Kino Reticulator

Leave (or not)

Mar 192009

Not bad for a student film. How many students get a cast of thousands, or at least hundreds?

We watched Andrei Tarkovsky’s “Katok i skripka” (Steamroller and violin) some time back. I hadn’t known until now that it wasn’t his first student film. This one is “Sevodnya uvolnyeniya nye budyet” (Today There Will Be No Leave) and was produced in 1959, a couple of years before Steamroller.

I downloaded it from Memocast, and then found out it has French subtitles. The English subtitles from a .srt file overlay on top of them, making it kind of messy to read. I had sometimes wondered what it would like to watch a film with subtitles in both languages; now I’ve had no choice but to find out.

I’m not sure whether there is any great meaning to this film (I’m about 1/3 of the way through) but it keeps my attention.

It’s interesting that everybody in the city has to leave it in a mass evacuation, while the title of the film says NO leave. (That’s a play on words that doesn’t work in Russian, as far as I can tell.)

BTW, I kind of hate to say it, but it seems to me that Tarkovsky did better work in the Soviet Union than he did after he left it so he could have greater artistic freedom. However, some of the better work he did in the Soviet Union was also censored there, so the moral isn’t simply that repression is good for artists.

Alisa Freindlich

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Mar 132009

I got brave enough to edit my first-ever Wikipedia page tonight. It came about because of the actress on the left in the screenshot below.

This time it wasn’t a voice that gave her away, as in the case of Andrei Myagkov (3rd from the left). It was the way of holding her jaw, with mouth slightly open — facial mannerisms that made her seem like a tough hombre. After wondering about it a couple of days, I finally recalled where I had seen her before.

It was in another Eldar Ryazanov film with a similar name — an earlier one: Office Romance. And Myagkov was in that one, too.

Her name is Alisa Freindlich. Her Wikipedia page didn’t list A Cruel Romance in the filmography section, so I added it.

Unfortunately, there is no Wikipedia page for the movie itself, and I wasn’t ambitious enough to start one. One step at a time.

Their voices give them away

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Mar 102009

Andrei Myagkov’s voice gives him away the moment he opens his mouth in this movie. I recognized him not by the way he looks, but by the way he talks. Same for Nikita Mikhalkov, though in his case I was expecting his appearance from what I read in the YouTube description. It wouldn’t have mattered. His voice gives him away.

It reminds me of how remarkable it was that Aleksandr Belyavsky could put on a such a different voice to play Leonid Brezhnev in Serye Volki.

My voice can give me away

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Mar 072009

The Leonid Ilyich Brezhnev character in Serye Volki, played by Aleksandr Belyavsky, has a distinctive voice. It helps me to follow some of the plot, because in the end a secretly recorded conversation of him is turned over to Khrushchev, and I had no trouble remembering whose voice is on it. In the above scene, he’s referring to something different — the fact that he isn’t capable of being very convincing if he’s the one to call Khrushchev to lure him back to Moscow.

I’m not quite sure what to call his voice — a combination of nasal and raspy? Did the real Brezhnev have a voice like that? I don’t know. I don’t recall ever hearing him speak.

I wondered if the actor put on this voice for the movie, or if it was his own distinctive voice. I went to IMDB to see if I had ever seen Belyavsky before.

It turns out I had, in “Mesto vstrechi izmenit nelzya.” He played the bad guy, Fox. His voice was entirely different there.

It looks like he put on thick eyebrows for the Serye Volki movie, too.

He seems to me a good enough actor, but one thing that wasn’t made clear from the movie was what he brought to the table that made the others want to put him in Khrushchev’s place. Yes, some of the others thought he was only a “transitional” figure, that he would soon be replaced by someone else. But he had to have had some leadership ability, or following, or power position, to make the others push him forward.

It’s difficult for an actor to portray charisma or leadership ability in a movie. Sometimes the point can be made by the way the other actors react to him, and that part is done very well in Serye Volki. It’s done very well in the case of the Mikhail Andreyevich Suslov character — done so well that even though he has only a minor role in the movie I immediately went to Wikipedia to learn more about the real Suslov. But there seemed to be something missing in the Brezhnev character. I won’t rule out the possibility that that’s exactly what was intended.

Who is the real wolf?

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Mar 072009

We finished Serye volki tonight. There were no big surprises in the final 30 minutes. The main surprises (to me) had come closer to the midpoint of the film.

Back to the role of Mikhail Andreyevich Suslov in all of this. The film made him sound like a reluctant participant in the coup. But Wikipedia says he led the coup. I confess that took an immediate dislike to him based on the Wikipedia information about his career. But how to reconcile those two very different views of his role?

There is very little information about this film on the web in English — nothing to help me understand the agendas of those who made it. Anna M. Lawton writes about it in Imaging Russia 2000, but she tells about the movie as a movie, and not as history. (I’ve just now put in a request to get that book from our university library, anyway.)

Sergei Khrushchev, son of Nikita Sergeyevich, was one of the authors of the script. Was it his idea to portray Suslov this way? Does he agree with that portrayal now? I’ve decided it’s now time to read some of his books, too, starting with “Nikita Khrushchev : and the creation of a superpower” (2000). Maybe I’ll get some insights from that.

There is an aspect of this film that I very much distrust — somewhat reminiscent to me of some of the conspiracy mongering in the U.S. about John F Kennedy’s assassination. It’s the idea that Brezhnev and those who threw Khruschev out had foreign bank accounts and were lining their own pockets. I can easily believe that personal slights and jockeying for position played a role in the coup; I find it much harder to believe that foreign bank accounts were a factor. The really dangerous, cruel tyrants of the world are not the greedy, selfish people, but the ones who put aside personal greed for the sake of power to enact their utopian ideologies. If all we had to worry about was corrupt people who were lining their own pockets at the expense of others, the world would be a far less dangerous place. In other words, I fear the Suslovs of this world (as described in Wikipedia) more than the Brezhnevs (as portrayed in that film). But whether the historical Suslov and historical Brezhnev were actually like the characters portrayed in the film is to me an open question. I suppose there is also the question of the degree to which the historical Khruschev was like the character played in the film, but that part seems more plausible to me.

Gray Wolf

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Mar 062009

We’re about 2/3 of the way through The Gray Wolves (Serye volki).

At first I wondered if I had remembered the events of 1964 wrongly. The conspirators were talking about replacing Nikita Khruschev in November, but I thought it had happened before that. I recall that it happened during the presidential campaign, and that it was a final nail in the coffin for Barry Goldwater, whom I was doing as much to support vocally as could be done by a high school junior in rural Minnesota. The media were doing as much as they could to use this coup de etat to finish off Goldwater by putting out the line that during times of uncertainty, nobody likes to throw out the established leader. (They maybe weren’t in the tank for Lyndon Johnson as much as they are now for Obama, but they were far from neutral, objective reporters.)

I don’t know all of the historical characters in the movie, so tonight I’ve been spending some time looking some of them up on Wikipedia.

For most of the movie I wondered where Kosygin was in all of this. That was a name I did know. The information we in the U.S. got when Khruschev was thrown out was that Breshnev and Kosygin were now in charge. Of course, Kosygin became less prominent and Brezhnev more as time went on, but I had assumed he was in on the conspiracy. He hasn’t been seen in the movie, but at least his name was finally mentioned about 2/3 of the way through.

Mikoyan was a name I recognized, but other than that I didn’t remember much about him. It appears that he’s with Nikita Sergeyevich at Pitsunda. Wikipedia gives me a clue as to what’s really happening with him — and what to expect from him in a scene towards the end.

One person I knew absolutely nothing about was the one portrayed in the above screen shot — Mikhail Andreevich Suslov. In the movie he seems to be a person who was brought into the conspiracy and who went along with it because he made a political calculation. But after reading that article I came away with a chilling portrait of an intelligent, intellectual cut-throat — the worst kind.

But this blog is supposed to be about more superficial things, so I should point out that I never would have recognized by myself that it was Rolan Bykov who was playing Khruschev. He’s playing a very credible Khruschev, at least for this outsider.

But the Leonid Brezhnev character seems so young — and so unsure of himself. The acting is good, but do Russians consider that to be a realistic portrayal?

And what is the deal with these Russian desks that have a smaller, plainer table for guests portruding from the front? I’ve never seen anything like that in the U.S. But I do see these on RTR Planeta, e.g. when somebody holds talks with Putin. Is it strictly a Russian thing, or is that kind of furniture used anywhere else?

Visitors

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Feb 222009

In this scene from Osenniy Marafon, the character played by Yevgeny Leonov (on the right) walks in on Buzykin (Oleg Basilashvili) and his guest, Bill Hansen. Leonov’s character doesn’t even notice Bill until he says two words in Russian (not his first language). Then there is a long silence while Leonov looks at him suspiciously, followed by an introduction (shown above).

Leonov then asks, “Does he understand Russian?”

Well, I thought it was funny. Bill knows more Russian than I do, but there was something about the way he sounded when he opened his mouth that made clear right from the start that he didn’t know the language very well. Was it the pronunciation? The way he spoke slowly and deliberately? Or was it the choice of words? I recognize the first word he said, but not the second, and can’t find it in any online dictionary or translator.

Whatever the case, I could see giving myself away that quickly, too, if I were ever to visit Russia and open my mouth to talk.

Speaking of a visit to Russia, I’ve been reading a wonderful travelogue on Crazyguyonabike.com. It’s “A Honeymoon to Remember” by Erin Arnold Barkley and Sam Barkley, who rode their bikes through a bit of Russia between Kazakhstan and Mongolia on a tour that’s still in progress several months later. Erin describes the arrival at Srotski:

We rode all afternoon, making it to near Srotski, birthplace of a guy I’d never heard of, Vasily Shukshin, but it seems like he was a big deal around the village: virtually every building had a sign like “Shukshin’s primary school” or “Shukshin’s mom’s house.” Anyway, Wikipedia tells me he was a famous Soviet playwright and director, and his monument on a hill sure provides stunning views of the surrounding countryside.

The name Vasily Shukshin didn’t ring a bell for me, either, so I looked him up and saw that I’ve already seen one movie in which he appeared in a minor role: Komissar.

An article about him at russia-ic.com had this intriguing information:

The film Kalina Krasnaya (aka The Red Snowball Tree) released in 1974 came as a mind-blow: there had been nothing of the kind in domestic cinema before. The story of a former prisoner who decides to break with the criminal world and live a peaceful country life holds a firm place in the gold Russian cinematography, as well as the majority of movies with Shukshin’s participation.

Vasili Shukshin died on October 2, 1974 during the filming of “Oni Srazhalis Za Rodinu” (aka They Fought for Their Country) of a heart attack. There are some suspicions he was poisoned.

Memocast has the film Kalina Krasnaya, but as far as I can tell nobody has produced any English subtitles for it. So it will probably have to wait until I learn more Russian. I haven’t yet found out whether there are English subtitles for any of Shukshin’s other films.

That travelogue on crazyguyonabike.com has some great photos, btw. Highly recommended.

Pedestrians vs drivers

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Feb 182009

The van driver in this 1979 movie is angry at Buzykin, the character played by Oleg Basilashvili, who was preoccupied with problems caused by the competing attentions needed by his wife and his girlfriend. Buzykin wasn’t watching where he was going, and got nicked by the van. The subtitle is of angry words from the driver.

It’s interesting in that three years later, Basilashvili was in another movie in which this same standard of justice was the premise. In “Vokzal dlya dvoikh,” his wife hit a pedestrian in the dark. Since the pedestrian wasn’t drunk, the driver was assumed to be at fault. Basilashvili’s character took the rap for his wife, which meant three years in a Siberian gulag.

It seems to represent a little different standard than we have in the U.S. Bicyclists here are constantly reporting cases of drivers who get off way too easy after hitting a bicyclist, and it would be pretty much the same for hitting a pedestrian, too. Most likely a case between a driver and a careless pedestrian who wandered into traffic would not be decided in favor of the pedestrian unless the driver was drunk or speeding, and even then it’s sometimes difficult to get a conviction of the driver — especially if the driver has good connections.

But judging from these two Russian movies ca 1980, the driver is almost presumed guilty unless proven innocent. I don’t know if that’s the way it worked in real life, and if so, whether it still works that way. Also, I would expect the case of the politically- or economically- well connected driver to work pretty much the same as here. But I don’t think you’d ever have a U.S. movie in which the driver would bawl out a careless pedestrian the way this one did. It just wouldn’t relate to anything in real life. The driver might be concerned with the emotional trauma of having to live with the knowledge that he killed someone, but a sober driver obeying the traffic laws wouldn’t be be particularly fearful of being sent to prison.

My deti galaktiki

Music 4 Responses »

Feb 152009

I learned about the Soviet-era song, “We the Children of the Galaxy” from EnglishRussia. With some trouble (because I didn’t know a Russian word for “lyrics”) I found lyrics, too, at nomorelyrics.net. I like it — a good song for language-learning. The above is from YouTube. I think it’s the same as on EnglishRussia.

The singer, Lev Leshchenko, has a good voice. I looked around to see what other songs of his I might like to put on my MP3 player to learn with. There are a lot of YouTube clips of him, from many years worth of singing, it looks like, but so far I haven’t found anything else I care to listen to all the way through.

English Russia also has two other versions of the song. I didn’t find a YouTube clip for the 2nd one, but it’s not to be missed. I was speechless upon seeing it, but not noiseless. I hope everyone was having a good time with it, but I’m not sure what kind of a good time it might have been.

The 3rd one is by the same artist as the YouTube version above. The style of singing made me wonder if Vladimir Vysotsky had ever done this song, and how he would have done it. Maybe it wasn’t the right kind of subject matter for him.

Padded doors

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Feb 152009

vlcsnap-00029a

What’s the deal with these padded doors in Russian movies? Here’s the door of the Director’s office in Sluzhebnyiy Roman (Office Romance) a 1977 movie.

door

And here’s a door to an apartment, in “Moskva slezam ne verit”, a 1979 film. And there are many others to be found. I have questions, assuming these types of doors were found in real life and not just in the movies.

When did that style of door get started?
What materials are used?
Why have padded doors at all?
Is that still a common style? If not, when did it end?
Is/was it just a Russian thing, or were those found in other countries as well?

I suppose I could answer some of those questions myself by paying closer attention to the dates of movies I’m watching.

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