FLIGHT TO THE STRATOSPHERE

It is in the representation of flight to the stratosphere where all these conflicts get resolved. First, this scene serves as a counterpart scene to the “flight to the moon” number at the beginning of the movie. If the ideal topics of individualism and sensuality were present in the capitalist version of the number, here one can observe the opposite. The first logical difference is that Marion

30 It is worth noticing how in the real play, written by Ilf and Petrov, the scene shows Petrovich

teaching the Russian language to Marion. The decision to change it made sense, in so much as the movie is a musical, but also as it made the metaphor of what is actually happening more clearly to the common spectator.

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herself is no longer a femme fatale-like woman, there is nothing sensual in her acting, as Rimgalia Salys (2013) points out, in this act Marion transforms into the ideal soviet woman: a Fiskul’turnitsa (athlete woman). Furthermore, the ideal collectivist society is also present. Whereas in the first number, the deed was performed by Marion alone, the soviet number is performed by a large group of people who synchronised with each other to make the show even more spectacular than the first one. As if to say, the individual can take one to the moon, but only collective labour can take a man to the stratosphere.

The other aspect which gets resolved in this scene is the conflict between private and public life. While Marion is performing the number, Kneischit is trying to catch her son. He manages to do it and shows him to everyone in the public.

Initially, Mary faints, but then Martynov wakes her up and takes her to the centre of the stage, which as Salys (2013) points out, is a metaphor for her death and rebirth. By the time Marion sees that neither she nor her son is being rejected her transformation into the ideal soviet woman is finished. Furthermore, not only the secret of his son is revealed but her relation with Martynov is finally consummated. The scene in the piano room shows them falling in love but not being able to be together, finally, when their relationship leaves the private sphere and enters the public sphere it becomes real. Just as in How the steel was tempered, the movie tries to explain that only when public and private life are aligned, one can become a Soviet Hero

If The Circus were an American movie in all probability it would end with a family scene. Maybe it would show Martynov, Marion and her child having dinner, maybe singing all together a song. Instead, we see the main protagonists marching on the streets, singing again the Song of the Motherland.

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The film acts as a chiasmus, in the beginning of the film the viewer gets presented with the catastrophic and violent reality of the capitalist world, which is contra-posed later with the utopian representation of capitalist ideals in the circus.

They do not correspond. However, almost by the end of the movie the viewer gets to see the Socialist Utopia outside this non-place that was the circus’s doom.

Subsequently, the screen jumps to the real world and, unlike with the capitalist example, both realities (the dome and the real world) correspond: anti-racism is present in the real world, man and woman march equally and the collective exists, the Soviet Utopia is not a fantasy.

In conclusion, the film Circus through the devices of space, and the mediation through the ideal, presents the conversion of a foreigner into the ideal Soviet woman. One might argue that the discourse followed in How the Steel Was Tempered and Circus contradict each other: It has been said in the previous section that behind the figure of the Soviet Hero laid an essentialist discourse, which means that the hero’s characteristics could not change or evolve; he is good, conscious, courageous and impulsive from the beginning. All this should contradict the idea behind the conversion process Marion goes through.

Notwithstanding, it could be argued that the fact that she is a foreigner, already allows the film to develop a Bildungsroman plot. Most importantly I would argue

Fig.4. Farreras (2021) Ending Scene at the Parade [Screenshot]. (Rvision-You Tube).

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that the primary argument which proves that such a contradiction does not exist, is that even though Marion was not a Soviet Woman at the beginning of the film, she did have the characteristic traits required: throughout the film, we can see how it is in Marion Dixon´s nature to be kind, resilient and impulsive, the film depicts how she learns to redirect those qualities and made them suitable for the soviet reality.

Furthermore, the film still has the function of a fetish as it depicts the world in an idealised and joyous manner. It compensated on a symbolic level the reality of that time: although it is evident a reason of causality cannot be established with this particular example, it is interesting how these films that were supposed to transmit the joy of living were demanded at the same time when the Stalinist purges began.