopes that anyone would be able to live like Ichtyander under the sea and create a republic of people free from tyranny and exploitation. Ichtyander, who has never actually experienced the world, comes into the city, meets Guttiere again, and desperately falls in love with her. This, on the other hand, presents an opportunity for the ruthless Zurita to entrap the young man and attempt to exploit his abilities for his own nefarious purposes.
The journey to bring Amphibian Man to life was fraught with challenges. The adaptation was initially conceived in the late 1940s by Lenfilm, Leningrad's film studio. However, technical limitations delayed production until 1958, when co-director Vladimir Chebotarev—known for his expertise in documentary filmmaking—revived interest in the project. His background in underwater photography proved invaluable in overcoming the film's primary challenge: convincingly depicting underwater action.
Chebotarev and Kazansky tackled this challenge through innovative cinematography and impressive stunt work, utilising a massive water tank to simulate ocean depths. Their collaboration with experts such as underwater swimmer Rem Stukalov ensured that the film's aquatic scenes were both thrilling and believable. The dedication of young actors Korenev and Vertinskaya is noteworthy; despite initial inexperience with diving, they emerged as skilled scuba divers by the film's conclusion.
The film's outdoor sequences are equally impressive, showcasing locations in Crimea and Baku that effectively stand in for a South American port city. The vibrant colours and exotic costumes enhance the visual appeal, while Doctor Salvator’s secret hideout features production design reminiscent of James Bond films.
The film also features action, romance, and melodrama, with Korenev and Vertinskaya delivering very good performances. Kozakov, who would ironically later get married to Vertinskaya in real life, is much more impressive as the villain, bringing a sense of depth and complexity to the character. The chemistry between the leads is palpable, and their performances bring a sense of authenticity to the story. The action sequences are well-choreographed and suspenseful, while the romantic moments are tender and heartfelt.
An effective musical score by Andrey Petrov enhances Amphibian Man, marking one of the first instances in Soviet cinema history where electronic instruments were employed. The score complements various scenes beautifully, particularly during moments that showcase Ichthyander’s underwater world. Among the standout musical pieces is "Hey Sailor!", performed by jazz singer Nonna Sukhanova and lip-synced by model Nina Bolshakova during a vibrant nightlife scene.
The script is good, and its structure, to a degree, resembles the origin story in modern Hollywood superhero films. However, some of the characters and subplots aren't too developed, and there is an annoying shadow of Soviet official ideology, with the main villain being a greedy capitalist while the protagonist and his father do everything they can to alleviate the conditions of the poor, helped by an idealistic, presumably left-wing, journalist. This ideological undertone can be seen as heavy-handed at times, detracting from the overall narrative. Nevertheless, the story remains engaging, and the characters are well-defined, making it easy to become invested in their struggles and triumphs.
Chebotarev and Kazansky also make the film look unusually "hip" by using a lot of Dutch angles, adding a sense of dynamism and visual interest to the narrative. The cinematography is innovative and bold, showcasing the filmmakers' willingness to experiment and push the boundaries of conventional storytelling.
Despite its modern sensibilities, Amphibian Man faced harsh criticism from Soviet reviewers who deemed it too Western or outdated compared to avant-garde trends influenced by the French New Wave. Critics lamented its departure from traditional Soviet filmmaking norms; however, audiences responded enthusiastically, leading to box office records that stood until 1974.
Despite its modern sensibilities, Amphibian Man faced harsh criticism from Soviet reviewers who deemed it too Western or outdated compared to avant-garde trends influenced by the French New Wave. Critics lamented its departure from traditional Soviet filmmaking norms; however, audiences responded enthusiastically, leading to box office records that stood until 1974.
Interestingly, Amphibian Man garnered interest beyond Soviet borders during the Cold War era. Initially ridiculed by critics, it eventually found distribution in a shortened dubbed version abroad. Notably, contemporary filmmakers such as Quentin Tarantino have praised it for its unique charm. Many observers draw parallels between Amphibian Man and Guillermo del Toro’s Oscar-winning Shape of Water, suggesting that del Toro’s work serves as a spiritual homage to this 1961 classic. In 2004, Russian television adapted Belyaev's novel into a four-part miniseries directed by Alexander Atanesyan.
In conclusion, Amphibian Man stands as a remarkable example of Soviet cinema grappling with themes traditionally associated with superhero narratives while remaining firmly rooted in its ideological context. Its innovative production techniques, compelling performances, and rich thematic content ensure its place as an enduring classic within both Russian film history and global cinema discourse.
RATING: 7/10 (+++)
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