Jul 302009
 

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Alexander asked for some comments on Seventeen Moments of Spring.

I’ve only watched the first four episodes so far, but our slow going is not because we don’t like the film. We just don’t get in as much movie-watching at this time of summer.

I have been meaning to say something about this part in episode 3, though, though wasn’t sure just how to say it without being misunderstood. And it may be that I misunderstand, too.

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The English subtitles are as follows:

Looking at Werner who was standing near the coffin, Stirlitz only now realized how the two brothers resembled each other. Karl’s younger brother, Werner, didn’t know that Stirlitz had got him released from the camp where he had been thrown on a denunciation.

Whoa! A denunciation? I thought it was the Russians of that time could get someone thrown into a prison camp on a denunciation. Germans and Russians both used informers, but I thought this system of easy denunciation was a unique feature of certain episodes in some communist regimes. Here are some possibilities I can think of for why this film series has the Germans doing it.

  1. The Russian filmmakers are projecting their own system on the Germans, probably not realizing it.
  2. The distinction I’m making between informers and denunciations is not a real distinction.
  3. The translation into English is all garbled. (I certainly can’t follow any of the Russian I hear in this part.)
  4. The Germans really did denunciations, too, and I just didn’t notice it in any of my reading.
  5. Other.

If choice #1 is correct, it wouldn’t be at all surprising. That sort of thing happens all the time, and probably goes back at least as far as Aristophanes. American filmmakers are especially bad at projecting their own sensibilities on everyone else, which is one reason I can’t stand to watch many American films. When I see it in American films I’m irritated. But when I see it in Russian films, I’m amused.

For example, I was once amused to see a show on RTR Planeta in which the American bad guys, in a plot hatched in the White House, poisoned one of the Russians. And I thought, no, no, no, that’s not right! Russians are the poisoners. It’s a common theme in Russian movies of all kinds, and in real life (see Alexander Litvinenko). Russians even joke about it. It’s not that Americans haven’t been involved in their own nasty assassination plots (see, for example, what happened to Ngo Dinh Diem) but poisoning is just not a standard part of the American repertoire. It’s not the American MO. But it was amusing to see Russians projecting that technique onto Americans.

Maybe something like that is happening with denunciations in Seventeen Instances, too. It doesn’t really matter to the plot, but this blog is mainly for superficial remarks, so that gives me license to talk about it.

Jul 192009
 

Best find of the month: “Communal Living in Russia: A Virtual Museum of Soviet Everyday Life.” I learned about it at English Russia.

There are video clips of Ilya, who no longer lives in a kommunalka, but who takes his two young children back to see where he once lived. The English voice-over is good in that it doesn’t completely obliterate the Russian speaking. Sometimes it follows the Russian, and sometimes precedes it. Very good for language learning. There are also bilingual, side-by-side transcripts in Russian and in English translation.

There is also a page with clips from feature films that show kommunalka life. Two of these films I’ve already seen: The Pokrovsky Gate and A Dog’s Heart. I thought Pokrovsky Gate was especially good in giving an idea of what kommunalka life might have been like. I don’t know how true to life the movie is, but it makes one think about what it would be like to live in such intimate association with other families, and what it would do to the intimacy of the life of the nuclear family. It was a film that sparked some of my interest in the topic. I suggested to the web contact that another good film to add would be Vor (Thief). There are no young children in The Pokrovsky Gate, but there is one in Vor.

I would not care to live in a kommunalka, but it’s not as simple as communal apartments bad, private residences good. I found it interesting that in the book, “The Whisperers: Private Life in Stalin’s Russia” (Orlando Figes, 2007) that not all people thought these apartments were a thing from which to escape. He quotes one old woman:

Life under Stalin was spiritually richer–we lived more peacefully and happily. Because we were all equally poor, we didn’t place much emphasis on material values but had a lot of fun–everything was open, everything was shared, between friends and families. People helped each other. We lived in each other’s rooms and celebrated holidays with everyone together on the street. Today every family lives only for itself.

That book, btw, would be a good one to add to the list of those on the web site. In the book there are diagrams showing how some of the apartments were laid out. There are lots of stories of how life was in them — mostly of how difficult it was. The woman quoted above is an exception to the general rule, though not the only exception.

A few other things I think about in connection with this topic:

  1. In his book “The Great Divorce,” C.S. Lewis portrayed hell (metaphorically) as a place where, when there are conflicts between neighbors, instead of reconciling, the people just move farther apart from each other. It’s a lonely place. If there is any doubt that Lewis’s portrayal is a parable we can note that when families are forced to live close together, that too can be hell.
  2. At The Spokesrider I blog about my visits to sites of old Indian villages in the U.S. I sometimes think about what it would be like to live in such a village, where when you wake up in the morning and get ready for the day, you’re in the midst of other families doing the same thing – men, women, and children. There would have been very little privacy. One can sometimes get a little bit of that on a camping outing, but what if that is the way you live all the time? It’s worth noting that European-American captives often came to prefer that life style by the time they had a chance to choose. I personally doubt it was the more communal life in close proximity that they preferred, though that may have been a part of it.
  3. My mother tells about how during WW-II, she and her father went out to North Dakota to help his brother out on his ranch-farm, while his son was away in the Pacific. Electricity had not yet reached that part of the U.S., and she says at night they’d all sit around the table by kerosene lantern light, talking, making music on a guitar or piano, and singing. There wasn’t good enough light for the people in the household to go their separate ways to separate rooms. It was a togetherness that was partly forced on them by technology, or lack thereof. I once described this to one of the leftier persons on a political e-mail list. He said it sounded to him like hell. But I think those who took part and are still alive have fond memories of the time.

By mentioning these things I’m not drawing any conclusions or making any grand summaries. I’m just trying to give an idea of why I find these communal apartments to be fascinating. I’m glad for the opportunity to learn about them safely, from a distance.

Jul 142009
 

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Some time back I wrote about the lack of pipe organs in Russian films, and how the only one I had seen was associated with the bad guys. (Where bad guys = the Germans, in “Alexander Nevsky”). Now I’ve found another. But again, it’s in a German church. The organist is shown here in a screen shot.

This instance occurs in part 3 of “Seventeen Moments of Spring”. (Wikipidia link here because it wasn’t easy for me to find the article for that film, believe it or not.)

The word mgnovenij in the title was new to me, and I wasn’t quite sure what to do with the consonant cluster “mgn”. But the word occurs in the theme song and it turns out it’s pronounced pretty much as I had guessed it might be. At least it is when it’s sung.