Summary

The pathos of universal unity against the backdrop of the overthrown imperial monuments triumphs on the Russian screen with the arrival of the cinema youth. But the closer we get to the "year of the great turning point", the more palpable this pathos is replaced by the pathos of the class struggle. New monuments appear in place of the dropped ones. And the "little man", not having had time to grow up, finds himself again at the foot of new pedestals. Monumental forms in cinema crowd the living human content of films.