Surrender Full Movie In Hindi Free Download Hd 720p
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A young Jewish woman is forced to either give herself to a Russian officer or watch her village burn.
Lea Lyon, the daughter of a rabbi, lives happily with her father in their Gulicinu village, but there are rumblings of war. Soon, the village is overrun with the Imperial troops of the Russian Czar, with Constantine in Imperial command. He is attracted by the beauty of Lea and commands her to come to his quarters. She refuses and he is outraged. He orders the townspeople barred behind their doors and the village burned. Though she loves her honor above everything else, she can not bear to see the villagers suffer, and makes the lonely walk through the village to the Inn.
SYNOPSIS: Russians invade Austria and occupy a Jewish border town. The leader of the Russian garrison is smitten by the Rabbi's daughter. So he threatens to burn the whole town to the ground and incinerate everyone in the town alive unless she allows him to sleep with her. Everyone in the town, except her father, the Rabbi, begs her to accede. She declines, but when the Russian commander starts to carry out his threat, she decides she has no option but to do so. She makes her way to the commander's headquarters and enters his suite. But before the Russian commander can carry out his will, the Austrians attack in force and the Russians are forced to flee. The rescued Jewish townspeople then turn on the Rabbi's daughter for heeding their pleas and attempt to stone her to death. The Rabbi tries to stop them. So the Jewish townspeople kill him instead.
COMMENT: A movie of prodigious length – well over two hours at correct speed – Surrender is fortunately now available in its original, all-tinted Kodascope version in a beautiful DVD from Grapevine Video. An exception to Kodak's usual procedure, the movie was cut down to 6 reels instead of the customary five. At this length, it's most watchable. But there's no wonder it failed at the box office. The anti-Jewish story would not exactly sit well with just about everyone engaged in the movie industry and one wonders how Carl Laemmle and his many Jewish executives at Universal (including producer Paul Kohner) decided to resurrect Brody's obscure old play in the first place. Presumably they were grasping at straws to find a suitable vehicle for top-rated Russian import, Ivan Mosjoukine. As for the acting, just about all critics and viewers agree that Mary Philbin was rotten and everyone else did a creditable job. I disagree. I thought Mary Philbin was superb and underplayed her role most effectively, while everyone else – including most particularly the celebrated Ivan Mosjoukine – chewed up the scenery.
It's hard to focus on just what is the biggest problem with this film. I'd have to start with the casting. Ivan Mosjukine made only this one film in the U.S. - he was a huge star in Europe, but this vehicle did not succeed in making him one in America. I tend to think that he was so gifted, he could do absolutely anything, but here he was clearly miscast. He could play a villain or a lover, but the one thing I think he just could not do was believably play a man who would force himself on a woman. It just wasn't in him - you can tell throughout every film he made that the guy just really loved women, and by all accounts the adoration was reciprocated. Scarpia he ain't, and without a feeling of threat or danger, the plot falls apart. Mary Philbin, as his love interest, is not particularly good, either, but this is probably less a question of casting and more one of her acting ability. She can look merry and she can sob hysterically, but for anything in between, her expression is a sort of pained sullenness. The story wasn't absolutely lacking in dramatic possibilities, after all - maybe with a more fiery leading lady, Mosjukine might have been able to meet her with more passion himself, but she is just utterly inert, even during the love scenes.
There are a few nice things in the film - the portrayal of traditional Jewish village life seems pretty respectful (though I speak as an outsider). It's even rather funny, as two brothers march down the street arguing, and the titles are written in Hebrew, liberally sprinkled with exclamation marks! The way the crowd turns on poor Lea at the end is a bit unbelievable, though I don't think the intention was anti-Semitic; more a reflection on how people in mobs tend to act irrationally, which was hardly a unique theme at the time. Still, I have to think her father might have done a better job telling off the hypocrites in the crowd, who a few hours before were weeping and begging her to sacrifice herself to save them, then as soon as they're safe, start reproaching her and turn her out of town. The ending is a bit perplexing - obviously, in the intervening years, the Russian Revolution has come and stripped Constantin of his princely rank, so we see him dressed as a peasant when he comes back to reclaim his love. But the story is supposed to be taking place in Austria, not Russia, so what's with the 'Comrade' business at the end? And even if he's no longer a prince...uh, she's still Jewish and he isn't, right? And wasn't that the whole problem to begin with, rather than their respective classes? Or are we to suppose that the Communist Revolution (in another country) also managed to obliterate all religious differences as well? Or is everything alright because her father is dead now? It's hard to say - this looks like a "Love Conquers All" happy ending slapped on without any very clear thinking of how it could really come about. And since Ivan Mosjukine had to flee Russia BECAUSE of the Russian Revolution, I have to wonder just how he felt about playing a "reformed" Russian prince who is set free by Communism to finally be united with his beloved? That might have contributed a bit to his obvious unease in this project.
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