Great visuals, story delivers no surprises

Charming and brutal

It’s an especially fun movie from a director and cast who are clearly having a good time allowing themselves to let loose.

I saw this movie before reading any reviews, and I thought it was very funny. I was very surprised to see the overwhelmingly negative reviews this film received from critics.

Kalatozov's Salt For Svanetia opens with a quote from Vladimir Lenin, and any questions as to whether it is a homage to the late leader or an indication of the content to come are quickly answered. The film centers on the Svanetian people in the village of Ushkul, and they are portrayed as culturally backwards and simple people, ruled by religious superstition and the limits of technology. While the portrayal of the Svans seems perhaps a little unfair, the depiction is done impeccably. Techniques Kalatozov uses are the same shots and angles that contemporary documentary filmmakers use; views look down from high mountain passes and from unorthodox ground angles that look up into the faces of people and animals alike. One is overtaken with the beauty of the region, but it is depicted harshly. The environment may be picturesque, but it is dangerous.In this treacherous existence, religion dominates and Kalatozov ensures to cast it in a negative light. The funeral for fallen workers after the avalanche is uncomfortable and ritualistic; scenes of villagers running and falling into the grave doesn't take on any chilling spirituality, it only seems to depict the desperation of the Svans' religion. With this, the film aligns with Soviet doctrine. After depicting hardship for much of the film, the last few propagandistic minutes seem like an afterthought. It emphasizes the power and freedom communism brings, explicitly stating "for the Svans, for the communists, there are no obstacles". It seems like a weak and kitschy ending, and the line "our economic plan is stronger than old religion and customs" drives the point home even more obviously. This film, appeasements aside, is a fascinating depiction of rural life, and its informative pace is hypnotic (regardless of whether or not that information is fully factual).

Opening on text exposition and a map to pin point the location of the documentary, 'Salt for Svanetia' seeks to show the cold, desolate, isolated world of the villagers of the remote mountain village of Svanetia. The director goes to great lengths to showcase this village and its villagers as lonely and isolated in the first shots of the film. The film also carries a strong communist message, describing the village's need once for guard towers to protect against the cruel monarchy, and the good that the new communist government is doing for these villagers. The film rests much of its documentary stylization on the ideas described by the members of 'KinoEye,' with pseudo naturalistic shots that seems to show impossible scenes, such as directly down the barrel of a gun mid-conflict, and the entire saga of men going up a mountain and being caught in an avalanche. These scenes seem to use staging and much pre planning to create the necessary effect for the thesis of the film, which seems to be that this village's suffering is due to remoteness, a struggle that roads built by the new government will solve. 'Salt for Svanetia' is nothing like current documentaries, and thusly the story must follow a different structure and pattern. The theme is conveyed through both inter title cards and the kinetic shots and editing used to show urgency and danger within the film. Using montage techniques, unrelated shots are frequently put together to add to the story and support the thesis. The use of montage frequently takes the audience through the unfamiliar rituals and habits of the town, such as sheep shearing, hat making, and funeral rites. The way it is formatted and cut together makes the film feel both educational as well as subjectively pointed, especially with the message of how this village's struggle for salt to survive can be helped. Overall, it is beautifully filmed and the choice of shots helps to create and convey an idea of a desperate, isolated peoples that might only be saved by a new government.

This early Kalatozov documentary about hardships in a remote village in Georgia shows that all his ideas and inventions were with him from the start. Though not the unadulterated festival of inconceivable images that his later films became, this is still full of plenty of unforgettable sequences. In one scene villagers are using an old, rickety pulley to bring water up a tower. It starts out cutting from a simple shot of the water bucket to a simple shot of the villagers, then the cutting becomes faster and faster and the shots get closer and closer and the camera swings back and forth with the villagers as they heave and how and then suddenly a cut is made to the perspective of the water inside the bucket as it gets pulled up the tower. This is merely a single example of the many unforgettable things to be seen in this film. Highly recommended for anyone interested in documentaries and especially early Soviet cinema, and this is absolutely essential viewing for any fans of I AM CUBA or THE CRANES ARE FLYING.

Just happened to catch this on TCM and my jaw dropped. This movie was madein 1929, folks... The imagery, the editing... both superb. This is one of the most visually inventive films I have ever seen, and any film buff or artist will, I think, agree with me wholeheartedly.Prepare for some Soviet propagandist themes in this "documentary." I wasn'tsure that there weren't in fact a few professional actors in the cast -- there were some moments when the content came across as more drama thandocumentary; several scenes felt staged. No matter, I was fascinated by thepeople whose lives in the remote Svanetia village form the center of the story. And, it bears repeating, the cinematography is gorgeous, surprising at everyturn and just plain mesmerizing at times.Definitely worth a look if you can find it.