Kamis, 09 Juni 2011

Gerbert Rappaport - Vozdushnyy izvozchik AKA Airchauffeur (1943)

Flying Baranov, already old, lonely man falls in love with talented singer Natasha begins Kulikovu. Her parents are against marriage, but loving confident that created for each other and be happy. But the war begins, and Baranova sent to one of the rear airfields.

One day, performing a task for the transfer of goods to the front, Baranov lost orientation in fog. Save the pilot's voice on the radio favorite ...

no subs

Eduard Ioganson - Naslednyy prints respubliki AKA Crown Prince of the Republic (1934)

After news of the future birth of a child, Sergei split from his wife, Natasha, and settled in the company of young architects, who occupied a room in a big house.

As a result of a chain of unforeseen events, brought by one of the tenants found a child, Sergei finds a newborn son. Friends are doing everything possible to find a lost mother, but Sergei does not disclose their affiliation and tries to give the baby the wrong hands.

Thanks to the participation of many caring people, heartbroken Natasha found a missing baby, called the good old doctor Crown Prince of the Republic..

no subs

Anatoli Dolinov & Aleksandr Panteleyev & Donat Pashkovsky - Uplotneniye (1918)

The first scenario work of Anatoliy Lunacharsky.

The first Soviet kinopostanovka Petrograd kinokomiteta (now - Lenfilm Studio).

November 7, 1918 - the date of the first issue on the screens of Soviet films. On this day it was released four paintings, three of them - campaign.

In order to seal one of the rooms of Professor relocated from raw basement working with his daughter. Flats start attending the factory workers. Guests are becoming more and more, and the professor begins to read popular lectures in the workers' club. Between the younger son of a professor and his daughter working there is a feeling and the characters decide to get married ...

no pass

Brian De Palma - Sisters (1973)

Sisters is the first Hitchcock homage that Brian De Palma directed, and it’s a doozy. There are scenes in any horror film that put the viewer on edge. Right before the slasher slashes his victim or before the monster eats his prey, a good director will rile us up. Sisters takes Hitchcock’s famous comment that he plays his audience like a fiddle to heart, and De Palma makes the first forty-five minutes of the film feel like anyone on screen is about to get hacked up, if only the bogeyman would jump out of the shadows. While there are films, like 1994’s Mute Witness, that offer a similarly distilled horror show, what’s amazing is that De Palma manages to create the sense of a threat without actually revealing the film as a horror film or showing us much action that’s in any way dangerous. He’s obsessing on details and using his camerawork to underline certain dialogue so that we know there must be a point to it all. Obviously, this narrative device has been lifted from Psycho, but it’s almost one-upped here since Sisters relies on fewer red herrings and is more up-front that we’re being teased, turning the passing of time without incident into a game instead of a frustration. The events that actually happen in the first half of the movie are so mundane that the suspense feels illogical even as it mounts, and as a result, it has a giddying effect. You know that the director is setting things up, and you can’t wait for the punch line to rear its head. It’s almost a shame that it has to end and launch the film’s plot properly.

* Ironically, I looked up Kael's review of Sisters after posting this and noticed that she actually gave it a negative notice! How funny that I appreciate the things here that she loved in his more recent films, and I found a lot of the same stuff tiresome in those later works... Oh well...
--- Jeremy Heilman, MovieMartyr


no pass

Yakov Protazanov - Don Diego i Pelageya aka Don Diego and Pelageya (1928)


Friedrich Ermler - Kat'ka Bumazhnyi Ranet AKA Katka's Reinette Apples (1926)

at'ka’s Reinette Apples was broke all box office records in 1927 in USSR. Film is still remarkably contemporary today and capable of “waking up” drowsing students in Russian film courses. Film is notable as it is regarded as an accurate portrayal of this period of Soviet history and constitutes one of the first attempts to create a film based upon contemporary Soviet "everyday life". Ermler creates an astonishing portrait of Leningrad under the NEP, or New Economic Policy. The NEP was a series of measures instituted by the communists that allowed a measure of private enterprise into the new Soviet state; for its critics, the NEP threatened the return of capitalism and all its vices. Dramatic uses of lighting at times recall German's expressionist films, but the real treats here are the remarkable street scenes: Ermler make extraordinary use of real locations around the city, often mixing their actors with people on the streets.

The opening titles clearly announce a new, previously unseen genre―“a comic melodrama.” Katka, a young peasant girl, comes to Petrograd to earn enough money to buy a cow, but she cannot find a job at a factory and is forced sell apples on the street. Private trade is the first step toward degeneracy and criminal life. She gets mixed up with a wicked villain Semka, and becomes pregnant. However, she is still basically good and therefore realizes the wickedness of the man and breaks with him. The film acquaints us with the society of street vendors. In Ermler's scheme of values, Katka is preferable to Semka's new girlfriend, Verka, because Katka trades in apples, Verka in foreign goods. The street vendors, illegal small business people, also have their sense of community. They hire someone, Vadka, an unemployed intellectual, to look out for the police. We learn how loathsome Verka really is when she refuses to contribute to Vadka's meagre compensation. In this bustling, exciting, but very poor world, Soviet power seems very remote. There is no mention of Lenin, of the Party, or of the noble goals of communism. The authorities exist only in the form of the police, who seem none too capable. The most remarkable character in the movie is not the grotesquely overdrawn Sernka, or even the prototype of the strong Soviet woman figure, Katka, but the unemployed intellectual, Vadka, a man who is incapable of taking care of himself in the new circumstances. He cannot even properly kill himself: he jumps into shallow water. He returns to the bridge to find that his only jacket has been stolen. Katka saves the unfortunate fellow several times. She takes him in and gives him something to do - the job of taking care of her new baby while she is out working. Vadka is a thoroughly decent man. In the climactic scene of the movie, he confronts, fights and defeats Semka. The happy ending is inevitable, although Katka's sudden ransformation is unmotivated. She gives up her shady job and becomes a worker. She marries the serving and loving Vadka, and the alliance of working classes and honest intelligentsia is reaffirmed. In depicting Katka as a breadwinner, and much the stronger character, the film has a feminist message.

russian intertitles

Vsevolod Pudovkin - Mekhanika golovnogo mozga aka Mechanics of the Brain (1926)

"Though not given a New York showing until 1935, V. I. Pudovkin's Mechanics of the Brain (Mekhanika Golovnovo Mozga) was written and directed by Pudovkin in 1926. A full year in the making, this scientific documentary concentrates on the behavioral studies conducted by Prof. Ivan Pavlov. The laboratory dogs used in Pavlov's research don't seem too happy about it, and as a result this film might be hard to take for the more sensitive viewers (the vivisection sequence is particularly rough). The progress of the research is detailed with charts and graphs, hardly the "cinematic" touches one might expect from Pudovkin. Interestingly, Mechanics of the Brains was released two years before the results of Pavlov's studies were printed in book form. "
by Hal Erickson

Language:English / Russian intertitles

Yevgeni Chervyakov - Goroda i gody aka Cities and Years [Incomplete] (1930)

"This first movie adaptation of Constantin Ferdin's novel Cities and Years was filmed silent, then released in U.S. with a synchronous soundtrack. Ivan Tchuveley plays Andre, a young Russian artist living in Berlin at the time of WWI. Comes the revolution, and Andre returns to Russia, wholeheartedly embracing communism. But when an old friend, a German officer now wanted by the Red police, stumbles into his home, Andre agrees to help the man escape. For this "betrayal" of the Soviet cause, Andre is dispassionately killed by his own brother."
by Hal Erickson

Bernhard Goetzke

Language:Russian intertitles



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