“The Film Is About” – Reader. “Chapaev,” German immigrants and the French girls on the beautiful barges

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This year, which gave mankind a number of masterpieces. Hollywood them, according to tradition, missed, and gave 5 “Oscars” of the romance of Frank Capra “It happened one night.” But today, the masterpieces of that time are quite obvious, especially since they clearly reflect the main passions of the time.

“The Film Is About” – Reader. “Chapaev,” German immigrants and the French girls on the beautiful barges

Atalanta
One of the greatest films in movie history, the only full-length picture of the great Jean Vigo – who died at 29 years of age, without waiting for the release of the film on the screens. A sample of poetic cinema, a role model for the descendants a favorite movie of many other great Directors, who lived subsequently. I must say that the advent of sound in cinema was a great incentive for the development of national film industries: it was impossible to simply change the intertitles and to put the film in the cinema. The dubbing was expensive, it was a long process, and Hollywood to a lesser extent could dominate the overseas markets. The French have used it before and more efficient all – no wonder they are listed as the inventors of cinema. The film of Jean Vigo, of course, was entirely outside the social paradigm, which the world fame came to him only after many years. In the background of national economic and political crises, the universal militarization of the struggle of Communist, fascist, capitalist, and other outreaches Jean Vigo and a number of other artists seemed to be outsiders-the escapists, because they refused to participate in the General madness and contrasted this poetics of everyday life, created the hymns of mere human feelings, ignoring social class of the heroes and their ideological immaturity. History will put everything in its place, and today such paintings, we remember the 1934 year.

“Atalanta” is a barge that softly floats on the Seine, like the ark saving the young couple from the raging storms outside. Behind the danger, the worst of which is a large city with its temptations. There are literally doubles and troitsya, all deceptive, false. The barge only possible salvation – and possible true love, to which the newlyweds are yet to come. “Ascend” to “Atalanta” the contemporaries of the film seemed shameful cowardice. It took time to viewers all over the world realized that there is nothing more beautiful than this barge and its few inhabitants can not be.

A scene from the movie “Atalanta”

Three songs about Lenin
The operator of the “Atalanta” was a Russian immigrant Boris Kaufman. He took many beautiful pictures, and then went to the USA and Hollywood. In 1934, the year the Soviet Union came the painting “Three songs of Lenin”, which was filmed the older brother of Boris David. In the story of the movie he went under the pseudonym of Dziga Vertov. It may seem that the poetics of the “Atalanta” the philosophy of Vertov has little relationship: Vertov was an ardent Communist, Leninist, Director of the politically charged documentary blockbusters. But this is only at first glance. Enough to read the diaries and articles of Dziga Vertov and see his films, including this one, to make sure, first, that he was primarily a poet and a religious poet. “Three songs about Lenin” entirely formulate this concept. Lenin, as a deity, died, and filled the world, and the role of the documentarian is to see the manifestation of this divine. Vertov and his colleagues, kinoki, like the angels to help people understand the reality of deification and deification of man. Woman, new “Sofia” (let’s not forget that man was formed in the era of the Silver age). It occurs in this film, not immediately, first in the form of a liberated women of the East, then covered kombinirani, and then appears to us as it is. This is one of the most impressive scenes in the world of documentary film and the first synchronous interview, which was recorded in the USSR for the film. Betonica Belik talks about labor feat, smiling shyly, instantly charming the audience. Here is her monologue, written forever in the history of cinema:

“I worked in flight 34, to submit concrete on three cranes. We did ninety-five tubs… I spilled the bucket and the concrete is crushed, I see – down flap. I went… Began to turn around when the flap is stretched over the frame, I pulled… I grabbed a ladder, and my hands slide… All porugalis. There was hadronize, girl, all screamed. Jumped of kurkum, picked it up, pulled me, and I’m all in concrete, wet… face is All wet, tar hands Popeko was… Pulled me out and the tub upstairs… I went to the dryer, dried by the stove – the stove was so small and back to concrete. And once again took three cranes to give. And again in his place, and to shift to twelve hours… And gave me… the order of Lenin for the implementation and fulfillment of the plan…”

A scene from the English version of the film “Three songs about Lenin” – the same betonica

Man of Aran
Decided to oppose the tradition of Dziga Vertov, engaged in “Communist decoding of reality”, and Robert Flaherty, the romance of primitive cultures, which is always within civilization feel uncomfortable. But compare “Three songs of Lenin” and “man of Aran” – common between these two great men is much greater than the differences. This also applies to their lives. Both were outcasts. At Flaherty’s “man of Aran” was the first full meter over eight years, shortly after Vertov’s “Three songs” are actually deprived of the opportunity to make a movie. He created his own artistic reality – fiddling did the same. From vertova in his Mature works first began to appear, although in the form of the collective image of the character. Flaherty has always done so. Although Vertov it was the proverbial “Sofia”, and he is always masculine is a grown man or a child, growing up before our eyes. “Man of Aran” is recognized as a masterpiece of cinema, though made you realize the harsh life of the inhabitants of the rocky Islands here played them more comfortable descendants. But played as if it is their true life. For life the viewer remembers these stones, which beats the water; the boy who is sitting on the cliff and catches the fish, risking a fall from the height of a multistory building; a woman, which brought in a basket of earth builds a neat patch on a rock; wet and tired people, not allowing storm waves to pull their boat into the abyss. He brilliantly mastered the sound in the movie, and although synchronous interview he’s doing here, the film didn’t suffer from it.

Frame from the film “man of Aran”

The song of Ceylon
“Man of Aran” was made possible thanks to the support of John Grierson – best friend and main opponent’flaherty. Grierson was the first producer of documentary films. He created the industry, and this is done in different countries on a national scale. But it started in the UK, formed around himself a circle of young filmmakers and fulfilling any orders, including commercials, and even animation to gain experience and credibility. And then to fight because of a documentary Grierson was considered a weapon in the civil struggle, and not by way of expression of the artist-individualist. But the best of the school’s work Grierson, who we remember today, are connected with the poetry and the struggle have little relevance. Among them are “Song of Ceylon”. In fact it is the ordered film, the colonial in content, resembling that of Ceylon is, first of all, province, in the metropolis who supply the tea. But the authors of the film as if sucked into this inhumanly beautiful space, they are dissolved in it and presented to the audience a story about the distant and amazing culture of this island. Its ruins, its inhabitants, nature and in the ending, as a concession, a small story about the brand. Since the film was announced for release, was among the votes in this snippet, you can hear many members of the Grierson group.

Still from the film “Song of Ceylon”

Happiness
Back in the USSR, for another romance of the outsider, whose name for the time being to be little known outside the country, but also in itself. Today, “Happiness” Alexander Medvedkin unconditionally is not just his best film, but a masterpiece of world cinema. While the talent Medvedkin and his creative manner was strangled by the Stalinist system: from the late 30’s he stopped to shoot a movie on their own, and the creative biography of the Director is concerned. But “Happiness,” a lurid and at the same time avant-garde fairy tale about the misadventures of the hapless Bloke, 60 years was raised to the skies, first in France and then conquered all continents. However, the home Medvedkin is still known only to professionals, his legacy is not restaurerede, out of print. Stalin did not understand this movie and didn’t like. Descendants do not become kinder to “the last Bolshevik,” as he called Medvedkin, Chris Marker movie.

Frame from the movie “Happiness”

Funny guys
But Stalin loved American musical Comedy. So he was very pleased when I saw the first Soviet analogue of this genre. The adventurous plot of this film frames the musical numbers, of which there are many. They have become extremely popular among the people. Jazzman Leonid Utesov repeated the fate of her character and turned into a superstar, as the wife of the film Director Aleksandrov, the Lyubov Orlova. It was the first of what is now called a sex symbol of Soviet cinema. Aleksandrov was filming her in all the pictures, and although the critics were not too supportive to the movies and to the Orlova, Stalin Comedy Alexandrov liked. And the people too.

Shot from a film “Cheerful children”

Chapaev
But critics around the world were delighted with the film “Chapaev”, one of the first masterpieces of the sound film, which not only broke with the last of the great experimental Soviet silent cinema and set new rules of the game. It was something more. On the screen appeared the first in the USSR a genuine national hero, a sample of the revolutionary leader, Communist and human. Not too educated, but Patriotic, not too ideological savvy, but willing to give his life for his people. Not an orator, but a man capable of a few simple words to inspire the crowd, turning it into the army. Soldiers, man, a real man. Chapaev of the many victims of the civil war turned into a myth, became a role model for many decades. In a hungry, impoverished country did not like this way. Chapa won’t complain that there is nothing there and nothing to stay warm. For Chapa I’m sorry you need to go and die with him for the victory of communism. Almost simultaneously with “Chapaev” came the film “Youth of Maxim” – it was the beginning of a trilogy about a hero of the revolution, but the image of the Maxim never compare with Chapaev nor by popularity or charisma, although Maxim was a legend and a model. And then the whole of the Soviet cinema has become an urgent refocus on the creation of such tapes.

Frame from the film “Chapaev”

Vaseline
This year was memorable for the viewers of the Soviet Union another outstanding film, 5 years before John Ford’s Mikhail Romm started the coach with a few decent men and a lady of easy virtue, which in the end saved their lives and paid for it with their contempt. With this picture began a brilliant career Romm, a talented Director who never ceased to seek and find, and a great educator who helped to search and find others. Perhaps no Romm would not have arisen such names as Tarkovsky, Shukshin, Shpalikov, Konchalovsky. He’s worked with admissions interviews and were able to share their discoveries, tried to think over his mistakes. All this was many years later. And while he filmed the shaking of the coach, in which sat Faina Ranevskaya. For cinema opened it it should.

Still from the film “Pyshka”

Liliane
In France, which has already become a classic of German cinema Fritz lang released a film based on the play by Ference Molnar – a small film with a small budget and simple stories. The only French picture lang. But the moment is very dramatic. In 1933 in Germany came to power, Hitler’s party, NSDAP. And Fritz lang was immediately reminded that he was a Jew, although his mother was Catholic and raised him as a Catholic. His film “the Testament of Dr. Mabuse” was therefore banned in Germany, but Goebbels was a major filmmaker, which was created for Germany a great new movie. Lang was asked to lead this process, but he refused at the first opportunity and fled to Paris. In Germany, he is survived by his wife, sympathetic to the Nazis, and a substantial part of their money earned. In France, lang did not stay, knowing that Hitler needed to be as far as possible. He went to Hollywood and filmed there many beautiful pictures. And the film “Liliom” just left mark milestone and a symbolic warning to Europe that she chose not to hear.

A scene from the movie “Liliom”

The man who knew too much
A rare film in which Alfred Hitchcock never appeared in the frame. Generally, Hitchcock is very important for this age – no wonder he is a few years after this film, moved to Hollywood, where he achieved incredible success. Hitchcock movies even if they are tied to the political theme, still away from actuality. On the surface of the always action-Packed story that allows the viewer to forget about his problems and dive into the dangerous life of the characters on the screen. For example, in this picture are murder and espionage conspiracy, and kidnapping: Hitchcock likes to immediately draw the audience in. By that, he always hides the study of the nature of man, his secret fears, suspicions and passions, able at any moment to break out. The movie was so successful that years later, Hitchcock himself filmed in the US, its color remake – and that too became a hit.

Frame from the movie “the Man who knew too much”

A story of floating weeds
Finally – another “late” film, which its author subsequently also remade, and also in color. It’s a dumb picture of amazing master Yasujiro OZU, which is the more lovely that a number of actors – actors of the Kabuki theatre. This allows us to admire their costumes, meet their way of life, and to do so in the usual OZU delicate, everyday manner. Because in the center of the conflict a family again, and again, a person has to be torn between those he loves, making an impossible choice. Japan rapidly arming, militaristic mood possessed all – as if in addition to OZU, whom this seems to be not affected. It generally war is some distant tragedy, which are beginning to remember, if you drink. So OZU – the province of all mankind, and Japanese militarism are no longer relevant in the country for many years not even have its army. Rebellious, scary 1934-the year entered the history of art, humanistic works that today are reviewing millions of people, marveling at the hidden there with kindness and love.

Frame from the film “the Story of floating weeds”

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