1919 and 1991. The twentieth century played into this digital anagram for Soviet cinema—perhaps taking its inspiration from the very essence of film, which is play. The play of sound and color, actors and images, talent and criticism, ideas and ideology… The publication’s authors decided to adopt its rules. We perceived this game—in its historical context—as having passed through three stages: In 1919, the first words were uttered about «the most vital of the arts»; the major turning point of 1943 during the Great Patriotic War coincided with the ultimate triumph of the «imperial» style—right up until the introduction of insignia in the Soviet Army; by 1967, hopes for socialism «with a human face» had waned—Prague ’68 was ahead; in 1991, the game ended—along with the state that had given birth to it.
ELITE
…Earth, Interplanetonef, Mars… Exter, who settled Mars—neither with Roman legions nor with modern scuba divers, the actor Ceretelli, who resembled mechanized Martians on Earth… Igor Ilyinsky, theatrically portraying Kravtsov, Kuindzhi, the Natasha experiencing the passage of time, and between them, Ceretelli, dancing the engineer Los. Is this not a collection of theses and antitheses, almost unimaginable within any stable artistic unity? And Protazanov wisely resolved the problem of artistic synthesis. He reconciled all artistically heterogeneous elements… on film! The lens is objective. Cinematography is, first and foremost, a technique. Some critics consider cinematography an art. And cinematography has only one style—the cinematic style…
POTEMKIN THE BATTLESHIP
…This is the first flawless film not only for Goskino but for all of our cinema. …How Eisenstein made the «Great Silent» speak! It is impossible to offer even a condensed critique of the techniques of the talented director in a brief review. Here, Eisenstein made every square millimeter of film, every object, every detail, speak. Here, he created highly artistic images that transcend the visual image of cinema—images that compel not just seeing, but hearing. The depiction of a detail that characterizes the whole, and of a multifaceted mass unified in aspiration yet varied in biopsychic response—these are the two main techniques through which Eisenstein influences the viewer…
CHAPAYEV
The Soviet audience finally saw on screen a film that resurrected with stunning veracity and artistic expressiveness the unforgettable days of the difficult struggle, and Soviet cinema achieved a brilliant victory in an area where it had previously suffered defeats. It is difficult to write about this film without emotion, just as it is impossible to watch it without feeling stirred. From the very first frame, the film captures the viewer and keeps them in suspense until the end, pushing the emotional intensity of their experience to its limit. The viewer forgets that they are seeing all of this on a screen. That is the power of the artist—they compel you to live with the characters, to worry with them and for them, to painfully experience setbacks, and to rejoice fiercely in victory.
VOLGA-VOLGA
In the film «Volga-Volga» by director G. V. Alexandrov, the antique steamer «Sevryuga» sailed down the Volga River. Actor Ilyinsky fell through the deck, the orchestra played a cheerful song, and the musicians' trumpets sparkled in the sun… To fill the internal emptiness of his script, G. Alexandrov was forced to rely on grotesque elements, eccentricity, and many rather monotonous gags. Thus, the film «Volga-Volga» was fueled not by the traditions of high comedy with its strict plot and masterful intrigue, but by the tropes and clichés of bourgeois revue, vaudeville, and empty burlesque, often featuring a changing travesti. The creative direction followed a path of imitation. Soviet musical comedies, by making the audience laugh, ought to cultivate good taste in them. However, after watching «Volga-Volga, ” the viewer will soon forget their journey aboard the „Sevryuga.“
MASQUERADE NIGHT
Perhaps since the beautiful comedies of Grigori Alexandrov, we have not seen such a vibrant, festive, and spirited spectacle in cinema. «Masquerade Night» features abundant music, brilliantly staged popular musical numbers, dazzling lights, vivid colors, witty scenarios, comical stunts—and most importantly, a magnificent portrayal of the festive atmosphere, an atmosphere of optimism, youthful exuberance, and cheerful gaiety. On screen, we see large popular orchestras, dancing couples, quartets, trios, solo performances, and complex ensemble scenes…
One can only marvel at how the young director Eldar Ryazanov—who had only one film concert behind him—was able to create such a complex yet utterly cohesive work of cinematic art.
NINE DAYS OF ONE YEAR
…The film «Nine Days of One Year» depicts interesting and original portrayals of young scientists—our contemporaries. But its greatest merit is that it shows the collective body of scientific workers. Its protagonist is a research team that forges new paths in science through shared effort. …The level of modern science and its technical capabilities are such that even the most brilliant lone genius cannot make a discovery without collaboration with a team. In the film, we see the true, unvarnished life of a scientific community. The participants—even while at work—are often engaged in things quite removed from science: listening to a football match broadcast, dating girls, or borrowing five hundred rubles until payday. And despite all this, these people are consumed by their work…
ANDREY RUBLEV
…In a desolate area of the Pokrovsky Monastery, sprawling on the outskirts of Suzdal. Near one of the stone buildings—cinema buses are parked. In the large vaulted hall—formerly the refectory—Jupiter-style lighting rigs are set up. These are now the «prince’s chambers, ” which scenic artists are commissioned to decorate. The young Rublev—Solonitsyn—appears: tall, with a light beard, dressed in monastic robes. His tired eyes shine with kindness. The actor paces in front of the film camera, striving for an internal focus before a very important and passionate monologue. He begins suddenly, as if struck by inspiration: „Love is patient, kind; it does not envy, it does not boast, it is not proud… It does not dishonor others, it is not self-seeking, it is not easily angered, it keeps no record of wrongs… It does not delight in evil but rejoices with the truth…“ Rehearsals before shooting repeat time and again…
BRILLIANT HAND
No matter what you say, Leonid Gaidai knows how to make us laugh. However, there isn’t much meaning in this unrestrainedly cheerful cinematic comedy, «The Diamond Hand.» Instead, there are stunts. Many, many very old stunts designed for viewers of a not-so-high intellectual caliber. …“The Diamond Hand» not only didn’t reveal anything new, it also depicted our previous shortcomings so kindly that you involuntarily begin to wonder if all the wisdom of our frantic age is contained in the concrete formula, «The Janitor is a Friend to Man»? The comedy «The Diamond Hand, ” of course, largely falls short of Gaidai’s earlier films.
SEVENTEEN MOMENTS OF SPRING
The multi-day «journey» through twelve episodes was not exhausting; on the contrary, we looked forward to each episode. However, this occasionally allowed us to notice certain dramatic missteps or stretches in the film… and numerous plot tangents that sometimes diminished the drama, diverting from the main line of action. Perhaps the story involving Kat was overly prolonged (and moreover, Rolf’s character is simply unsuccessful). Conversely, sometimes the protagonist easily escapes seemingly inescapable situations. Nonetheless, the overall assessment of the ideological and artistic merits of the film «Seventeen Moments of Spring» is undoubtedly positive…
IRONIES OF DESTINY, OR WITH A LIGHT MIST!
The viewer—and who isn’t a viewer anymore? —was intrigued by the upcoming Ryazan premiere… Eldar Ryazanov’s past successes—the witty dual title of the film, the brilliant constellation of actors (B. Brylsky, A. Myagkov, Yu. Yakovlev, A. Shirvindt, A. Belyavsky, and others), and M. Tariverdyev’s music—everything built anticipation for an interesting spectacle. And—let’s say right away—those expectations were met. Much is said today about the specificity of the television film. Ryazanov’s new film is genuinely television-oriented: it has permeated every New Year’s apartment that has the same festive tree as the one on screen, the same floor plan, and even the same furniture. The audience watched this New Year’s story while sitting at their own New Year’s table. All of this was, obviously, part of the director’s design.
«THE ADVENTURES OF SHERLOCK HOLMES AND DOCTOR WATSON.» 1979–1986
«Dear Sherlock! Is it true that you saw Mrs. Baskerville’s dog?» asked Dr. Watson. «Try it, Watson; you haven’t seen anything yet!» replied Holmes, handing his pipe to the doctor.
From Russian folk anecdotes about Sherlock Holmes and Doctor Watson
АССA
Anyone who has attended a rock concert knows that the unique, electrifying atmosphere builds long before the speakers explode with the first notes… The person asking for an extra ticket, the police cars in the square, and the carefully guarded cordon separating the lucky ticket holders from everyone else… This familiar scene was also visible at the entrance of the Palace of Culture of the Moscow Electric Lamp Plant, where the art-rock parade «Assa» was taking place. Upon stepping onto the first stair, you encounter a poster: «Assa”—into the masses!… Speaking at a press conference, S. Solovyov said, „A love for new art gave rise to a desire for new contact—a new principle of communicating with the audience.“
