Stjenka Rasin: Old-School Melodrama on the High Seas

Is it worth your time?

Look, if you’re into dusty historical epics with a lot of stern faces and dramatic arm waving, you’ll probably find something to enjoy here. If you need snappy dialogue or pacing that doesn't feel like a slow-moving barge, you’re gonna be bored stiff. It’s an old-school affair that feels like it’s trying to be a grand legend but settles for being a bit of a soap opera in furs.

The whole setup with the Cossacks is classic stuff. You’ve got the oppressed hero, the cruel Prince, and the forbidden romance that feels like it was ripped straight out of a much trashier novel. It reminds me a bit of the heavy-handed drama you’d find in The Heart of Maryland, where everyone is either screaming or pining.

The Boat Life

Most of the movie takes place on this ship, and it’s weirdly claustrophobic. The Prince, played by Heinrich George, is chewing up the scenery every chance he gets. He’s the kind of villain who probably kicks puppies when he’s off-camera.

Then there’s the Princess. I’m not sure what she sees in Razin besides the fact that he’s the only other person on the boat who isn't a total creep. Their chemistry is about as dry as a desert floor, but they keep staring into each other's eyes like it’s a Shakespeare play.

Odd moments that stuck with me:

• The way the extras just stand around during the big confrontation scenes. Seriously, some of them look like they’re waiting for a bus.
• The lighting in the cabin scenes is incredibly moody—almost to the point where you can’t tell who is talking.
• The sound of the water against the hull is weirdly loud in one specific shot. It sounds like someone splashing a bucket in a bathtub. 🌊

It’s not as chaotic as The Nitwits, but it has that same dated energy. You can feel the weight of the production trying to be important. Sometimes it works! Other times, it feels like they just ran out of budget and decided to focus on a close-up of a beard for thirty seconds.

The film doesn’t really know how to end. It just sort of stops when the drama hits a fever pitch. I sat there for a second waiting for the credits to roll because it felt like a scene was missing. Maybe that’s the point? Maybe it’s about the open-ended nature of destiny? No, it’s probably just an editing choice from 1930 that hasn’t aged well.

If you like these kinds of old period pieces, you’ll dig it. If not, maybe stick to something with a bit more… movement? It’s a relic, plain and simple. Sometimes that’s enough. Other times, you just want the boat to hit the dock already. ⚓