Red Pioneers
3 Stars, Science Fiction, 151 Minutes, R, 1979
Roger Ebert, 14 Oct. 1981
I sometimes find myself torn two ways about a movie, enjoying it greatly while recognizing reasons I really shouldn't. Red Pioneers is, I think, an example of that experience. I rarely have any chance to watch films from the Soviet bloc - quite frankly, they didn't use to make many of them, and they hardly ever left the bloc. If it had only been that they weren't good, I would have been perfectly happy to let that be known, but the truth is that I'm simply not familiar with that body of film. I imagine I was of a common mind with many of you in assuming that anything filmed in the USSR would surely just be propaganda justifiably left within its borders. In this, Red Pioneers is only a partial surprise - the captioned edition that reached the big screen stateside is, assuredly, a propaganda piece. However, barring a few points where director Vasily Numerov allows for socialist political thought to override narrative logic and solve minor problems in its own right, I find it a captivating and worthwhile piece of near-future science fiction.
The film opens by welcoming us into the not-too-distant year of 1990, as a man takes morning tea not in any city on Earth, but in the habitats of a Soviet research station on Mars. He gazes out a window toward the distant blue dot of earth, where he will soon return home to see his wife and daughter while another team of researchers flies in for their stay on the Red Planet. An alarm goes off - the man, who we learn to be a biologist, goes to his intercom. Their return to earth has been postponed - the recently reported discovery of Martian microbial life has prompted an American embargo of returnees, supposedly to prevent a xenobiological plague. What's more, with the next research crew already well underway, the base will soon be drastically overstaffed. In this trying time, they must all muster their fullest efforts to expand the habitability of the base, preserve good order, and continue their research until such a time as they are allowed to return home. All of this is established in the first eight minutes of the movie, and with 143 more to go, there is plenty of time to deliver on the promise.
For all that the film asks us to accept that the Soviet Union will settle Mars by the end of the current decade, with a US competing colony nowhere in sight, the science fiction component of the movie is excellent, as are the practical and special effects. Eschewing fantastical technologies in favor of speculative forward developments, the martian colony feels like a real machine assembled through human industry and intelligent labor and straining as circumstance forces it beyond its specification, and the labors of its wardens to keep it functioning feel no less real. The red planet, the movie makes clear, is no natural home for humanity, and the only way to survive her surface is through hard work, teamwork, ingenuity, and in service to the film's originally propaganda oriented creation, Marxism, which one might assume if their only context were this film was something akin to the Force from Lucas' Star Wars.
If there is one thing which truly drags the film down, aside from the shoehorned in propaganda element, it would be the characters. Whereas the research base, Soyuz Station, could almost be seen as a fully fledged character with its own development arc, the actual actors in the movie are static, stoic, serious, and altogether not very interesting. In fact, none of the men and women of Soyuz Station are named beyond their vocation, seemingly for the specific purpose of cutting the audience off from investing in them as people. Perhaps this was a communist cultural mandate to glorify the collective rather than the original, or perhaps the screenwriter was simply more a scientist than conversationalist, but the result is that there are scant few moments where the characters are as interesting as what they're doing.
I said similar things of Kubrick's 2001: A Space Odyssey, but because of their greater prevalence and particularly in light of the clearly political message of the film, the overall experience of watching this movie is just good, not great. It certainly has great parts, but characters who sometimes feel more robotic than their rovers and the moments where political pressure pushes easy solutions to hard problems hold them back. I'm sure to the audiences in Moscow, this will be seen as one of the greats, but for an audience stateside it's best saved for those who prefer their Science Fiction richer than usual in science and don't know where else to look or those who can find humor in the moments of contrived non sequitur and appreciate it as something it wasn't meant to be: a satire about the near-religious elevation of ideological conflict.