Men Wanted: Female Masculinity in Sergei Livnev's "Hammer and Sickle"

American Association of Teachers of Slavic and East European Languages
Men Wanted: Female Masculinity in Sergei Livnev's "Hammer and Sickle"

Author(s): Lilya Kaganovsky
Source: The Slavic and East European Journal, Vol. 51, No. 2, Special Forum Issue: Resent,
Reassess, and Reinvent: The Three R's of Post-Soviet Cinema (Summer, 2007), pp. 229-246
Published by: American Association of Teachers of Slavic and East European Languages
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MEN WANTED: FEMALE MASCULINITY

IN
SERGEI LIVNEV'S HAMMER AND SICKLE
Lilya Kaganovsky,Universityof IllinoisatUrbana-Champaign
1
Around 1931, luryOlesha made thefollowingobservationinhis diary:
Saw a man at thebarber's, thekind I would like to have beenmyself [kakimkhotelos'by
samomubyt'].He was gettinga shave.A peasant,probably.The faceof a soldier,
maybe forty
yearsold, healthy,lips likeMayakovsky's, blond. It's thekindof faceyouwant tocallmodem
masculine: the faceof a pilot-the modem typeofmanliness
[sovremennoe],intemationally
A man likethatstandssomewherebetweencourage,magnanimity,
[muzhestvennost'].
and tech
nology.He fliesacross theocean, he loveshismother,he stopsa car fromslidingintotheriver
by grabbingon toone of thewheels, he turnsupwhen an electriccable fallsonto thestreetand
hematerializesatop thefireladderthathas arrivedon thesceneof an accident,
wearinghis rub
ber gloves. (Olesha 37-38)
Olesha's diaryentryencapsulatesthefantasy
of "extravagant
virility"'at the
heartof Stalinistculture,a cultureobsessedwithpilots,arcticexplorers,steel
workers,and othermodels of idealmasculinity.The diary'sprivateobserva
tions reflect the collective fantasy of what itmeans to be a man-or,
at the
itmeant, in 1931, to be a New Soviet Man.2 This fantasy re
very least, what
lieson themetaphorsof health,youth,strength,

andvirilitytobringtogether
masculinityand themale body,mythsand fantasiesthat"guaranteethat
male
ness andmasculinitycannotbe priedapart"(Halberstam1).
Writing about "femalemasculinity,"Judith
Halberstam suggeststhatthe
Westerndominantparadigmofmasculinityis securelytetheredto themale
body."Femalemasculinities,"shenotes,"are framedas therejectedscrapsof
dominant masculinity
in order thatmale masculinity may appear as the real
thing"(Halberstam1-2). Livnev'sHammer and Sickle is first

a
and foremost
nightmarish
comedyabouta sex changeoperationthatproducesa New So
vietMan fromthebodyofwoman. It is therefore
theperfectvehicle forthink
ingaboutsex andgender,andmasculinityand thebody,as notionsthatdo not
always or necessarily map onto one another.
1. I borrow the phrase "fantasy of extravagant virility" from Toby Clark.
see Bonnell; Haynes;
2. For literature on the construction of theNew Soviet Man,
Livers.
SEEJ,
Vol.
51, No.
2 (2007):
p. 229-p.
Hellebust;
246
229
230
Slavic and East European Journal
Strikingly,
however,Olesha's slippagebetween the threeterms("saw a
man at thebarber's,""It's thekindof faceyouwant to call [ ...]masculine,"
"themodern typeofmanliness"),betweenseeinga man whose likenesselic
itsa longstring
ofmasculine qualifiersand recallingall of theways inwhich
"men"9
can appearas "manly,"problematizestheverynotionofmasculinity,
of what
itmeans
to be (that is to say, to look and act like) a man. Here, mas
culinitydoes notnecessarily"reducedown to themale body and itseffects"

(Halberstam1), but rather,seems to existas a separatesetof concernsthat
may or may not always successfully map onto themale
subject ("Saw
a man
at thebarber's,thekind Iwould like tohave beenmyself").

This perceptionofmasculinityas a setof attributesthatmay, but do not
necessarilynaturallybelong to themale subject,pervades SergeiLivnev's
Hammer and Sickle (Serp imolot). SergeiLivnev directedone ear
1994 film
Kiks
lierfilm,
(1991),whose plot focusedon a substitution
of a pop-starby
her look-alike.In early interviews
aboutHammer and Sickle,Livnev claimed
tobemaking a "remake"ofKiks- anotherfilmaboutdoubles, substitution,
and replacement(see Trofimenkov).
Livnev haswrittenseven screenplaysforbothmovies and television;and
hasworked as a produceron a numberof projects,includingcollaborations
with V. Todorovskyand I. Tolstunov,and jointRussia/USA productions.
From 1995-1998, hewas thedirectorof theGorkyFilm Studio.Hammer and
Sickle was barely screened inRussia: because of a lawsuit, itwas not released
in theaters and appeared only at Film Festivals. However, it has been avail
able on VHS and is now available on DVD.
The film is a story of an ordinary girl that becomes
an extraordinary man.
EvdokiaKuznetsova,a youngpeasantwoman
Througha sexchangeoperation,
fromtheprovinces,is transformed
intoEvdokimKuznetsov,a Stakhanovite
worker, a builder of theMoscow metro, a member of the Supreme Soviet, and
Vera Mukhina's model of a worker for the Worker and Collective Farmer
[Rabochii
i kolkhoznitsa, 1937] monument.
In every way, Livnev's
filmmakes
theconstruction
of Stalin'sNew Man literal:everything
aboutEvdokim-his
sex,his gender,his body,his desire-is "givenfromtheoutside,"3createdand
imposedon himby others(bydoctors,by Soviet culture,
by Stalin).Evdokim
appears to have no choice but to go along with his assigned path, marrying the
woman picked out forhim by theNKVD,
adopting a daughter chosen for him
among the orphans of the Spanish Civil War, rising through party ranks to oc
cupybetterandhigherposts.
Unable
Evdokim
to sustain his own myth as the perfect Soviet subject, however,

attacks Stalin, hoping to take back some measure of control over his
life.Instead,he is shotby Stalin's bodyguardsand his wounded body be
comes
3. On
the site of the second

the performativity
fantasy of Stalinist masculinity:
of gender and the construction
of sex, see Butler
themutilated
1990,
1993.
Men Wanted: Female Masculinity in Sergei Livnev's Hammer and Sickle
231
bodyas a culturalfetish.4
Paralyzedfromtheneckdown,Evdokim spendsthe
remainingthirdof thefilmimmobilizedon a giantbed with a hammerand
sickleheadboard,inamuseumdedicatedtoactsof braveryhe nevercommit
ted,and surrounded
by objects he neverpossessed. Finally,he is shotand
killedby his own daughter-and thesmileon his face,given tous inclose
up, indicatesthathe has finallybeen released fromthisparticularformof
symbolic(andphysical)captation.5
Livnev'sHammer and Sickle is a darkcomedy,a post-Soviettakeon some
of themyths and fantasiesof Stalinism,which triesto understand
what it
mighthavemeant tobe a "man" in a worldwhere therelationship
between
themale body andmasculinity,andbetweenmaleness andpower,was denat
uralizedandunhinged.6
The comedyhere relieson takingsomeof thetropes
of Stalinistculture-the desire to produce theNew SovietMan, subjects
withoutwill thatexistat thebehestof thestate,Stalinas the
Master Signifier
from
which allmeaningproceeds-to theirliteraland absurdextremes.
And
yet, thefilmstrugglesagainstitsown comichyperbole,
wanting to find"au
a way forthe(male) subjectto escape theconfinesof his rigidly
thenticity,"
structured
and prescribedself.Despite itsemphasison theproductionand
thefilm,theendingofHam
construction
of (male) subjectivitythroughout
mer and Sicklenevertheless
proposesa naturalizedrelationbetweenmaleness
andpower,betweenmasculinityand action.In aworldwhere everything
was
was innate,
what avenueof escapewas leftforthesub
producedandnothing
a man ever act "as a man"?
ject? Could
Livnev'sHammerand Sickle stagestheStalinistfantasy

of constructing
the
New Soviet Man
in an extreme and absurd form: by taking the body of a
woman and grafting onto it the organs of a man. This new man becomes the
4. As
men
I have
in Socialist
the mutilated
Pavka
argued
Realist
virile
elsewhere, despite the overwhelming
presence of hyperbolically
found its incarnation in another figure as well:
art, Stalinist masculinity
male
Korchagin,
the heroic invalid. Injured Semen Goncharenko,

protagonist,
paralyzed
maimed Aleksei Kovshov,
legless Aleksei Meresiev,
one-legged Aleksei
and many other lesser-known protagonists of Stalinist novels and films help
Voropaev?these
paint a different picture of the Socialist Realist hero and theNew Soviet Man. On Nikolai Os
the Steel Was Tempered and the other model of exemplary Stalinist masculinity,
trovsky's How
see Kaganovsky
2004.
term "captation" borrows from the French juridical meaning

of cap
"illegal securement" (from the Latin root meaning
"capture" or "seizure"). For
Jacques Lacan, the term describes theway particular images, as well as elements of external re
ality, can "catch hold" of the psyche and become
important formative agents for the subject. For
5. The psychoanalytic
tation, meaning
example, Lacan refers to "the spatial capture manifested by themirror stage" (Lacan 2002, 77).
6. As Birgit Beumers has noted, contemporary filmmakers (Tengiz Abuladze,
Aleksei Ger
and others) have gone out of their way to demythologize
the Stalinist
man, Nikita Mikhalkov
tradition to highlight
heritage. Only Livnev, however, has "re-created myth in a postmodernist
the false nature of themyth
in the first place"
(Beumers
188).
232
model Stalinist subject: handsome, brave, strong,healthy,heterosexual,

grantedall of theprivilegesof Soviet citizenship,includinga lovelyand ded
icatedwife, a convertible
car,and a largeapartment.
But beforehe canbecome
this
model Stalinistsubject,Evdokimmust firstlearnwhat kindsofwords and
actions constituteStalinistmasculinity.An earlymoment inHammer and
of sex and gender,and thedistancebetween
Sickle stagespreciselythefluidity
Justpriorto thesex-changeoperation,
"maleness"and "masculinity."
we catch
a briefglimpse,among thejars of formaldehyde
holdingdifferent
surgical
tools,of themale member,erectand isolatedin itsjar,being rolledbeforeus
on a cart.Because thecartwith theorgan is immediately
followedby thetable
withEvdokiaKuznetsova's unconsciousbody,we can read thisimageforthe
radicaldistancebetweenmaleness andmasculinity,penis and phallus.The
organwill be graftedonto theunwillingbody of a woman, creatingthenew
man and conferring
upon him all theprivilegesof Stalinist
masculinity.
And
yet,because itwas surgicallyattachedin thefirst
place, thisorgan(and sym
bol ofmale privilege)can easilybe takenaway,returning
Evdokim tohis pre
operative status-not
of woman,
but of a docile and castrated body-
in this
way, an evenmore usefuland exemplaryStalinistsubject.The distancebe

tween the sexual organ and the body serves as a marker for the distance be
tweenthebody andmasculinity(its "learned"characteristics)

and between
of all theseterms(of thekind
masculinityand power.Insteadof a conflation
we find inOlesha's
diary), here we have a radical separation. The (male) body
does notconfer
which inturn,
does notguaranteeaccess topower.
masculinity,
In her introduction
toFemaleMasculinity,Halberstamwrites,"masculin
itymust not and cannot and should not reduce down to themale body and its
effects." InMale Subjectivity at theMargins, Kaja Silverman names the fan
ofmalenesswithmasculinityandmasculinity
tasyof thecommensurability
with power, the "dominantfiction,"and Halberstam, similarly,refersto
"dominantmasculinity" as a naturalizedrelationbetweenmaleness and
power.7Yet,where thedominantparadigmsofWesterncultureinsiston such
Stalinistcultureseems oftento stage the incommensura
commensurability,
bilityof theseterms,givingus strangehybridsof femalemasculinity,of in
jured and paralyzed male
bodies, of weakness
that appears as strength, and
powerlessnessthatappearsas power.This is theStalinismthatLivnev's film

of genderand the
parodies and constructs,
making us believe in thefluidity
natureof itsconstruction.
arbitrary
Here,masculinitydoes not"reducedown"
to the male
body;
indeed, the male
body must be put through a series of
7. Halberstam
1-2. As Silverman has described

II
it, writing about the post-World War
"dominant fiction" solicits our faith above all in the "commensurabil
States, America's
of power.
is, an equation of masculinity with the mechanisms
ity of penis and phallus"?that
Stalinist dominant fiction, though appearing at first glance to do the same, actually stages the
United
radical
incommensurability
and Masculinity,"
"Ideology
of the two. On
the concept
of the "dominant
fiction,"
see Silverman,
15-124.
233
learnedand sometimestaskingstepsinordertoassumemasculinityin itshet

eronormative,
traditional
form.
InLivnev's visionof Stalinism,thereis littleroomfor"inherent"
or "nat
here in its"performative"
ural" genderassignment.Instead,genderis treated
discourse.8
As Alek
function,
theproductof studiedpracticeand reiterative
sei, theNKVD officer
who authorizesthesex changeoperation,explains ina
conversation
he supposedlyhaswith Stalin,"Thereare somewomen inour
want tobe something
countryforwhom it isnotenoughtobe a woman, they
more-a man." Biological sex is not a determinate
of gender identity,
but
one could eitherignoreor change.Masculinityhere
merelyan inconvenience
isofferedas thepotentialgoal of everyStalinistsubject,and as a result,itsas
-if anyonecan be a man,
sumptionismade bothdesirableand impossible
howwill we tell"realmen" fromeveryoneelse?
To produceman fromthebodyofwoman, thedoctorswipe theslateclean,
Evdokia's body to its (imaginary)prior,unsexed and ungendered
returning
state.Preparingfortheoperation,themain surgeonreviewsthecourseof ac
tionwithMaria, thedoctorresponsibleforthisnew invention.
"The plan of
theoperationisclear tome," he says."There isonlyone questionleft:should
we increasethedosage of hormones?""No," replies
Maria, "removethemal
with
together
[sovsemuberem]."Herewe have thebody in its"natural"state,
out the imposition of difference thatwill take place as soon as the penis is at
tachedand theprocessof theassumptionofmasculinitybegins.This process

is visuallysignaledtous whenwe see post-opEvdokim enclosed ina large
thatismeant to show fromtheoutside
metal tube,a phallic structure
upright
what itcannotshow fromtheinside:Evdokia being transformed
intoEvdo
kim (fig.1). The tubemarksEvdokim's assumptionor donningof the"armor
of an alienatingidentity,"
mental
that,as Lacan tellsus, "willmark his entire
with its rigidstructure"(2002, 78). The "rigid structure"
(of
development
of Stalinistsubjectivity)ismade visible fromtheoutside.
masculinity,
To assumehis new "alienatingidentity,"
Evdokimbegins a seriesof per
formances, by means of which he comes to inhabit his new body and his new
role:he lifts
weights,does push-ups,learnstourinatestanding
up and tomake
love to a woman.
These
acts are "performances"
in the sense that they are
atmasculinityratherthantheproductsof "natural"de
acted,studiedattempts
sireor need.For instance,
abouthow tourinatelike
Evdokimmust thinkfirst
a man, beforeremembering
todo so theunequivocally
male way. These acts
are also performancesin thatsomebodyiswatching:Vera lurksin thebath
roomdoorwayand her smile letsEvdokimknow thathe has passed thefirst
test.Finally,theperformance
mustbe rehearsed,
must bemade believable.Vi
sually,Evdokim is stillcaughtbetweenthetwogenderedspaces:he exercises
Judith Butler has called the "performativity" of gender, that is, "not as the act by
a subject brings into being what she/he names, but, rather, as that reiterative power of dis
course to produce the phenomena
that it regulates and constrains" (1993, 2).
8. What
which
234
SlavicandEastEuropeanJournal
Fig. 1. EvdokimlEvdokia (frame enlargement)

by doing bicep curls with two tea kettles and is at first too weak to do a real
push-up. Thus, when he first tries to kiss Vera, he is slapped and called "dura"
(fool, n. fern.). "A woman must be proud," Vera tells him, towhich he replies,
"And a man must be decisive -and what am I? Neither one nor the other?"
As Livnev's filmmakes clear, masculinity is a series of learned behaviors
and it is also a learned language (both bodily and verbal) thatmust be studied
and practiced and thatdoes not and cannot come from "within," as some kind
of innate or natural effect of the body.9 Evdokim's next step as an actor in his
new role is tomake love toVera. This is the second instance inwhich Evdokim
".acts as a man" and here his performance involves learning the right lines, as
well as the right moves. Asked to "say something [chto-nibud' govori],"
lover had repeated to her: "We'll
Evdokim repeats the lines that Evdokia's
it
with
it into a garden [... ]we'll make
seed
turn
the
we'll
flowers,
tundra,
plow
come
true
tsvetami
zaseem, v sad prevratim [ ...]
[Tundru raspashem,
fairytales
skazku byl'iu sdelaem]." As we watch, Evdokim's face is replaced by the face
of an unknown man, moving in and out of focus of a point of view shot.We
hear him chanting themeaningless slogans and lyrics of Soviet propaganda,
to mark the initial distinction between sex as "given" and gender as "con
9. Attempting
then
that the sexed body assumes,
structed," Butler writes, "If gender is the cultural meanings
a gender cannot be said to follow from a sex in any one way. Taken to its logical limit, the
con
sex/gender distinction suggests a radical discontinuity between sexed bodies and culturally
the stability of binary sex, it does not follow that

for the moment
structed genders. Assuming
to the bodies of males or that 'women' will in
the construction of'men' will accrue exclusively
'bod
terpret only female bodies [...]. But 'the body' is itself a construction, as are the myriad
ies' that constitute the domain of gendered subjects. Bodies cannot be said to have a signifiable
existence prior to themark of their gender" (1990, 10, 13).
MenWanted:FemaleMasculinityinSergeiLivnev'sHammerandSickle
235
we hear and see Evdokim repeatingthesesame linestoVera.'0 The

and then
and
clichednatureof thedialogue serves tounderscorelanguage'siterative
Evdokimdoes not speak inhis ownwords-indeed, no
performative
function.
one ever does -but
his word choice makes
itpossible
for him to be what he
masculinity.(Stalinist)
masculinity,
Livnev's film
needs tobe, to "perform"
tellsus, is "givenfromtheoutside,""citational,"learnedratherthaninnate."1
Itdoes notproceed"naturally"fromthemale body,but is insteada setof co
by anyone.
herenttraitsandbehaviors(and lines)thatcan be appropriated
Showingagainhow genderis "givenfromtheoutside,"Evdokim's finalac
ceptanceand assumptionofmasculinityismarked by twoprominentsigns.
The firstis a memorial plaque forEvdokia Kuznetsova (1911-1936) that
Evdokim findson thewall of theNovodevichyMonastery.The second,which
muzhchiny],"
ad
immediately
follows,is thesign"MenWanted [Trebuiutsia
Moscow metro (figs.2-3). Between themthetwo
vertisingjobs buildingthe
clearlymarks thedeathof
signsproduceEvdokimas amale subject.The first
his femaleself,while thesecondsign"hails"himas aman.'2No longercon
sciouslyperforming
masculinity(as he didwithVera,while in theconfinesof
themonastery/
Evdokimnow recognizeshimselfinand an
prison/hospital),
swersthecall of thestate:"MenWanted." In thenextsequence,shotas docu
we seeEvdokimon thefrontlinesofMoscow's underground
mentaryfootage,
and instructing
others
construction
project,
wielding amassive sledgehammer
on how to do the job right-a
fine specimen of the "fantasy of extravagant
virility"
producedby (in thiscase, a parodyof) Stalinistculture.
Hammer and Sickle,we are remindedthatStalinist
Indeed, throughout
As Evdokimbe
are closely linked.
and Stalinist"subjectivity"
"masculinity"
comes an exemplary "man"' he also becomes
a model
Soviet subject: a Sta
khanovitedecoratedwith theOrder of theRed Banner forhis superhuman

achievementson thework front;
married to an equally successfulpeasant
adoptivefathertoa Span
woman-turned-tractor-driver-turned-brigade-leader;
ishCivilWar orphannamedDolores; a memberof theSupremeSoviet.His
VeraMukhina,
and thesculptor
everymove is chronicledby a photojournalist
who usesEvdokimandhis future
wifeElizaveta as hermodels forthe"Worker
and Collective Farmer"monumentbeing preparedforthe1937 Paris expo.
Evdokim's statusasmodel speakspreciselyto thenotionof genderas a "copy
ofmale attributes
Evdokim is a construction
with no original."'93
graftedonto
10. "Mm pokernd,
hto? CKa3Ky c^ejiarb ?bijibio, /npeo^ojieTb
npocTpaHCTBO h npocTOp, /
HaM pa3VM flan cTanbHbie pyKH-KpbiJibfl, / a bmccto cep/jija?njiaMem?bi?
MOTOp. [We were
born tomake fairy tales come true, to conquer expanse and space, our reason gave us arms and
of theAviators"
[Marsh aviatorov,
wings of steel, and a fiery engine for a heart]." "The March
later known as "The March of Stalin's Aviation"
1921-22,
lyrics by P. German];
skoi aviatsii].
11. On performativity as citationality, see Bulter 1993, 1-23.
12. For the notion of the ideological
"hail" see Althusser
116-18.
13. On
imitation and gender
insubordination
see Butler
1991,
[Marsh
13-31.
stalin
236
4~~~~~
..
~ ~
Fig.
2.Mhen
Then
Whanted
"hail"d (frame
(frame enlargement)
enlargement)
Fig. 3.
a biologically female body, which nevertheless achieves the iconic status of

exemplary and desirable masculinity. As Birgit Beumers suggests, Evdokim is
9
an "6artifact,which is to say he is an object made by a human being; but he is
also an "artifact" in another way as well: he is a remainder, something extra
produced as a byproduct of an operation. As such, Evdokim is infinitely repro
ducible: photographs, newsreels, monuments all repeat Evdokim as an endless
series of hollow constructs.
Indeed, as Aleksandr Prokhorov suggests (32), the site for the production of
these hollow images -the projector that can be started and stopped, the photo
237
ofhistoricaldocumentary
journalist
herself,theinclusion
footageof theassem
us of the"making"of theStal
blyof themonument alwaysworks toremind
inistsubject.The photojournalist
and thesculptor
continuetoproduceEvdokim
in thesameway as his doctorsdid earlier.Like his post-operative
metal tube,
and the giant steelmonument limitand definewhat
the frozenfilm-still
Evdokim isand isnotallowed tobe.Again,we arehere in thepresenceof the
an identity
"assumption
of an alienatingidentity,"
thatisgivenfromtheoutside
marks thesubjectwith a rigidand foreignstructure.
Asked to identify
and that
withhis own on-screenimage,Evdokim infactfailstoachievethepropercin
Asked ifhe likesthemovie,Evdo
ematicor evenpsychologicalidentification.
kim can only answer:"It's strangeto see yourselffromtheside [Strannona
so storony]."
sebia smotret'
3
I believe thatthismomentof non-recognition
(ratherthanthemisrecogni
we
Lacan
tion would come to expect,what
(2002) refersto as meconnais
sance, "Hey!That'sme!") marks theturning
point in thefilm,thepointwhen
Evdokimbegins toresistthe
mechanismsofhisproduction.
The use of thecin
ematicdevice is important
Evdokimas a
here,because itnotonlyrepositions
we
witness tohis own construction,
but italso ensuresthatany identification
as viewersmay have been experiencing
halfof thefilmisnow
duringthefirst
worksby thedoublemechanismof character
undone.Cinematicidentification
on thescreenbecause they(more
with thecharacters
and camera.We identify
our ideal selves;butwe also identify
with thecam
oftenthannot) represent
era-eye,becausewe seewhat itsees.Once we are shownthesiteof produc
tion,however,oncewe are remindedthatwe arewatchinga movie, staged,
played,directed,and filmedforourpleasure,themechanismsof identification
arebrokenand ourpleasureat being lostin thenarrativeis shattered.
Evdokim andElizaveta ina
The scene-duringwhichwe see, alternately,
theprojector,thenas a filmstripthat
newsreel,thenas an imagepassed through
can be startedand stopped,thenas an idea foramonument,thentheproduc
tionof that
monument(andnewsreelsabout theproduction)and finally,
as a
filmshown in the theater,
with a reverseshot to show us thatthe "real"
Evdokim and Elizaveta are also watching-marks themomentof thefilm's
in
breakdown,themomentwhenHammer and Sickle is no longerinterested
Livnev suggeststhatthesecond
tellingthesame storyof Stalinistabsurdity.
halfof thefilmis a "tragiclove-story"
and Iwould agree thatthetoneof the
filmshifts
thetwopoles of
herefromcomedyto tragedy.
This shift
may reflect
or
to
as
late
film.
response Stalinism, depictedby
post-Soviet
On theone hand,
Stalinismis treatedas a surreal,impossible,and nearlyfantastic
occurrence,
with emphasisplaced on thecomic,parodic,and surreal:forexample,Abu
ladze'sRepentance (Monanieba, 1987) or PetrTodorovsky'sEncore, Once
More, Encore! (Ankor,eshcheankor!,1992).On theotherhand, itappears in
238
theguiseof an impassibleandunworkabletrauma,
dark,severe,paranoid,and
inhuman:forexample,
Mikhalkov'sBurntby theSun (Utomlennye
solntsem,
1994) orGerman'sKhrustalev,
myCar! (Khrustalev,
mashinu!,1998).
The shiftfromcomedyto tragedycomes as Evdokimbegins to realizehis
as a Stalinistsubjectand-perhaps more importantly-hisinabil
limitation
ityto truly
be a "man."Speakingabout thefilmat theInternational
Film Fes
tivalinRotterdam,
Livnev said inhis interviewthat"The hammerand sickle
were foryears thesymbolsofmy country.
People recognizedthesefrighten
ingand sinistersymbolsof proletarianlaboras theumpteenth
variationon a
theme:therelationbetweenman andwoman. The hammeris thevagina, the
sickle is the penis. I wanted
to show how normal human emotions are born
and live and die in abnormalconditionsunder theStalinistregime.That is

why it starts as a political adventure and ends as a tragic love story" (Livnev,
interview,
Rotterdam).
Neither thesex changeoperation,nor Stalin's role in arranginghismar
riage toElizaveta,norhis statusas a "model"Soviet citizen,preparesEvdo
kim fortherealizationthatStalinistsubjectsare constructed
andmobilized
of thestateand not accordingto theirdesires.
accordingto therequirements
As he sitssullenlyat his desk surrounded
by typicalitemsof Stalinistluxury
(artdeco lampswith green lampshades,busts of Lenin, and other itemsof
Stalinisthigh style), ignoringphone call afterphone call, we realize that
has gonewrongwith thismodel Stalinistsubject.
something
What followsis
a break-down
that leads Evdokim
first to abandon his job and his family, then
todrunkand disorderlyconduct,and finally,to theKremlin screeningroom
and his confrontation with Stalin.
It is exacerbated,
on the one hand, by
Evdokim's reunion
withVera and her suddendeath,and on theother,by his
unexpected
meetingwithhis formerlover,themanwhosewordsEvdokimar
dentlyrepeatstoVera duringlove-making.
Itmay be worthwhileto pause brieflyon this last encounter,
because it
leadsup directly(bothin termsof thefilm'splot and thematically)
toEvdo
kim'smeetingwith Stalin.Drunk,disappointed,and confused,Evdokim sud
denly finds himself face to face with a group of sailors, one of whom he im
mediately recognizesas his formerlover.We might recall thatthisman is

Evdokim'smodel ofmasculinity,theroleonwhich he bases his ownperform
ance. But thisman cannot see (or refuses to see) past Evdokim's male
appear
ance,he cannot"recognize"Evdokim,cannotprovidehimwith theanswerto

his fundamental
question:"Who am I?" Indeed,as Livnev's filmgoes on to
show,thisanswercan onlycome fromone source:Stalinhimself.
Evdokim's encounterwith Stalin takesplace in theKremlin screening
room,while thelatteriswatchingCharlesChaplin's CityLights.The choice
of CityLights,of course, is not incidental,
butprovides theproperbackdrop
(or back projection) to the events taking place before it.City Lights is a film
about a trampmistaken for a richman by a blind girl. Eventually, he pays for
239
an operationtorestoreher sight,but ishimselfarrestedand throwninprison.

In thefinalscene (whichplaysout in thebackgroundas Evdokim strugglesto
of Stalinism),thegirlrecognizesthetrampas her rich
understandthe"truth"
The finalclose-upof her face is famouslyinconclusive.
Her illeg
benefactor.
ibleexpressiondoes not tellus whethershewill rejectthetramporwhether
theywill livehappilyever after.
What isvital forHammer and Sickle,how
ever, is thatthisscene,once again, reveals thedistancebetween"penis and
phallus,"between the trampand therichbenefactor,
between thevoice of
man
to
whom thisvoice cannotpos
power thatshehas been hearingand the
siblybelong. In his essay onHammer and Sickle,Prokhorovreads themo
ment of Evdokim's confrontation
with Stalin in similarterms,themoment
when thedisembodied"master-voice"of Stalinistdiscourse is temporarily
embodiedin theaged andweak bodyof Stalin (Prokhorov
37-38).
And yet,perhaps,themessage of thisscene can be read inanother
way as
well. The finalshotof CityLights-the girl smilingintothecameraas the
trampwalks away-marks in part theunbridgeablegap between self and
on theone hand and the
and symbolicregisters
other,betweentheimaginary
register
of therealon theother.14In theopeningshotsofCityLights thetramp
appearsas a kindof "stainof thereal,"a darkspot in themiddle of an other
wise untroubled
world.This, perhaps,is thestatustowhich he returusat the
end.He iswhat cannotbe assimilated;he is that
which has no place in theor
or
structures
of
even
in
the symbolic
thedisorderlyfantasiesof the
derly
imaginary.
Similarly,inHammerand Sickle,Stalinrepresents
a kindof "stain
of thereal."Like thetramp,
hemay be laughablewhen seenup close,buthe
thebigOther from
which allmeaningpro
isneverthelessthe"master-voice,"
ceeds andwithoutwhich no subjectcan be recognizedas such.Evdokim's at
tackon Stalin, likehis earlierattackon thesailor,is drivenby thedesire to
understand
who andwhat he is, tobe recognizedas a subjectof amasterdis
of Stalinism.
course- of love,ofmasculinity,
In attackingStalin,Evdokim is seekinga responsefromtheOther,an ac
of his own existenceas a subject.This acknowledgement,
knowledgement
however,comes at a price: inordertobe recognizedas a subjectof a master
which thediscoursepro
discourse,onemust firstrecognizethatentityfrom
ceeds."In truespeech,"writesLacan, "theOther is thatbeforewhichyoumake
But you canmake yourselfrecognizedby itonlybecause
yourselfrecognized.
it is recognizedfirst.Ithas tobe recognizedforyou tobe able tomake your
selfrecognized[...] It is through
recognizingitthatyou institute
it,andnotas
a pureand simpleelementof reality,
a pawn,a puppet,butas an irreducible
ab
solute,onwhose existenceas subjecttheveryvalueof speechinwhichyou get
14. The three essential orders of the psychoanalytic
field are: the Imaginary (characterized
of the relation to "the image of the counterpart"?for
the mirror
example,
by the prevalence
structured like a language, systems of signs); and the Real
image); the Symbolic
(phenomena
and J-B Pontalis,
1973.
(that which lies outside of symbolic signification). See J. Laplanche
240
SlavicandEastEuropeanJournal
yourselfrecognizeddepends"(1993,51). Inother
words,beforegetting
his an
swerto"Who am I?" Evdokimmust first
acknowledgetheexistenceof some
one capable of givinghim thatanswer.He must firstrecognizeStalinas ab
solute master, before he, in turn,can be recognized as a subject, and as a "man."
At first,
Evdokimdoes not realizethatinStalinhe faces"an irreducible
ab
solute,"thebigOther.He sees a small,agingman,weak and docile,watching
a Chaplin comedy.Evdokim assertshis independent
existenceby claiming
that,sincehe is a man and "themasterof his life[khoziainsvoei zhizni],"he
has therighttoquithis job, leavehiswife anddaughterand,most importantly,
cease tobe themodel Stalinistsubjectthatthemasses expecthim tobe.At the
same time,Evdokim seeks recognition.
He wants Stalin to see him as "the
masterof his life,"an equal. Thus, in some sense,Evdokimhere is awareof
his symboliccaptation.Even thechoice of language-the use of theword
"khoziain"-hints at thepower given to Stalinby Soviet rhetoric.
There is
onlyoneKhoziain and,by extension,
Again, the
onlyoneman: Stalinhimself.
cannotbe
andmale subjectivity
slippageherebetweenStalinistsubjectivity
overlooked. Evdokim wants to know if he is a man, if, as a man and "master
of his life," he can do as he wishes. He is taught instead that he is "comrade
Dusia [tovarishch
Dusia]," an insultthatpointsback toVera's insult["dura"]
and Evdokim's constructed
and unnaturalexistence."You were a hysterical
country broad," says Stalin, "And now you want to be themaster of your own
life?Impossible,comradeDusia! [Tybyl isterichnoi

derevenskoibabenkoi,a
svoeizhizni?Ne vyidet,tovarishch
teper'khochesh'stat'khoziainom
Dusia!]."
Butler (1993,7-8) writes thatnamingis the"setting
of a boundary,"
amoment
that shifts an "it" into a "he" or a "she," and we see in this case, how Stalin's
use of "Dusia" immediately

undoes all thepreviousgenderconstruction
un
dertakenin thefilm,setting
up a boundarythateffectively
preventsEvdokim
fromlayingclaim tohismasculine identity.
Evdokim, inotherwords,gets the
recognitionhe has been seeking.Looking ardentlyinto the sailor's eyes,
Evdokim triedtomake him see thathe is thesame as before-he is stillthe
Evdokia thesailoronce loved.The sailormay be Evdokim'smodel ofmas
buthe is not thebigOther thatpossesses ultimateknowledge.Only
culinity,
Stalin can see Evdokim
"comradeDusia."
forwhat he really is, a "hysterical country broad," a
4
If Stalinism's fantasyof "extravagant
virility,"itsdesire to constructthe
New SovietMan, is clearlyparodiedby Livnev's film,thenwe might con
sider the conclusion
of Hammer
and Sickle as an instantiation of the second
modalityof thatdesire: thefantasyof themutilatedmale body, theStalinist

subject as a heroic invalid. The scene in theKremlin
screening room ends as
Evdokimnearlysucceeds inkillingStalinand is shotby Stalin'sbodyguards.

The movie might have ended at this point-
and indeed the blackout at the end
......
...
241
. . ..
Fig 4. The livingmummy (frame enlargement)
of this episode suggests thatwe have reached the end- and we would have
been leftwith the knowledge that Stalinism manipulated and constructed its
subjects, and got rid of them when they became dangerous or disruptive or
simply insubordinate. Instead, the film opens onto yet another scene taken di
rectlyfromStalinist
mythology:a paralyzedinvalid,"a livinglegend,"living
in a museum named after himself, his house a "site of countless pilgrimages

and an object of the greatest interest for foreign journalists."'5 In the final seg
ment of the film,Evdokim is seen lying prone on a giant bed in themiddle of
themuseum (fig. 4), with a cutout of the hammer and sickle on the headboard.
He is paralyzed,butdressed inmilitaryuniformand surrounded

by editions
of his numerous novels, said to have been written after the accident and dic
tated to his wife via themerest of glances, each of which she has learned to
His body,stillan artifact

of thestate,has been deployed
interpret
correctly.
for one final purpose: instead of a traitor that nearly kills Stalin, Evdokim be
comes Stalin's savior, theman who (legend has it) takes a poisoned bullet in
order to protect the great and wise leader. From Stakhanovite worker and
model Stalinist subject (literally, themodel for the "Worker and Collective
15. I am borrowing here Lev Anninsky's
description of the Soviet writer Nikolai Ostrovsky
the Steel Was Tempered [Kak zakalialas
staV, 1932-1934]),
who, blind and paralyzed,
spent the last fourteen months of his life in a house the government built for him in Sochi, on
(How
the Black Sea coast (Anninskii

17). Ostrovsky wrote his novels with the help of a "trans
in width, cut out of the top to
parant"'. a paper folder with sections, about eight millimeters
match the lines on a page. Numbering
the pages and never lifting his hand off the folder so as
not to lose his place, Ostrovsky was able to stay within the lines of the page as he was writing.
The
following
day, his family and friends would
transcribe the text in notebooks.
242
Farmer"),Evdokim has come to fulfillthesecond role accorded to Stalinist

masculinity:thedocile,mutilatedmale subject.
on Stalin's life,
we mightreadthisfinalsequencefor
Like theearlierattempt
itselementsofpost-Sovietfantasy-thatis to say,a fantasythatcould only
have been imaginedafterStalinismand theSovietUnion had ceased tobe, a
fantasythatexpresses thedesire to give back to itsprotagonistsome sem
blanceof subjective
will. InLivnev's film,
Evdokimwants togiveup his place
a
that
no
as Stalinistsubject- something
actualSocialistRealistherocan or is
willing to do. Ifwe take,forexample,suchheroesas PavkaKorchagin and
AlekseiMeresiev,we mightnoticea curiouspattern:themore theyare hurt,
wounded, and removedfrompower, themore fiercelytheyinsist- in a way
ina
thatremindsus of thepsychoanalytic
notionof "drive"
-on participating
systemthatno longerhas anyneed forthem.
UnlikeKorchaginorMeresiev,
Evdokim isperfectly
willing togive up his beautiful
wife,hismembershipin
theSupremeSoviet,his largeapartment,
andhis famousdaughter.
Unlike true
Stalinistheroes,Evdokimwants tobe the"masterof his life,"a desire thatis
incompatible
with thedemandsof theStalinistsubjectivity.
chained to his bed a la Nikolai Ostrovsky,
Paralyzed and permanently
Evdokim livesouthis days inamuseumbuiltforhimby thestateofwhich he
No longer
His wife Elizaveta is themuseum's curator.
is themain attraction.
an uneducated peasant girl learning to operate a tractor,Liza
is now a severely
whose pleasureatEvdokim's simultaneousimmobility

dressedbureaucrat
and
her perversesexuality- shemanages to
heroic statusis expressed through
have sexwith theparalyzedandunwillingEvdokim in thefullyaestheticized
of themuseum. The museum's other occupant,Evdokim's
environment
Cross-dressedas a boy
adopteddaughter
Dolores, has also been transformed.
in
his
a
new
as
(indeed, youngEvdokim,who,
history,
performed
many heroic
and playswar
acts even as a young boy), Dolores studiessharp-shooting
gamesmodeled on Evdokim's falsepast.What we are seeinghere,of course,
men. BothEliza
of girlsintoboys,andwomen into
is thenexttransformation
veta andDolores, through
areperform
dress,through
action,through
fantasy,
thisperformance
is every
ingmasculinity.
And, inDolores's case inparticular,
citationalas Evdokim's assumptionofmasculinity
bit as studied,imitative,
had been earlierin thefilm.
inLivnev's film
Because thegenderperformancesand transformations
carry the aura of the Frankensteinian
and the horrific, because
they are staged
at controllingitssubjects,thefinal
as a totalitarian
culture'sattempts
message
deliveredby theendingofHammer and Sickle can onlybe called conserva
tive and reactionary. The film suggests that there is, finally, a core and authen
tic self,with a gender thatmaps directly onto sex.When Dolores asks permis
sion to borrow Evdokim's gun, he knows very well that there is one poison
bullet left in its barrel. He also knows thatDolores will aim and pull the trig
ger (fig. 5). As a result, Evdokim's death is a suicide, as the final close-up of
|~~~~~~~~~~~~~~~~~~~~~
L~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
243
..
Fig 5. Dolores as a young Evdokim (frame enlargement)
. . ....
Fig 6. The final shot (frame enlargement)
whichEvdokim
his smilingface reveals(fig.6). The suicide,theact through
his
as itmight
redeems
masculinity,
life,"
of
his
"master
the
finallybecomes
state,
a
pawn
the
Stalinist
fantasy.
No
longer
of
post-Soviet
be imaginedin
was
when
his
body
his
life
that
he
lost
over
control
regains
finally
Evdokim
to
the
wants
of
the
state.
film
experiments
medical
Indeed,
subjectedto the
kind
of
is
a
the
myths
and
fantasies
Stalinism
to
succumbs
argue,anyonethat
Dusia"-a feminizedsubject,used and abusedby theStalinist
of "tovarishch
state.Evdokim's finalmomentof triumphiswhat Lacan and Slavoj Zizek
(1992, 46) have called the"trueethicalact" of "symbolicsuicide," themo
244
ment of thesubject'serasurefromthesymbolicnetworkbywhich s/hehad

beenproducedand sustained.
The lastsequenceofHammer and Sickle allows
Evdokim finallytoascend to thisstatusof truesubjectivity.
Throughthissui
cideEvdokim severstheties toStalinistcultureand acts "decisively"and as
a "man"; inotherwords,he appears finallytobe the"masterof his life."
This concludingfantasy,
however,is a compensatoryfantasythattriesto
undo themodels of exemplary
masculinityproducedby Stalinistcultureand
yearsof Soviet rule.The compensatoryfan
imitatedthroughtheremaining
tasysays thata true
man, nomatterhowmanipulatedand limitedby his cir
will be able to findhisway outof the"alienatingarmorof iden
cumstances,
tity"thatStalinism imposes. In producingthis fantasyof finalresistance,
Livnev's film,I think,actuallyeraseswhat initially
makes it so radical: the
stagingof Stalinismnotvia themechanismsof resistance,as somany post
Soviet filmshave done, but via totalsubmissionand acceptance.As Zizek
contends,"Power can reproduceitselfonly throughsome formof self-dis
tance,by relyingon theobscene disavowed rulesand practicesthatare in
with theexplicitpowerdis
conflict
with itspublicnorms,""overidentifying
course [...] takingpowerdiscourseat its (public)word, actingas if itreally
-can be themost effective
means what itexplicitlysays (andpromises)
way
of disturbingits smoothfunctioning"
(Butler,Laclau, and Zizek 218, 220;
emphasisin theoriginal).Hammer and Sicklemakes thispointobvious.After
Evdokim attacksStalin, the latteruses theact of resistanceto incorporate
Evdokim evenmore fullyintothesystem.In thisway, Stalinismisnotdam
At thesame time,thetruehorrorof theoveridentifi
aged,but strengthened.
cationwith theexplicitpower discoursemay be foundin themonstrousLiza,
a figure that the film cannot forgive, one that continues to "stick out" in a way
thatZizek, writingonHitchcock,has termed"phallic" (1991, 88-91). This

with themechanismsand structures
of power ismarked in
overidentification
Livnev's filmby a wonderful
moment, inwhich theyoungEvdokim and the
youngElizaveta are unable to starttheexpensiveconvertiblegiven to them
byAleksei. Facing each other,theybegin to laugh-hysterically,idiotically
a laughterthatis notmeant to signifyjoy but somethingentirelydifferent.
Knowing that
Aleksei is stillwatchingfromthewindow, theyfakehappiness,
but in such a way
that they themselves begin to believe
in it.Like the greater
portionof Livnev's film,thisscene is disturbing

preciselybecause itmimes
Stalinistculturesowell, because incapturingtheidiotic(in thesenseof lack
because in itsoveridentifica
ing intelligence)
optimismof Stalinistrhetoric,
tionwith Stalinistfantasiesitsucceeds in renderingthemabsurd.
By the finalsequence,however, the film is no longerlaughingat/with
power.While Liza makes love toEvdokim's immobilized
body,a close-upof
Evdokim's
face shows tears -a melodramatic
gesture that speaks to the hero's
his
helplessness.Similarly,thefinalclose-upof his smile ismeant to signify
finaltriumph.
By theend,Hammerand Sickledeliversa conservative
message
of the need for stable gender identity and the desire to resist totalitarian struc
245
Hammerand Sicklewants to turninto"re

turesof power.The "fairytale"that
of theabilityof (male)
of trulyempowered
masculinity,
ality" is thefantasy
And yet,thispost-Sovietfantasyachieves,per
subjectsto resistStalinism.16
goal. The actof truesuicide,as it is formu
haps, theoppositeof itsintended
latedbyLacan andZizek, is a femaleact. In saying"no" topower,inbreak
onwhich subjectivity
rests,one actsnot
ingofftiesto thesymbolicstructures
writes
"as a man" but as a woman. "Perhapswe shouldriskthehypothesis,"
Zizek, "that,accordingto its inherentlogic,theact as real is "feminine,"in
contrastto the"masculine"performative,
i.e., thegreatfounding
gestureof a
new order [...]. The verymasculine activityis alreadyan escape fromthe
act.The "breakwithnature"ison theside
abysmaldimensionof thefeminine
nothingbut a desper
ofwoman, andman's compulsiveactivityisultimately
ate attemptto repairthetraumatic
incisionof thisrupture"(1992,46). "No,"
andof itssym
of patriarchy
isAntigone'sanswertoCreon, thefinalrejection
in
us
to
other
Livnev's film,
bolic supports.
words,helps
posit, inresponseto
Halberstam,not a "femalemasculinity,"but a male femininity-away in
which,by acting"as aman," Evdokim finallyacts aswoman.
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B
3TOA CTaTbe
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r.). O4HH
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Men Wanted: Female Masculinity in Sergei Livnev&#39;s &quot;Hammer and Sickle&quot;

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Men Wanted: Female Masculinity in Sergei Livnev&#39;s &quot;Hammer and Sickle&quot;

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American Association of Teachers of Slavic and East European Languages