text: (Contains spoilers)<br /><br />Russia in the 13th century. The opening shot shows the relics of the last invasion: moldering uniforms, human skulls and a horse's skeleton. Prince Alexander Nevsky (Nikolai Cherkasov) chased the swedish army away and impressed the mongol ruler to such a degree that he proposes to promote him to the rank of captain. But Nevsky replies: "Die in your homeland but don't leave it". He intents to fish, build ships and trade. But he warns of a more dangerous enemy: Nearer, meaner and no possibility to buy oneself out: Germany. Their objective is Novgorod. They have already reached Pskov: Mothers and daughters suffer for their fathers and sons. The marauding occupation forces distribute the looty. Rich merchants want to purchase their liberty (always a place for some anti-capitalist p. r.), but the "common people" are ready to fight. They want Alexander as their leader. Pskov is burned to the ground. The teutonic knights feel invincible and have just a smug smile for the russian women who witness helplessly how their fathers and sons are butchered. Babies are thrown in the fire while high dignitaries of the church look on and remain idle. In Novgorod: Olga Danilovna has two admirers: rich and staid Gavrilo and tall and jolly Vasili. She promises to marry the most valiant. Vasili calls on Alexander Nevsky in Perejaslav. The prince decides not to wait for the attack but to strike at once. Even women put on a chain armor...The invaders want to bait the "russian bear", but Nevsky's stratagem stands the test: Lake Peipus is his war zone : His men know the territory but the germans, who are heavier, will break through the ice...<br /><br />Open your eyes and watch the most impressive battle scenes ever filmed. It's not just the multitude of extras (Who were, I think, pressed in this patriotic exercise), but Eisenstein's masterful management of such a large number of individuals: he displaces divisions like pieces on a chess board and nearly every shot resembles the composition of a painting by Rembrandt or Rubens (Including horses in phantastic outfits). Russia in winter looks intimidating in itself, but Eisenstein's visual imagination is hors concours. Heaps of corpses are plunged in cosmic light under an endless horizon. At nightfall, Olga and other women search with torches for survivors. A devoted falcon sits on his master's dead body while a crow waits for the right moment to pick out the eyes of the deceased. Eisenstein's direction and Prokofiev's score make ALEXANDER NEVSKY the "Rolls Royce" among propaganda films. Nevsky is, of course Stalin's alter ego, and the russians are tall, good-looking, heroic, and they have a perfect hairdo. The germans are bearded savages and look like members of the Ku-Klux-Klan. The actor who plays Vasili gives a one-man-four-characters performance: first wavering, then heroic, youthful lover and comic relief. Cherkasov's main duty is to look heroic. At the end, Nevsky-Stalin displays his generosity: He pardons the "little soldiers" and barters the knights for soap. Only a bearded killer and a traitorous cleric are turned over to the mob. He does not forget a final warning: Who comes with the sword will die by the sword...He kept his promise. 10/10