Bezhin Meadow - Plot

Plot

Because Bezhin Meadow was repeatedly edited, re-shot, and changed to satisfy the Soviet government authorities, several versions of the film were created.

The most sourced and best-known version focuses on Stepok, a young boy in a collective farming village, who is a member of the local Young Pioneers Communist organization, as are other local children. His father Samokhin, a farmer, plans to sabotage the village harvest for political reasons by burning down the titular meadow, but Stepok organizes the other Young Pioneer children to guard the crops. Samokhin grows progressively more frustrated by his son's actions and success. Eventually, Stepok reports Samokhin's crimes to the Soviet government authorities, and is in turn slain by his own father for betraying his family. The other Young Pioneers break into the local church, singing songs, and desecrate it in response to Stepok's death. The visuals of the film shift during the destruction of the church, with the villagers becoming that which they are destroying—the angry villagers, by the end of the set piece, are depicted as Christ-like, angelic, and prophetic figures.

A later re-editing of the film opens with images of orchards and blue sky, showing a stone obelisk with Turgenev's name on it. It is next revealed that Stepok's mother has been beaten to death by his father. In a dark hut, Samokhin complains that his son has a greater loyalty to the Soviet than his own family, as Stepok enters from the bright day outside. His father quotes from the Bible: "If the son betrays his father, kill him like a dog!" Samokhin is arrested for arson, and Stepok leaves with a Communist functionary. The other arsonists take refuge in the local church, and are soon arrested. The arsonists are nearly lynched, but are saved from the villagers' wrath by Stepok. The villagers transform the church into a clubhouse, symbolically ridiculing religion or the clergy.

In some versions, the destruction of the church was replaced with a scene of villagers fighting the arsonist's fire. In the film, the fire was started when the arsonists threw dried sunflowers and lit matches into the community's fuel storage area. In some cuts, Stepok overhears his father's planning and sneaks out in the night to inform on him; in others, the local Communist Party functionary breastfeeds Stepok's young sister; in still others, Stepok's father says after shooting his son, "They took you from me, but I did not give you to them. I did not give my own flesh and blood." After Stepok's death, the same aforementioned Communist official carries him off, joined by other children, in a funeral march that was said to evolve into a victory march.

The film, as mentioned by Shumyatsky and Eisenstein, is rich in religious iconography and the symbolic struggle between good and evil. Additionally, Birgit Beumers writes, "The peasants here are grey-bearded prophets; the young men are broad-shouldered Renaissance apostles; the fleshy girls are earthly Madonnas; the peasant wrecking the iconostasis is a biblical Samson; the chubby young boy in the shirt, raised high under the cupola towards the slanting sun-ray which turns his locks golden, is the young Jesus Christ ascending to the Heavenly Throne." Bezhin Meadow, in its various unreleased versions, was "Dedicated to the bright memory of Pavlik Morozov, a small hero of our time" (cf. A Hero of Our Time).