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The Vyborg Side

Name: The Vyborg Side
Director: Grigori Kozintsev, Leonid Trauberg
Released: 1939
Duration: 92 min

Representation Score

3.6/10

Limited

1939

Director

Grigori Kozintsev, Leonid Trauberg

Runtime

92 minutes

Average Rating

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New Showbiz Analysis

The Vyborg Side is a quintessential piece of revolutionary cinema that prioritizes systemic upheaval over identity. Its narrative strength lies in the deconstruction of old-world hierarchies, specifically targeting Tsarist and capitalist structures. While the film succeeds in presenting a non-Western, collectivist social order, it operates within the rigid character archetypes of 1939. The focus on class-based identity leaves little room for the representation of gender, sexuality, or disability. Ultimately, the film is a study of political and social transformation. It achieves high marks for cultural disruption but remains limited by the era's emphasis on masculine, proletarian archetypes.

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Category Breakdown

Does The Vyborg Side have LGBTQ+ representation?

Minimal

The film does not include any LGBTQ+ characters or narratives. The story focuses solely on class struggle and the establishment of the state.

How does The Vyborg Side portray gender?

Fair

Men like Maxim and Lenin play key roles in the story. The film emphasizes masculine archetypes of strength and political leadership typical of the time.

How racially and ethnically diverse is The Vyborg Side?

Fair

The narrative centers the ability to act of the Soviet working class against Western colonialism. However, it lacks specific evidence of a multi-ethnic cast or diverse ethnic character arcs.

How does The Vyborg Side represent religion and culture?

Excellent

The film effectively portrays the dismantling of Tsarist and capitalist institutions. It promotes a collectivist framework that replaces traditional religious and monarchical social orders.

Does The Vyborg Side include disability representation?

Minimal

There is no evidence of characters with physical or neurodivergent disabilities being portrayed with ability to act or as central to the plot.

Present on Screen

Strong cultural disruption through the dismantling of Tsarist and capitalist institutions.
Effective centering of the Soviet working class's ability to act against Western-colonialist historical frameworks.

Limited or Absent

Lack of gender diversity, as key roles are almost exclusively played by male protagonists.
Absence of representation for LGBTQ+ identities, physical disabilities, or neurodivergent characters.
Limited focus on racial diversity beyond class-based identity.

Official Synopsis

The final part of trilogy about the life of a young factory worker, Maxim. Following the Russian Revolution, Maksim is appointed state commissar in charge of the national bank. With great efforts, he learns the complexies of the banking trade and begins to fight off sabotaging underlings. Dymba, now a violent enemy of the Republic, tries to rob a wine store but is arrested with Maksim's help. Maksim also exposes a conspiracy of a group of tsarist officers who prepare an attempt against Lenin. He then joins the Red Army in its fight against the German occupation.

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