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The Italian (2005 film)

2025-06-18T10:52:29Z

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{{Short description|2005 film}}
{{Infobox film
|name = The Italian
|image = The Italian.jpg
|caption = English-language poster
|director = [[Andrei Kravchuk]]
|producer = Andrei Zertsalov
|writer = Andrei Romanov
|starring = Kolya Spiridonov Mariya Kuznetsova Nikolai Reutov
|music = [[Alexander Knaifel]]
|cinematography = Aleksandr Burov
|editing = Tamara Lipartiya
|distributor = [[Sony Pictures Classics]] (US)
|released = {{Film date|2005|9|22}}
|runtime = 98 minutes
|country = Russia
|language = Russian
|budget =
|gross =
}}
'''''The Italian''''' ({{langx|ru|Итальянец}}, [[Transliteration|translit.]] '''''Italyanets''''') is a 2005 Russian [[drama film]] directed by [[Andrei Kravchuk]]. The screenplay by Andrei Romanov, inspired by a true story, focuses on a young boy's determined search for his mother. The film won the Grand Prix of the Deutsches Kinderhilfswerk from the International Jury at the [[55th Berlin International Film Festival]], and a Special Mention from their Children's Jury and was also selected as the Russian entry for the [[Academy Award for Best Foreign Language Film|Best Foreign Language Film]] at the [[78th Academy Awards]], but it did not make the final shortlist. It received generally positive reviews from critics.

==Plot==
Six-year-old Vanya Solntsev lives in a desolate and rundown orphanage run by an alcoholic headmaster. When a wealthy [[Italians|Italian]] couple wanting to adopt selects him, the other children, especially his good friend, Anton, envy his fortune and name him ''The Italian''. However, when a grief-stricken mother of another boy commits suicide after returning to reclaim her son and discovering he is no longer there, Vanya fears the same fate looms for him. With the aid of some of the older boys, he retrieves his file from the office safe and learns the address of the children's home where he previously lived. Certain the records there will identify his mother, he sets off on his quest with the help of an older girl.

Pursuing him by car as he travels by train is the corrupt go-between, who brokered his remunerative adoption, and her driver, Grisha. Upon arriving in the town where the children's home is located, Vanya is attacked by the homeless boys, but escapes and finds a bus that will take him to his destination. There he is confronted by Grisha but manages to elude him and make contact with the night watchman of the home, who gives him his mother's address. Once again Grisha catches up with him, but when he realizes how determined Vanya is, lets him go. The boy is reunited with his mother. Through a letter Vanya wrote to Anton, who was adopted by the Italian couple instead, we learn Vanya is happy to be living with his mother in Russia.

==Cast==
*Kolya Spiridonov as Vanya Solntsev
*Mariya Kuznetsova as Madam
*Nikolai Reutov as Grisha
*Yuri Itskov as Headmaster
*Dima Zemlyanko as Anton

==Production==
Residents of the Lesogorsky [[Orphanage]] in [[Leningrad]] were cast as orphans in the film.<ref>[http://www.sonyclassics.com/theitalian/cast.html Cast list at SonyClassics.com]</ref>

The film premiered at the [[Berlin International Film Festival]] and was shown at the [[Taipei Film Festival]] and the Buster Children's Film Festival in [[Denmark]] before going into theatrical release in Russia. It was shown at the [[Telluride Film Festival]], the [[Toronto International Film Festival]], the Morelia Film Festival in [[Mexico]] and the Paris Mon Premier Festival joden before going into limited release in the United States.

==Reception==
===Critical response===
Based on 94 reviews collected by [[Rotten Tomatoes]], ''The Italian'' has an overall approval rating from critics of 91%, with an average score of 7.2/10. The website's critical consensus states,"Poignant and unforgettable, ''The Italian'' stands out from other European melodramas. Like its extraordinary child lead, this Russian drama about an orphan's search for his birth mother is small in size and monumental in pathos".<ref>{{Cite web|url=https://www.rottentomatoes.com/m/italian|title = The Italian|website = [[Rotten Tomatoes]]}}</ref> On [[Metacritic]], the film has a weighted average score of 74 out of 100, based on 25 critics, indicating "generally favorable reviews"<ref>{{Cite web|url=https://www.metacritic.com/movie/the-italian|title = The Italian|website = [[Metacritic]]}}</ref>

Manohla Dargis of ''[[The New York Times]]'' said, "The film’s director, Mr. Kravchuk, throws a beautiful, somewhat gauzy light over this world that gently softens its harder angles. There is something slightly magical about the lighting, almost as if this were a fantasy land from which Vanya might actually make an escape. This sense of unreality, of magical thinking and wishing, carries the story and Vanya through a remarkable journey . . . like something out of a film by [[Roberto Rossellini]], which is very high praise indeed."<ref>{{cite news|first=Manohla|last=Dargis|url=http://movies2.nytimes.com/2007/01/19/movies/19ital.html|title=A Place Where Hope Dies, and a Boy Who Escapes|work=[[The New York Times]]|date=2007-01-19|accessdate=2009-03-15}}</ref>

Ruthe Stein of the ''[[San Francisco Chronicle]]'' called the film "a deeply moving experience, alternately funny and sad" and added, "Based on a real incident, it has the ring of truth. Every detail feels right, from the chill of a Russian winter to the coldness displayed by adults profiting from a trade in orphans."<ref>{{cite web|first=Ruthe|last=Stein|url=http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2007/01/26/DDG3PNOCSG1.DTL|title=On the run, abandoned by mother, Russia|work=[[San Francisco Chronicle]]|date=2007-01-26|accessdate=2009-03-15}}</ref>

Leslie Felperin of ''[[Variety (magazine)|Variety]]'' observed, "Briskly helmed by feature debutant Andrei Kravchuk, [the picture] depicts the hard-knock life in a remote Russian children's home with stark realism, evolving smoothly into a taut adventure tale as [the [[protagonist]]] hits the road in search of his mom. Possibly a bit too hard-hitting for more protected Western kids, [the picture] might appeal to subtitle-friendly [[Preadolescence|tweens]] and teens in upmarket territories."<ref>{{cite web|first=Leslie|last=Felperin|url=https://www.variety.com/awardcentral_review/VE1117926680.html?nav=reviews07&categoryid=1986&cs=1&p=0|title=Review of ''The Italian''|work=[[Variety (magazine)|Variety]]|date=2005-03-29|accessdate=2009-03-15}}</ref>
===Awards and nominations===
The film won the Grand Prix of the Deutsches Kinderhilfswerk from the International Jury at the 2005 Berlin International Film Festival, and a Special Mention from their Children's Jury.<ref>{{citation |title=Italianetz |url=https://www.berlinale.de/en/archiv/jahresarchive/2005/02_programm_2005/02_Filmdatenblatt_2005_20051745.php#tab=boulevard |accessdate=17 July 2017 |work=Berlinale Film Archive |date=14 February 2005 }}</ref> It also won Golden Poznan Goats award for best feature movie at [[23rd Ale Kino! Festival|23rd]] [[Ale Kino! International Young Audience Film Festival|Ale Kino! Festival]].<ref>[http://2005.alekino.com/p8.asp.htm 23rd Ale Kino! results]</ref> Andrei Kravchuk won the CIFEJ Prize, awarded to the director of films especially designed for children or suitable for them, at the 2005 Carrousel International du Film in [[Montreal]]; the Cinekid Film Award at the 2005 Cinekid in [[Amsterdam]]; and the Grand Prix at the 2005 Honfleur Festival of Russian Cinema in [[France]].

The film was Russia's submission for consideration in the category [[Academy Award for Best Foreign Language Film]] at the [[List of submissions to the 78th Academy Awards for Best Foreign Language Film|78th Annual Academy Awards]].

== See also ==
* [[International adoption]]

==References==
{{reflist}}

==External links==
*{{official website|http://www.sonyclassics.com/theitalian/}}
*{{IMDb title|0450450|The Italian}}
* [http://video.kylekeeton.com/2010/12/russian-movie-the-italian-english-subtitles.html Russian Movie: The Italian (English subtitles)]

{{Andrei Kravchuk}}
{{Russian submission for Academy Awards}}

{{DEFAULTSORT:Italian}}
[[Category:2005 films]]
[[Category:2005 drama films]]
[[Category:Films set in Russia]]
[[Category:2000s Russian films]]
[[Category:2000s Russian-language films]]
[[Category:Sony Pictures Classics films]]
[[Category:Films directed by Andrei Kravchuk]]
[[Category:Films about orphans]]
[[Category:Russian drama films]]
[[Category:Russian-language drama films]]

White Gold (2003 film)

2025-06-17T16:13:44Z

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{{more citations needed|date=May 2019}}
{{Infobox film
|name = White Gold
|image =White Gold (2003 film).jpg
|caption= Poster
|writer = [[John Jopson]] [[Viktor Ivanov (Stunt Coordinator)|Viktor Ivanov]]
|starring = Josh Holland [[Gleb Plaksin]] [[Aleksandr Dyachenko]] [[Yevgeni Sidikhin]] |director = [[Viktor Ivanov (Stunt Coordinator)|Viktor Ivanov]]
|producer = [[Fyodor Popov]]
|music = [[Sergei Chekryjov]]
|distributor = [[Stella Studio]]
|released = {{Film date|2003|09|12}}
|runtime = 91 min.
|language = Russian/English
|budget = unknown
}}
'''''White Gold''''' ({{langx|ru|Белое золото}}) is a 2003 Russian [[action film]] directed by [[Viktor Ivanov (Stunt Coordinator)|Viktor Ivanov]] from a [[screenplay]] by [[John Jopson]] and Viktor Ivanov. The story begins with the actual events of 1919 when a [[White Army]] train carrying the bulk of the [[Russian Empire]]'s gold reserves arrives empty at [[Siberia]]'s [[Irkutsk]] station. The adventure begins when, decades later, the grandson of a White Army officer inherits a map to the treasure.

==External links==
*{{IMDb title|0339896}}

[[Category:2003 films]]
[[Category:2000s action adventure films]]
[[Category:2000s Russian films]]
[[Category:2000s Russian-language films]]
[[Category:Russian action adventure films]]
[[Category:Films about treasure hunting]]
[[Category:Russian-language action adventure films]]

{{2000s-Russia-film-stub}}
{{action-adventure-film-stub}}
{{2000s-adventure-film-stub}}

The Turkish Gambit (film)

2025-06-17T16:12:22Z

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{{Infobox film
|name = The Turkish Gambit
|image = The turkish gambit movieposter.jpg
|caption = Russian movie poster
|director = [[Dzhanik Fayziev]]
|producer = [[Vereshchagin, Leonid Émil'evich|Leonid Vereshchagin]] [[Maksimov, Anatoly V.|Anatoly Maximov]] [[Ernst, Konstantin L.|Konstantin Ernst]]
|screenplay = [[Boris Akunin]] Dzhanik Fayziev
|starring = [[Egor Beroev]] [[Olga Krasko]] [[Alexander Lykov]]
|music = [[Vsevolod Saksonov]] [[Andrei Feofanov]]
|studio = [[Studio TriTe]]
|budget = $3.5 million
| gross = $18,461,000
|country = [[Russia]] [[Bulgaria]]
|language = Russian Bulgarian Turkish Romanian English French
|runtime = 132 minutes
|released = {{Film date|2005}}
}}

'''''The Turkish Gambit''''' is a 2005 Russian [[Historical film|historical]] [[spy film]], an adaptation of [[Boris Akunin]]'s novel ''[[The Turkish Gambit]]'' featuring his most famous character, the detective [[Erast Fandorin]]. It was directed by [[Dzhanik Fayziev]] and written by Akunin himself.<ref>{{IMDb title|374298|Turetskiy gambit}}</ref> The film starred [[Marat Basharov]], [[Yegor Beroyev]], and [[Olga Krasko]]. ''The Turkish Gambit'' was a box office success, although it received mixed reviews from critics.

==Plot==
The film takes place in Bulgaria during the [[Russo-Turkish War (1877–1878)]]. Erast Fandorin is put on the trail of a Turkish agent who is trying to disrupt the Russian advance during the [[Siege of Plevna]]. The agent, known as Anwar [[Efendi]], is a master of disguise and has excellent command of Russian.

===Filming===
[[Didier Bienaimé]] died the day before his arrival in Russia to voice his role. Director Janik Fayziev decided to leave the actor's speech in French in the film, voicing only some of the lines himself.<ref>{{cite web |url=https://www.kp.ru/daily/23468/37097/ |title=Фандорин провел ночь в болгарской кутузке. Что осталось за кадром «Турецкого гамбита»? |author= |date=2005-02-23 |website=kp.ru |publisher=[[Komsomolskaya Pravda]] |accessdate=2019-01-29 |lang=ru |archive-date=2019-01-29 |archive-url=https://web.archive.org/web/20190129181312/https://www.kp.ru/daily/23468/37097/}}. In Russian</ref>

«Дождик осенний» ("Autumn Rain", music by [[Isaac Schwartz]], lyrics by [[Bulat Okudzhava]], vocals by [[Olga Krasko]]) was written for the movie "Captain Fracasse" (1984),<ref>[http://songkino.ru/songs/tur_gambit.html Песни из кинофильма «Турецкий гамбит»] {{Webarchive|url=https://web.archive.org/20081201054450/http://songkino.ru/songs/tur_gambit.html }}. In Russian</ref> it was also performed in the TV series "Happy New Year!" (1999).

===Change from the book===
Unlike the ending of the book, where French correspondent d'Hervais is exposed as being Anwar in disguise, in the film Anwar turns out to have been posing as a seemingly awkward and stupid Russian captain.

In the book, unlike the film, Fandorin did not escape by clinging to the underbelly of a carriage but was actually released by the governor of [[Vidin|Viddin]] Yusuf Pasha after winning a wager.

The scene where Varvara and Fandorin flew in the balloon never took place in the book and Varvara had no role in discovering the weaknesses of the Turkish defenses.

The scene in the cave with the Lieutenant Luntz did not take place in the book. The character of the homosexual Luntz was created for the movie. The homosexual nature of Kazanzaki is never alluded to in the film. In fact, Fandorin was never once shot at by Anwar Effendi in the book.

In the book, the evidence for Colonel Lukan's involvement in treason was found on him and not in his tent like in the film.

Colonel Lukan was killed in a duel whereby sabres were used rather than pistols.

The book refers to three main failed assaults on Plevna. The film shows only two.

In the book, when Fandorin hears about Osman Pasha's plans to 'surrender' he rushes to Sobolev to urge him to attack Plevna and not to the meeting point of the Turkish 'envoys'.

In the film Fandorin went to Istanbul and showed up at the end in Turkish attire. In the book he never went to Istanbul and arrived wearing European clothing.

In the film Fandorin was happy to see his old friend Count Zurov when Zurov first arrived, whereas in the book the Zurov and Fandorin were not close friends and the first meeting in the tent was rather chilly.

==Cast==
*[[Egor Beroev]] as [[Erast Fandorin]]
*[[Olga Krasko]] as Varvara Suvorova
*[[Marat Basharov]] as Gridnev
*[[Vladimir Ilyin (actor)|Vladimir Ilyin]] as General Mizinov (based on [[Nikolay Mezentsov]])
*[[Dmitry Pevtsov]] as Zurov
*[[Viktor Verzhbitsky]] as Lukan
*[[Aleksandr Baluev]] as General Sobolev (based on [[Mikhail Skobelev]])
*[[Aleksey Guskov]] as Kazanzaki
*[[Gosha Kutsenko]] as Ismail-Bey
*[[Andrey Krasko]] as Officer
*[[Leonid Kuravlyov]] as Retired Major
*[[Yevgeni Lazarev]] as [[Alexander II of Russia|Tsar Alexander II]]
*[[Didier Bienaimé]] as D'Hevrais
*[[Viktor Bychkov (actor)|Viktor Bychkov]]
*[[Sergey Gazarov]] as Yūsuf Pasha, governor of [[Vidin]]
*[[Aleksandr Lykov]] as Perepyolkin (based on [[Aleksey Kuropatkin]])
*[[Anatoly Borisovich Kuznetsov|Anatoly Kuznetsov]]
*[[Andrey Rudensky]]
*[[Valdis Pelsh]]
*[[Daniel Olbrychski]] as McLaughlin (based on [[Januarius MacGahan]])
*[[Miki Iliev]]
*[[Raicho Vasilev]] as Bodyguard
*[[Aleksandr Aleksandrov (actor)|Aleksandr Aleksandrov]] as Secret agent
*[[Daniel Rashev]]

==Anachronisms==
In the opening scene, in the background, a Turkish man says a prayer in Turkish. He says "Long live the Turkish republic", when [[History of the Republic of Turkey|the Turkish Republic]] would only be established in 1922, many decades after the time in which the film is set.

==References==
{{reflist}}

==External links==
* [http://www.gambitfilm.ru Official site]
* {{IMDb title|0374298|title=Turetskiy gambit}}
* [https://www.youtube.com/watch?v=piRKqsgRLI0&list=PL30DB21DE424311A7 The Turkish Gambit (TV version)]
* [https://www.youtube.com/watch?v=mUYOxPi2waA The Turkish Gambit - 1 episode] from [[Channel One Russia]]
* [https://www.youtube.com/watch?v=gCCIXqp0dE0 Attack on Pleven] – scene about the [[Siege of Pleven]]
{{Dzhanik Fayziev}}
{{Boris Akunin}}

{{DEFAULTSORT:Turkish Gambit, The}}
[[Category:Films based on works by Boris Akunin]]
[[Category:Russian spy thriller films]]
[[Category:2005 films]]
[[Category:2000s historical adventure films]]
[[Category:Russian action war films]]
[[Category:Russian action thriller films]]
[[Category:Russian action drama films]]
[[Category:Russian war drama films]]
[[Category:2000s Russian-language films]]
[[Category:2000s Russian films]]
[[Category:Russian mystery thriller films]]
[[Category:Films shot in Bulgaria]]
[[Category:Films set in 19th-century Ottoman Empire]]
[[Category:Films set in 19th-century Russian Empire]]
[[Category:Films set in Bulgaria]]
[[Category:Russo-Turkish War (1877–1878)]]
[[Category:Russian-language action drama films]]
[[Category:Russian-language war drama films]]
[[Category:Russian-language thriller films]]

Sunflower (1970 film)

2025-06-17T15:32:13Z

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{{Short description|1970 film by Vittorio De Sica}}
{{more citations needed|date=May 2019}}
{{Infobox film
| name = I Girasoli (Sunflower)
| image = Igirasoli film poster.jpg
| caption = Italian release poster
| director = [[Vittorio De Sica]]
| producer = {{Plainlist|
* [[Arthur Cohn]]
* [[Joseph E. Levine]]
* [[Carlo Ponti]]
}}
| writer = {{Plainlist|
* [[Tonino Guerra]]
* Giorgi Mdivani
* [[Cesare Zavattini]]
}}
| narrator =
| starring = {{Plainlist|
* [[Sophia Loren]]
* [[Marcello Mastroianni]]
* [[Lyudmila Savelyeva]]
}}
| music = [[Henry Mancini]]
| cinematography = [[Giuseppe Rotunno]]
| editing = Adriana Novelli
| studio = {{Plainlist|
* Compagnia Cinematografica Champion (as C. C. Champion S.p.A.)
* Les Films Concordia
* [[Mosfilm]]
}}
| distributor = [[Embassy Pictures|Avco Embassy]]
| released = {{Film date|1970|3|13|Premiere|1970|3|19}}
| runtime = 101 minutes
| country = {{Plainlist|
* Italy
* France
* Soviet Union
* United States
}}
| language = {{Plainlist|
* Italian
* Russian
}}
| budget =
| gross = $2 million (US/Italy rentals)<ref name=USrentals>{{Cite book|url=https://archive.org/details/americanfilmdist0000dona/page/298/mode/1up|title= American film distribution : the changing marketplace|last=Donahue|first= Suzanne Mary|year=1987 |publisher=UMI Research Press |page=298}} Please note figures are for rentals in US and Canada</ref><ref name=open/>
}}

'''''Sunflower''''' ({{langx|it|'''I girasoli'''}}) is a 1970 [[romance film|romantic]] [[war film|war]] [[tragedy]] film directed by [[Vittorio De Sica]]. An international co-production of Italy, France, the Soviet Union and the United States, the film was shot in the Soviet Union; some scenes were filmed near [[Moscow]], while others near [[Poltava]], a regional center in [[Ukrainian Soviet Socialist Republic|Ukraine]].

== Plot ==

''"A woman born for love. A man born to love her. A timeless moment in a world gone mad."''

Giovanna ([[Sophia Loren]]) and Antonio ([[Marcello Mastroianni]]) marry to delay Antonio's deployment during World War II. After that buys them twelve days of happiness, they try another scheme, in which Antonio pretends to be a crazy man. Finally, Antonio is sent to the [[Italian participation on the Eastern Front|Russian Front]]. When the war is over, Antonio does not return and is listed as [[missing in action]]. Despite the odds, Giovanna is convinced her true love has survived the war and is still in the Soviet Union. Determined, she journeys to the Soviet Union to find him.

In the Soviet Union, Giovanna visits the sunflower fields, where there is supposedly one flower for each fallen Italian soldier, and where the Germans forced the Italians to dig their own mass graves. Eventually, Giovanna finds Antonio, but by now he has started a second family with a woman who saved his life, and they have one daughter. Childless, having been faithful to her husband, Giovanna returns to Italy, heartbroken, but unwilling to disrupt her love's new life. Some years later, Antonio returns to Giovanna, asking her to come back with him to the Soviet Union. Meanwhile, Giovanna has tried to move on with her own life, moving out of their first home together and into her own apartment. She works in a factory and is living with a man, with whom she has a baby boy. Antonio visits her and tries to explain his new life, how war changes a man, how safe he felt with his new woman after years of death. Unwilling to ruin Antonio's daughter's or her own new son's life, Giovanna refuses to leave Italy. As they part, Antonio gives her a fur, which he had promised years before that he'd bring back for her. The lovers lock eyes as Antonio's train takes him away from Giovanna, and from Italy, forever.

== Cast ==
* [[Sophia Loren]] as Giovanna
* [[Marcello Mastroianni]] as Antonio
* [[Lyudmila Savelyeva]] as Masha (Maria)
* Galina Andreyeva as Valentina, Soviet official
* [[Anna Carena]] as Antonio's mother
* [[Germano Longo]] as Ettore
* Nadya Serednichenko as Woman in sunflower fields
* [[Glauco Onorato]] as Returning soldier
* [[Silvano Tranquilli]] as Italian worker in Russia
* Marisa Traversi as Prostitute
* Gunars Cilinskis as Russian Ministry Official
* [[Carlo Ponti, Jr.]] as Giovanna's baby
* [[Pippo Starnazza]] as Italian official
* Dino Peretti
* Giorgio Basso

==Release==
''Sunflower'' was released on [[Saint Joseph's Day]], 19 March 1970, in 5 key cities in Italy. It expanded to an additional 13 cities at [[Easter]].<ref name=open>{{cite magazine|magazine=[[Variety (magazine)|Variety]]|date=10 June 1970|title=Avco Embassy's Graziosi Blueprints Plan To Perk Majors O'seas Distrib|page=32}}</ref> It was the first Italian film to be dubbed and screened at [[Radio City Music Hall]] in New York City.<ref>{{cite magazine|title=New York Sound Track|magazine=[[Variety (magazine)|Variety]]|date=23 September 1970|page=4}}</ref>

==Reception==
In its first three months on release in Italy, the film earned [[theatrical rental]]s of $1 million.<ref name=open/> Despite reaching [[List of 1970 box office number-one films in the United States|number one in the United States]] in its seventh week of release, the film performed disappointingly in the United States earning rentals of $1,038,000.<ref>{{cite magazine|magazine=[[Variety (magazine)|Variety]]|title=50 Top-Grossing Films|url=https://archive.org/details/sim_variety_1970-11-18_261_1/page/11|date=November 18, 1970|page=11|access-date=April 19, 2024|via=[[Internet Archive]]}}</ref><ref>{{cite magazine|magazine=[[Variety (magazine)|Variety]]|title='Z', 'Stitch' Paced O'seas Pix In U.S. Release, 1970|url=https://archive.org/details/sim_variety_1971-05-12_262_13/page/34/mode/2up|date=May 12, 1971|page=34|access-date=April 19, 2024|via=[[Internet Archive]]}}</ref><ref name=USrentals/>

== Soundtrack ==
{{Infobox album
| name = Sunflower
| type = Film Score
| artist = [[Henry Mancini]]
| cover = File:Henry Mancini Sunflower 1970.jpg
| alt =
| released = 1970
| recorded = 1969–1970
| venue =
| studio =
| genre = [[Soundtrack]]
| length = 31:15
| label = [[Avco Records]]
| producer = Henry Mancini
| prev_title =
| prev_year =
| next_title =
| next_year =
}}

{{Music ratings
| rev1 = [[AllMusic]]
| rev1Score = {{Rating|5|5}}<ref>{{AllMusic|class=album|id=r6767|first=|last=|accessdate=2020-01-13}}</ref>
}}

=== Track listing ===
==== SIDE A ====
01. Love Theme from "Sunflower" (2:26) 
02. Masha's Theme (1:54) 
03. Giovanna (1:54) 
04. The Search (4:20) 
05. Love in the Sand (Love Theme from "Sunflower") (3:00) 
06. New Home in Moscow (1:20)

==== SIDE B ====
07. Two Girls ("Masha's Theme and Love Theme from "Sunflower") (2:07) 
08. The Retreat (5:10) 
09. The Invitation (2:04) 
10. Masha Finds Antonio (Masha's Theme) (3:35) 
11. The Parting in Milan (Love Theme From "Sunflower") (3:23)

== Awards ==
* [[David di Donatello]]: Best Actress (Sophia Loren)
* [[Academy Award]] nomination for [[Academy Award for Best Original Score|Best Music, Original Score]]

==See also==
* [[1970 in film]]

==References==
{{Reflist}}

==External links==
* {{IMDb title|id=0065782|title=I girasoli}}

{{Vittorio De Sica}}

{{DEFAULTSORT:Sunflower (1970 film)}}
[[Category:Mosfilm films]]
[[Category:1970 drama films]]
[[Category:1970 films]]
[[Category:1970 multilingual films]]
[[Category:Films directed by Vittorio De Sica]]
[[Category:Films set in Italy]]
[[Category:Films set in Russia]]
[[Category:Films about the Battle of Stalingrad]]
[[Category:1970s Italian-language films]]
[[Category:1970s Russian-language films]]
[[Category:Films scored by Henry Mancini]]
[[Category:Films with screenplays by Cesare Zavattini]]
[[Category:Italian multilingual films]]
[[Category:Soviet multilingual films]]
[[Category:Films shot in Russia]]
[[Category:Russian-language war drama films]]
[[Category:Soviet war drama films]]
[[Category:Russian war drama films]]
[[Category:Soviet World War II films]]
[[Category:Russian World War II films]]
[[Category:Italian World War II films]]
[[Category:1970s Soviet films]]
[[Category:1970s Italian films]]

War (2002 film)

2025-06-17T14:06:16Z

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{{Infobox film
| name = War Война
| image = Voina.jpg
| caption = Film poster
| director = [[Aleksei Balabanov]]
| producer = Sergei Selyanov
| writer = Aleksei Balabanov
| narrator =
| starring = [[Aleksei Chadov]] [[Ian Kelly (actor)|Ian Kelly]] [[Ingeborga Dapkūnaitė]] [[Sergei Bodrov Jr.]]
| music = [[Vyacheslav Butusov]]
| cinematography = Sergei Astakhov
| editing = Marina Lipartiya
| distributor = CTB Film Company Intercinema Art
| released = {{Film date|2002|03|14}}
| runtime = 120 minutes
| country = [[Russia]]
| language = Russian, English, Chechen
| budget =
| gross =
}}
'''''War''''' ({{langx|ru|Война}}, [[Transliteration|translit.]] ''Voina'') is a 2002 Russian [[war film]] by [[Aleksei Balabanov]] about the [[Second Chechen War]], starring [[Aleksei Chadov]] and [[Ian Kelly (actor)|Ian Kelly]].

== Plot ==
The story is told from the perspective of former [[Conscription in Russia|conscript]] Ivan Yermakov ([[Alexei Chadov]]), a defendant in a pre-trial detention facility who is giving an interview to a journalist. As he begins recounting his story, the film cuts to [[Chechnya]] in the summer of 2001, during the [[Second Chechen War]]. Being held captive by Chechen warlord Aslan Gugayev ([[Georgy Gurguliya]]), Ivan serves as a domestic slave and Aslan's communications specialist, since Ivan graduated from a computer school and speaks English. One day, Aslan also captures two actors from England: John Boyle ([[Ian Kelly (actor)|Ian Kelly]]) and his fiancée Margaret Michaelsen ([[Ingeborga Dapkūnaitė]]). After a while, Ivan and the actors are transported to another village and put in a dungeon, where they meet Captain Medvedev ([[Sergei Bodrov, Jr.]]), paralyzed as a result of a shrapnel wound to the spine.

Aslan releases John so that he can collect £2 million for Margaret's ransom. He also releases Ivan, as no-one is willing to pay the ransom for him. As Ivan leaves, Aslan warns him not to come back.

John's efforts to raise money are unsuccessful, but one of the English television companies provides him with £200,000 in exchange for detailed video footage of the operation. In [[Moscow]], John encounters complete indifference from military officials and decides to ask Ivan to help him free Margaret.

Ivan's life in his native [[Tobolsk]] is not working out. He cannot adapt to a peaceful life and he cannot find work. Before that, he came to [[Saint Petersburg|St. Petersburg]] to visit the family of Captain Medvedev, whom no one is willing to rescue. Therefore, when John comes to Tobolsk, Ivan agrees to go to Chechnya for a reward.

After passing through Moscow and [[Vladikavkaz]], Ivan and John secretly enter Chechnya, along the way capturing an SUV with a large amount of weapons in the trunk. On their way, they kidnap a local, Ruslan Shamayev ([[Euclid Kyurdzidis]]), and Ivan finds his way to Gugayev's village. After waiting for a large group of militants to leave, Ivan, John, and Ruslan attack the village. While Ivan and Ruslan shoot the guards with the weapons they seized earlier on the road, John discovers Margaret in a pit completely naked and assumes that she was raped by the militants. John, in a rage, kills Gugaev, complicating the situation: Ivan needed the Gugaev alive as a hostage.

Gugayev's militants organize a shelling of the village and a pursuit, but the group escapes on a makeshift raft and takes up defensive positions in an old fortress tower. Using a satellite phone taken from Aslan, Medvedev organizes support from the [[Russian Air Force|Air Force]]. Russian helicopters arrive, routing the militants, and deliver the group to a military base.

John gives Ivan the money he earned, of which Ivan gives Ruslan a thousand pounds. Ivan later gives the remaining money to Captain Medvedev for treatment.

The film ends with a brief commentary from Ivan. Margaret did not marry John. John, having constantly filmed his journey, released a film and a book titled ''My Life in Russia''. After the release of the film, Ivan was brought to trial for the murder of "peaceful citizens of the Russian Federation." Ruslan, who moved to Moscow, testified against Ivan. The only one who stood up for Ivan was Captain Medvedev.

== Cast ==
{| border=1 class="wikitable"
|-
!style="background:MediumSpringGray "| '''Actor'''
!style="background:MediumSpringGray "| '''Role'''
|-
||[[Aleksei Chadov]]||Sergeant Ivan Yermakov
|-
||[[Ian Kelly (actor)|Ian Kelly]]||John Boyle
|-
||[[Ingeborga Dapkūnaitė]]||Margaret (John's fiancée)
|-
||[[Euclid Kyurdzidis]]||Ruslan Shamayev
|-
||[[Sergei Bodrov Jr.]]||Captain Medvedev
|-
||[[Georgy Gurguliya]]||Aslan Gugayev
|-
||[[Vladimir Gostyukhin]]||Ivan's father
|-
||[[Irina Sokolova]]||Captain Medvedev's mother
|-
|[[Stas Stotsky]]||Fedya Kulik
|-
|[[Yuri Stepanov (actor)|Yuri Stepanov]]||Alexander Matrosov
|-
|}

==Film crew==
{| border=1 class="wikitable"
|-
||Director||[[Aleksei Balabanov]]
|-
||Screenwriter||[[Aleksei Balabanov]]
|-
||Camera Operator||[[Sergei Astakhov]]
|-
||Artist||Pavel Parkhomenko
|-
||Producer||Sergei Selyanov
|}

==Production==
Aleksei Balabanov wrote the scenario for the film in 1998. after he saw on television the [[1998 abduction of foreign engineers in Chechnya|severed heads of English specialists who worked in Chechnya]].

Balabanov tried to make a film that was as realistic as possible, to the point of naturalism. Before filming, he talked to former captives from the [[First Chechen War]], traveled through the villages of [[Kabardino-Balkaria]], met with the commander of the troops in Chechnya, General [[Viktor Kazantsev]], and watched videotapes with chronicles of Chechen atrocities. He showed some of these films to the English actor Ian Kelly. According to Balabanov, Kelly was shaking during the screening.

{{Blockquote|1=The work was difficult from a psychological point of view. Before that, we had watched tapes of people being killed for real, recorded by militants. This spectacle made a very strong impression, to an extent that I didn’t even expect. I probably walked around for three days like I’d been hit on the head with a hammer. I liked wearing striped shirts, and they killed one paratrooper in a striped shirt. So, while we were living in the mountains, for some reason I didn’t wear a striped shirt.|2={{ill|Sergei Astakhov|ru|Сергей Астахов}}}}

The film was shot in [[Kabardino-Balkaria]], [[North Ossetia]], [[Chechnya]], [[Moscow]], [[St. Petersburg]], [[Tobolsk]], and [[London]].

This was the first film role of the then twenty-year-old aspiring actor Alexei Chadov.<ref>{{cite web |title=Народное кино: «Брат 2» и «Война» |trans-title=People's Cinema: "Brother 2" and "War" |website=archive.ph |date=2014-12-22 |url=http://www.kultpro.ru/item_150/ |archive-url=https://archive.today/20141222183436/http://www.kultpro.ru/item_150/ |archive-date=2014-12-22 |url-status=unfit |language=ru |access-date=2024-08-13}}</ref> To film the scenes with the captives lying in the pit, the crew dug out a real pit. The actors laid there filthy for several hours, as Balabanov wanted everything to be as realistic as possible. The scene with actress Ingeborga Dapkūnaitė floating naked in a cold rapid was filmed without using a stunt double.<ref>{{cite news|url = http://echo.msk.ru/programs/beseda/18932/|title = Интервью Ингеборги Дапкунайте|publisher = [[Эхо Москвы]]|date = 30 June 2002|archiveurl = https://archive.today/20141010154127/http://echo.msk.ru/programs/beseda/18932/|archivedate = 2014-10-10}}</ref>

The filming scared the English actor Ian Kelly the most, as he barely understood Russian. He spent the entire time reading ''[[War and Peace]]'' on the set.

{{Blockquote|1=Poor Ian didn't speak a word of Russian, and Dapkunaite lives in England. And he kept rushing to her, complaining about how he was forced to sit in a hole, how he was forced to climb into a river, how he almost drowned there, how Balabanov told someone right in front of Ian that he was a bad actor. And for Westerners, this is a completely unacceptable form of communication. And Inga patiently explained that Russians always work like this, that Russians have this practice, that Russians always yell, and if they start shooting, then only with real bullets. That's why Russians are used to really drowning and really saving themselves.|2=[[Sergei Bodrov Jr.]]|source=}}

To make the film more realistic, many of the Chechens are played by real Chechens, and the Russian soldiers are played by real soldiers, helicopter pilots, and contract intelligence officers. In addition, this is the first film about Chechnya that was, although partially, filmed on Chechen lands, in particular at a checkpoint at the entrance to [[Grozny]]. The film was made close to live combat, because during the filming, the [[Second Chechen War]] was unfolding in those parts.<ref>{{cite news|url = http://www.newsru.com/arch/cinema/14mar2002/film.html|title = В российский прокат выходит фильм Алексея Балабанова "Война"|date = 14 March 2002|publisher = [[News.ru]]|archiveurl = https://archive.today/20141010113853/http://www.newsru.com/arch/cinema/14mar2002/film.html|archivedate = 2014-10-10}}</ref> The shooting took place in calm areas, and the crew was guarded by [[SOBR]] officers. In order not to endanger the film's equipment, the CTB company insured it for $500,000.<ref>{{cite web | title=Новости NEWSru.com :: Новый фильм Алексея Балабанова застрахован на 5… | website=archive.ph | date=2014-10-10 | url=http://www.newsru.com/cinema/29Aug2001/insurance.html | archive-url=https://archive.today/20141010113852/http://www.newsru.com/cinema/29Aug2001/insurance.html | archive-date=2014-10-10 | url-status=unfit | language=ru | access-date=2024-08-13}}</ref>

During the filming in Kabardino-Balkaria, a helicopter used for the film fired thermal missiles and accidentally hit an ancient [[Balkars|Balkar]] cemetery, setting it on fire and destroying many graves. After that, an ethnic conflict almost broke out between the film crew and local residents, but among the SOBR officers guarding the group was a former Chechen captain, Kyuri, who was able to stop the angry crowd. During filming, everyone except Bodrov and Dapkunaite lived in the houses of local residents. Balabanov lived in the house of a woman whose graves of all her relatives were destroyed in the cemetery.<ref>{{cite news|url = http://gorod.tomsk.ru/index-1184045008.php|title = Интервью Сергея Бодрова|publisher = Город-Томск|date = 10 July 2007|archiveurl = https://archive.today/20140926091504/http://gorod.tomsk.ru/index-1184045008.php|archivedate = 2014-09-26}}</ref>

The episode where the main characters of the film were shooting was filmed in the {{ill|Abaev Tower|ru|Башня Абаевых}} in the Chereksky District of the Kabardino-Balkarian Republic.

==Music==
{{Infobox album
| name = War - Official Soundtrack
| type = Soundtrack
| artist =
| cover =
| caption =
| alt =
| released = {{Start date|2002}}
| recorded =
| venue =
| studio =
| genre = [[Rock music in Russia|Russian rock]]
| length = 120 minutes
| label = [[Sony Music]]
| producer =
| prev_title =
| prev_year =
| next_title =
| next_year =
}}

{{track listing
|headline = Tracklist :
|extra_column = Performer

|title1 = ''Voina'' (''Война'', War)
|extra1 = [[Timur Mutsurayev]]
|length1 = 0:52

|title2 = ''Komandor'' (''Командор'', Commander)
|extra2 = Tomas
|length2 = 5:14

|title3 = ''Volki'' (''Волки'', Wolves)
|extra3 = [[Bi-2]]
|length3 = 5:37

|title4 = ''SOS''
|extra4 = [[Splean]]
|length4 = 4:30

|title5 = ''Bereg'' (''Берег'', Coast)
|extra5 = [[Vyacheslav Butusov]]
|length5 = 4:43

|title6 = ''Lyutaya''(''Лютая'', Fierce)
|extra6 = [[Volga-Volga]]
|length6 = 1:36

|title7 = ''Chyorny voron'' (''Чёрный ворон'', Black Raven)
|extra7 = Livan and PEKh
|length7 = 5:53

|title8 = ''Fellini'' (''Феллини'')
|extra8 = [[Splean]]/[[Bi-2]]
|length8 = 5:05

|title9 = ''Yeshyo ne vecher'' (''Ещё не вечер'', Not yet evening)
|extra9 = [[Bi-2]]
|length9 = 4:55

|title10 = ''Plastmassovaya Zhizn''' (''Пластмассовая Жизнь'', Plastic Life)
|extra10 = [[Splean]]
|length10 = 3:31

|title11 = ''Sokol'' (''Сокол'', Falcon)
|extra11 = [[Bi-2]]
|length11 = 7:07

|title12 = ''Kholostye puli'' (''Холостые пули'', Blank bullets)
|extra12 = Partisan radio
|length12 = 4:11

|title13 = ''Moya zvezda'' (''Моя звезда'', My star)
|extra13 = [[Vyacheslav Butusov]] and Deadushki
|length13 = 5:14

|title14 = ''Vulitsa'' (''Вулиця'', Street)
|extra14 = [[Okean Elzy]]
|length14 = 5:28

|title15 = ''Voina (Volki-2)'' (''Война (Волки-2)'', War (Wolves-2))
|extra15 = [[Bi-2]]
|length15 = 4:33
}}

'''Music that was featured in the film, but not included in the soundtrack:'''
{| border=1 class="wikitable"
|-
!style="background:MediumSpringGray "| '''Song'''
!style="background:MediumSpringGray "| '''Performer'''
|-
||''Iyerusalim'', ''Shamil' vedyot otryad''||[[Timur Mutsuraev]]
|-
||''Gde zh moya lyubimaya''||Arangulov brothers
|}

==Awards and nominations==
* 2002 - According to leading wholesale companies, the film took fourth place among the 50 best-selling video films in 2002, ahead of a large number of high-budget blockbusters.<ref>{{cite web|url = http://www.videoguide.ru/top50_2002.asp|title = Пятьдесят самых продаваемых видеофильмов в 2002 году|publisher = ВидеоГид|archiveurl = https://archive.today/20150106105335/http://www.videoguide.ru/top50_2002.asp|archivedate = 2015-01-06}}</ref>
* 2002, June - XIII Open Russian Film Festival "Kinotavr" in Sochi, the film participated in the contest, winning the Grand Prize.
* 2002, August - Yalta Film Festival, Grand Prize.
* 2002, August - X "Window to Europe" Film Festival in Vyborg, 3rd place in the "Vyborg Account" nomination.
* 2002, October - [[Montreal World Film Festival]], Canada, "Best Actor" ([[Aleksey Chadov]]).
* 2002, December - Golden Aries Award of the National Guild of Film Critics and Cinematography in the nomination "Best Cinematography" ([[Sergei Astakhov]]).
* 2003, February - [[Golden Eagle Award (Russia)|Golden Eagle Award]] in the nomination "Best Sound" ([[Maxim Belovolov]]).
* 2003, April - [[Nika Award]] in the nomination "Best Actor" ([[Sergei Bodrov Jr.]], posthumously).

== Similar films ==
*[[Prisoner of the Mountains]]

==References==
{{reflist}}

== External links ==
* {{Official website|http://ctb.ru/en/films/war/}}
*{{IMDb title|0309047|War}}

{{Aleksei Balabanov}}
{{Chechen wars}}

[[Category:2002 films]]
[[Category:Russian action war films]]
[[Category:Russian action drama films]]
[[Category:Russian war drama films]]
[[Category:Russian-language action drama films]]
[[Category:Russian-language war drama films]]
[[Category:Chechen wars films]]
[[Category:2000s Russian films]]
[[Category:2000s Russian-language films]]
[[Category:Chechen-language films]]
[[Category:Films about terrorism in Europe]]
[[Category:2000s action war films]]
[[Category:Films about war correspondents]]
[[Category:Films directed by Aleksei Balabanov]]
[[Category:Films set in Moscow]]
[[Category:Films set in Saint Petersburg]]
[[Category:Films set in Siberia]]
[[Category:Films set in 2001]]
[[Category:Films shot in Moscow]]
[[Category:Films shot in the North Caucasus]]
[[Category:Films shot in Saint Petersburg]]
[[Category:Films shot in Siberia]]
[[Category:Military of Russia in films]]
[[Category:Prisoner of war films]]

Ivan's Childhood

2025-06-17T13:38:16Z

80.95.45.52: /* External links */

{{short description|1962 film by Andrei Tarkovsky}}
{{Use dmy dates|date=February 2016}}
{{Infobox film
| name = Ivan's Childhood Иваново детство
| image = 1962_ivanovo_detstvo.jpg
| caption = Theatrical release poster
| director = [[Andrei Tarkovsky]]
| screenplay = {{Plainlist|
* [[Vladimir Bogomolov (writer)|Vladimir Bogomolov]]
* [[Andrei Konchalovsky]]
* Mikhail Papava
* Andrei Tarkovsky (uncredited) 
}}
| based_on = {{based on|''[[Ivan (short story)|Ivan]]''|[[Vladimir Bogomolov (writer)|Vladimir Bogomolov]]}}
| starring = {{Plainlist|
*[[Nikolai Burlyayev]]
*[[Valentin Zubkov]]
*[[Evgeny Zharikov]]
* Stepan Krylov
* [[Nikolai Grinko]]
}}
| music = [[Vyacheslav Ovchinnikov]]
| cinematography = [[Vadim Yusov]]
| editing = Lyudmila Feiginova
| studio = [[Mosfilm]]
| released = {{film date|1962|4|6|df=yes}}
| runtime = 94 minutes<ref>{{Cite web |date=29 November 1963 |title=''IVAN'S CHILDHOOD'' (A) |url=http://www.bbfc.co.uk/releases/ivans-childhood-1970-0 |archive-url=https://web.archive.org/web/20160302195627/http://www.bbfc.co.uk/releases/ivans-childhood-1970-0 |url-status=dead |archive-date=2 March 2016 |access-date=19 February 2016 |website=[[British Board of Film Classification]]}}</ref>
| country = Soviet Union
| language = Russian
}}
'''''Ivan's Childhood''''' ({{langx|ru|Ива́ново де́тство|''Ivanovo detstvo''}}), sometimes released as '''''My Name Is Ivan''''' in the US, is a 1962 [[Soviet Union|Soviet]] [[War film|war]] [[Drama (film and television)|drama film]] directed by [[Andrei Tarkovsky]]. Co-written by Mikhail Papava, [[Andrei Konchalovsky]] and an uncredited Tarkovsky, it is based on [[Vladimir Bogomolov (writer)|Vladimir Bogomolov]]'s 1957 [[short story]] "Ivan".<ref>{{cite book|title=Historical Dictionary of Russian and Soviet Cinema|author=Peter Rollberg|publisher=Rowman & Littlefield|year=2009|place=US|isbn=978-0-8108-6072-8|pages=306–307}}</ref><ref>{{Cite web |title=Богомолов Владимир Осипович. Иван |trans-title=Bogomolov Vladímir Osipovich Iván |url=http://www.lib.ru/PROZA/BOGOMOLOW/ivan.txt |website=lib.ru |language=ru}}</ref> The film features child actor [[Nikolai Burlyayev]] along with [[Valentin Zubkov]], [[Evgeny Zharikov]], Stepan Krylov, [[Nikolai Grinko]], and Tarkovsky's then wife [[Irma Raush]].

''Ivan's Childhood'' tells the story of orphaned boy Ivan, whose parents were killed by the invading German forces, and his experiences during [[World War II]]. ''Ivan's Childhood'' was one of several Soviet films of its period, such as ''[[The Cranes Are Flying]]'' and ''[[Ballad of a Soldier]]'', that looked at the human cost of war and did not glorify the war experience as did films produced before the [[Khrushchev Thaw]].<ref name="auto">{{Cite AV media |title="Life as a Dream" |type=DVD |publisher=[[The Criterion Collection]] |year=2007 |people=Vida T. Johnson}}</ref> In a 1962 interview, Tarkovsky stated that in making the film he wanted to "convey all [his] hatred of war", and that he chose childhood "because it is what contrasts most with war."<ref>{{Cite book |last=[[John Gianvito]] |title=Andrei Tarkovsky |work=Interviews | series =[[Conversations with Filmmakers Series]] |publisher=University Press of Mississippi |year=2006 |isbn=1-57806-220-9 |page=3}}</ref>

''Ivan's Childhood'' was Tarkovsky's first feature film. It won him critical acclaim and made him internationally known. It won the [[Golden Lion]] at the [[Venice Film Festival]] and the Golden Gate Award at the [[San Francisco International Film Festival]], both in 1962. The film was also selected as the Soviet entry for the [[Academy Award for Best Foreign Language Film|Best Foreign Language Film]] at the [[36th Academy Awards]], but was not accepted as a nominee.<ref>Margaret Herrick Library, Academy of Motion Picture Arts and Sciences</ref> Famous filmmakers such as [[Ingmar Bergman]], [[Sergei Parajanov]] and [[Krzysztof Kieślowski]] praised the film and cited it as an influence on their work.<ref>{{Cite web |last1=Daly |first1=Fergus |last2=Waugh |first2=Katherine |title=Ivan's Childhood |date=12 June 2015 |url=http://sensesofcinema.com/2001/cteq/ivans_childhood/ |access-date=24 May 2018 |publisher=Senses of Cinema}}</ref>

==Plot==
After a brief [[dream sequence]], Ivan Bondarev, a 12-year-old Russian boy, wakes up and crosses a war-torn landscape to a swamp, then swims across a river. On the other side, he is seized by Russian soldiers and brought to the young Lieutenant Galtsev, who interrogates him. The boy insists that he call "Number 51 at Headquarters" and report his presence. Galtsev is reluctant, but when he eventually makes the call, he is told by Lieutenant-Colonel Gryaznov to give the boy a pencil and paper to make his report, which will be given the highest priority, and to treat him well. Through a series of dream sequences and conversations between different characters, it is revealed that Ivan's mother and sister (and probably his father, a border guard) have been killed by German soldiers. He got away and joined a group of partisans. When the group was surrounded, they put him on a plane. After the escape, he was sent to a boarding school, but he ran away and joined an army unit under the command of Gryaznov.

Burning for revenge, Ivan insists on fighting on the front line. Taking advantage of his small size, he is successful on reconnaissance missions. Gryaznov and the other soldiers grow fond of him and want to send him to a military school. They give up their idea when Ivan tries to run away and rejoin the partisans. He is determined to avenge the death of his family and others, such as those killed at the [[Maly Trostenets extermination camp]] (which he mentions that he has seen).

Finally, Kholin and Galtsev ferry Ivan across the river late at night. He disappears through the swampy forest. The others return to the other bank after cutting down the bodies of two Soviet scouts hanged by the Germans.

The final scenes then switch to [[Berlin]] under Soviet occupation after the fall of the Third Reich. Captain Kholin has been killed in action. Galtsev finds a document showing that Ivan was caught and hanged by the Germans. As Galtsev enters the [[execution room]], a final flashback of Ivan's childhood shows the young boy running across a beach after a little girl in happier times. The final image is of a dead tree on the beach.

==Cast==
*[[Nikolai Burlyayev]] as Ivan Bondarev
*[[Valentin Zubkov]] as Capt. Kholin
*[[Evgeny Zharikov]] as Lt. Galtsev
*Stepan Krylov as Cpl. Katasonov
*[[Valentina Malyavina]] as Masha
*[[Nikolai Grinko]] as Lt. Col. Gryaznov
*[[Dmitri Milyutenko]] as Old Man
*[[Irma Raush]] as Ivan's mother
*[[Andrei Konchalovsky]] as Soldier
==Production==
''Ivan's Childhood'' was Tarkovsky's first feature film, shot two years after his diploma film ''[[The Steamroller and the Violin]]''. The film is based on the 1957 short story "Ivan" ({{langx|ru|Иван}}) by [[Vladimir Bogomolov (writer)|Vladimir Bogomolov]], which was translated into more than twenty languages. It drew the attention of the screenwriter Mikhail Papava, who changed the story line and made Ivan more of a hero. Papava called his screenplay ''Second Life'' ({{langx|ru|Вторая жизнь}}, {{lang|ru-latn|Vtoraya zhizn}}). In this screenplay Ivan is not executed, but sent to the [[Majdanek]] concentration camp, from where he is freed by the advancing Soviet army. The final scene of this screenplay shows Ivan meeting one of the officers of the army unit in a train compartment. Bogomolov, unsatisfied with this ending, intervened and the screenplay was changed to reflect the source material.

[[Mosfilm]] gave the screenplay to the young film director [[Eduard Abalov]]. Shooting was aborted and the film project was terminated in December 1960, since the first version of the film drew heavy criticism from the arts council, and the quality was deemed unsatisfactory and unusable. In June 1961 the film project was given to Tarkovsky, who had applied for it after being told about ''Ivan's Childhood'' by cinematographer [[Vadim Yusov]].<ref name=auto/> Work on the film resumed in the same month. The film was shot for the most part near [[Kaniv|Kanev]] at the [[Dnieper River]].

Tarkovsky continued his collaboration with cinematographer [[Vadim Yusov]], who was the cameraman in Tarkovsky's diploma film ''The Steamroller and the Violin''. Nikolai Burlyayev had played a role in [[Andrei Konchalovsky]]'s student film ''The Boy and the Pigeon''. Konchalovsky was a friend and fellow student of Tarkovsky at the [[All-Union State Institute of Cinematography|State Institute of Cinematography]] (VGIK), and thus Burlyayev was also cast for the role of Ivan. He had to pass several screen tests, but according to Burlyayev it is unclear whether anyone else auditioned for the role.<ref>{{Cite AV media |title="Nikolai Burlyayev Interview" |type=DVD |publisher=[[The Criterion Collection]] |year=2007 |people=Nikolai Burlyayev}}</ref> Burlyayev would later play Boriska in Tarkovsky's second feature, ''[[Andrei Rublev (film)|Andrei Rublev]]''.

===Style===
Nature takes up an important role in ''Ivan's Childhood''. Before the film’s release, the Stalinist viewpoint on war cinema in the 1930s and 40s was that of instrumentalizing nature as a means to serve human agency in context of violence. ''Ivan's Childhood'' is produced during the stagnating period of Khrushchev thaw, and as a result instead is considered pioneer in its use of extensive and predominant representation of nature. In the film, nature is omnipresent and is captured both in Ivan’s dreams and in scenes of violence, it’s portrayed as an active witness of human violence, but also as a rebellious force itself entangled in battle, namely as a victim of war. Furthermore, Tarkovsky’s framing of nature in tracking shots was also intended as visual poetry adding a layer of artistic elegance to the film. The way in which he balances poetic representations of nature and violent narratives of war unveils his pursuit of an aesthetic representation of war,<ref> Tarkovsky was interested in filming to render an “aesthetic intensity of fleeing which would transform the idea of the story into a truth endorsed by life." Tarkovsky, Andrei. "Sculpting in Time: The Great Russian Filmmaker Discusses His Art." University of Texas Press, 1989. </ref><ref>Tarkovsky, Andrei. "Interviews." University Press of Mississippi, 2006.</ref> and thus also exhibiting his distinguishing cinematographic signature.

==Reception==
[[Image:Ivanovo-detstvo-2.jpg|thumb|Ivan in a destroyed village. Broken timber beams look like they are cutting into the picture and toward the main character.]]
===Box office===
''Ivan's Childhood'' was one of Tarkovsky's most commercially successful films, selling 16.7 million tickets in the Soviet Union.<ref>{{Cite book |last1=Segida |first1=Miroslava |title=Domashniaia sinemateka: Otechestvennoe kino 1918-1996 |last2=Zemlianukhin |first2=Sergei |publisher=Dubl-D |year=1996 |language=ru}}</ref> Tarkovsky himself was displeased with some aspects of the film; in his book ''Sculpting in Time'', he writes at length about subtle changes to certain scenes that he regrets not implementing.<ref>{{Cite book |last=Tarkovsky |first=Andrey |title=Sculpting in time: reflections on the cinema |publisher=University of Texas Press |url=https://archive.org/details/Andrei_Tarkovsky_Sculpting_In_Time/page/n28/mode/1up|year=1989 |location=Austin, Texas |pages=26–35 |language=English}}</ref>
===Critical response===
The film received international acclaim on its release. ''Ivan's Childhood'' has an approval rating of 100% on [[review aggregator]] website [[Rotten Tomatoes]], based on 25 reviews, and an average rating of 8.9/10.The website's critical consensus states, "Ostensibly an atypical Tarkovsky work (less than 100 minutes!), ''Ivan's Childhood'' carries the poetry and passion that would characterize the director from here on".<ref>{{Cite web |title=Ivan's Childhood (1963) |website=[[Rotten Tomatoes]] |url=https://www.rottentomatoes.com/m/ivans_childhood}}</ref>
It attracted the attention of many [[intellectuals]], including [[Ingmar Bergman]] who said, "My discovery of Tarkovsky's first film was like a miracle. Suddenly, I found myself standing at the door of a room the keys of which had, until then, never been given to me. It was a room I had always wanted to enter and where he was moving freely and fully at ease."<ref>{{Cite web |title=Ingmar Bergman - On Tarkovsky |url=http://www.nostalghia.com/TheTopics/IB_On_AT.html |access-date=24 May 2018 |publisher=nostalghia.com}}</ref>

[[Jean-Paul Sartre]] wrote an article on the film, defending it against a highly critical article in the Italian newspaper ''[[L'Unità]]'' written by [[Alberto Moravia]] and saying that it was one of the most beautiful films he had ever seen.<ref>{{Cite web |last=Sartre |first=Jean-Paul |title=Discussion on the criticism of Ivan's Childhood |url=https://www.ucalgary.ca/~tstronds/nostalghia.com/TheTopics/Sartre.html |archive-url=https://web.archive.org/web/20090919024923/http://people.ucalgary.ca/~tstronds/nostalghia.com/TheTopics/Sartre.html |archive-date=19 September 2009 |access-date=13 December 2007 |publisher=www.nostalghia.com}}</ref> In a later interview, Tarkovsky (who did not consider the film to be among his best work) admitted to agreeing with Moravia's criticisms at the time, finding Sartre's defense "too philosophical and speculative".<ref>{{Cite AV media |title=Un poeta nel Cinema: Andreij Tarkovskij |date=1984 |type=Documentary |trans-title=Andrei Tarkovsky: A Poet in the Cinema |people=Donatella Baglivo}}</ref> Filmmakers [[Sergei Parajanov]] and [[Krzysztof Kieślowski]] praised the film and cited it as an influence on their work.

===Awards and nominations===
''Ivan's Childhood'' received numerous awards,
including the [[Golden Lion]] at the [[Venice Film Festival]] and the Golden Gate Award at the [[San Francisco International Film Festival]] in 1962. The film was also selected as the Soviet entry for the [[Academy Award for Best Foreign Language Film|Best Foreign Language Film]] at the [[36th Academy Awards]], but was not accepted as a nominee.

==Film restoration==
In 2016 the film was digitally restored. The newest version was highly praised by ''[[The Independent]]'' who called it "The most lyrical war movie ever made pristinely restored".<ref>{{Cite news |last=Macnab |first=Geoffrey |date=18 May 2016 |title=Ivan's Childhood, film review: 'The most lyrical war movie ever made pristinely restored' |work=[[The Independent]] |url=https://www.independent.co.uk/arts-entertainment/films/reviews/ivan-s-childhood-film-review-the-most-lyrical-war-movie-ever-made-pristinely-restored-a7035581.html |access-date=24 May 2018}}</ref>

==See also==
*[[List of submissions to the 36th Academy Awards for Best Foreign Language Film]]
*[[List of Soviet submissions for the Academy Award for Best Foreign Language Film]]

==References==
{{Reflist}}

==External links==
*[https://www.youtube.com/watch?v=aRkPoF7iVGc ''Ivan's Childhood''] (Full length film in Russian, with English subtitles) on [https://www.youtube.com/channel/UCEK3tT7DcfWGWJpNEDBdWog MosFilm Youtube channel]
*{{IMDb title|0056111|Ivan's Childhood}}
*{{Rotten Tomatoes|my_name_is_ivan|My Name Is Ivan}}
*The short story [http://www.lib.ru/PROZA/BOGOMOLOW/ivan.txt ''Ivan''] by Vladimir Bogomolov {{in lang|ru}}
*[https://www.criterion.com/current/posts/589-ivan-s-childhood-dream-come-true ''Ivan's Childhood: Dream Come True''] an essay by [[Dina Iordanova]] at the [[Criterion Collection]]
*[https://tv.cuny.edu/show/cinemathencinemanow/PR2010207 ''Cinema Then, Cinema Now: Ivan's Childhood''] a 1986 discussion of the film hosted by [[Jerry Carlson]] of [[CUNY TV]]

{{Andrei Tarkovsky}}
{{Golden Lion}}
{{Soviet submission for Academy Awards}}

{{Authority control}}

{{DEFAULTSORT:Ivan's Childhood}}
[[Category:1962 films]]
[[Category:1962 war films]]
[[Category:1960s Soviet films]]
[[Category:1960s Russian-language films]]
[[Category:1960s war drama films]]
[[Category:Soviet black-and-white films]]
[[Category:Soviet war drama films]]
[[Category:Russian war drama films]]
[[Category:Eastern Front of World War II films]]
[[Category:Films about child soldiers]]
[[Category:Films about orphans]]
[[Category:Films based on short fiction]]
[[Category:Films set in the 1940s]]
[[Category:Films shot in Moscow Oblast]]
[[Category:Films shot in Ukraine]]
[[Category:Films directed by Andrei Tarkovsky]]
[[Category:Golden Lion winners]]
[[Category:Mosfilm films]]
[[Category:1962 directorial debut films]]
[[Category:1962 drama films]]
[[Category:Russian black-and-white films]]
[[Category:Russian World War II films]]
[[Category:Soviet World War II films]]
[[Category:Films set in Berlin]]
[[Category:Films set in the Soviet Union]]
[[Category:Films about Nazi Germany]]
[[Category:Films about the Soviet Union in the Stalin era]]
[[Category:Films scored by Vyacheslav Ovchinnikov]]
[[Category:Russian coming-of-age drama films]]
[[Category:Russian-language war drama films]]

The Dawns Here Are Quiet (1972 film)

2025-06-17T13:19:02Z

80.95.45.52: /* External links */

{{hatnote|For the 2015 remake, see [[The Dawns Here Are Quiet (2015 film)]]

}}

{{infobox film
| name = The Dawns Here Are Quiet (А зори здесь тихие)
| image = A zori zdes tikhie poster.jpg
| caption =
| director = [[Stanislav Rostotsky]]
| writer = [[Stanislav Rostotsky]], [[Boris Vasilyev (writer)|Boris Vasilyev]]
| producer =
| starring = [[Andrey Leonidovich Martynov|Andrey Martynov]] [[Yelena Drapeko]] [[Yekaterina Markova]] [[Olga Ostroumova]] [[Irina Shevchuk]] [[Irina Dolganova]] [[Lyudmila Zaytseva]]
| music =
| studio = [[Gorky Film Studio]]
| distributor =
| released = {{film date|1972}}
| runtime = 188 minutes
| country = Soviet Union
| language = Russian
}}

'''''The Dawns Here Are Quiet''''' ({{langx|ru|А зори здесь тихие|A zori zdes tikhie}}) is a 1972 Soviet [[war film|war drama]] directed by [[Stanislav Rostotsky]] based on [[Boris Vasilyev (writer)|Boris Vasilyev]]'s novel of the same name. The film deals with antiwar themes and focuses on a garrison of [[Soviet women in World War II|Russian female soldiers]] in World War II. It was nominated for an [[Academy Awards|Oscar]] in the [[Academy Award for Best Foreign Language Film|Best Foreign Language Film]] category. The film is set in [[Karelo-Finnish Soviet Socialist Republic|Karelia]] (near Finland) and was filmed near [[Ruskeala]].

==Plot==
The film opens in color, with a girl taking off her motorcycle helmet—she is camping with her friends. It then shifts to summer 1942, in the same area, in the midst of World War II some ways behind the Soviet frontlines on the [[Eastern Front (World War II)|Eastern Front]].

Having asked for soldiers who don't drink alcohol and fraternize with women, Company Sergeant Major Vaskov is unexpectedly assigned a group of young female anti-aircraft gunners in a railway station far from the front line. Vaskov is not used to commanding women and clashes with them over daily issues. During an air raid, one of the girls, [[junior sergeant]] Rita Osyanina, shoots down an enemy aircraft and is decorated for her deeds. Dialogue and flashbacks in color begin to reveal the backstories of the women. It is also shown that Rita regularly sneaks food back to her mother and baby, who are not far from the front.

One day, Rita, having secretly carried rations to her family during the night, comes across two German paratroopers on her way back to the garrison. Vaskov chooses five volunteers: Rita, Zhenya, Lisa, Galya and Sonia, to embark with him on a mission to eliminate them. They decide to cross the marshland to intercept the Germans but the going is slow and treacherous, causing Galya to lose a boot. When they finally reach the location that Vaskov knows that the German paratroopers will have to pass, they lie in wait—only to find that there are sixteen German paratroopers instead of two. His soldiers come up with the idea to bluff the paratroopers into thinking that there are a lot of civilians in their path, by cutting down trees and lighting fires, which will cause the Germans to change direction. Though the plan almost fails, Zhenya's last-minute audacity in jumping into the river convinces the paratroopers to take a detour through the forest. Vaskov sends Lisa back to base for reinforcements.

The group left in the forest prepare to reroute to avoid direct contact with the German troops. Backs against the wall, they engage in [[guerrilla warfare]] with the Germans. Sonia is killed by a knife and Galya is shot and dies immediately from her wounds. Vaskov, to create a diversion, leads the Germans away from the remaining two soldiers, firing at them with his [[Nagant M1895|Nagant revolver]] as they chase him through the forest. Vaskov is shot in the arm but manages to escape from the Germans—realizing that the reinforcements have not come, he hallucinates about Lisa, who tells him that she failed because she went too fast, drowning in the wet marshland.

He miraculously comes across Rita and Zhenya but after a tearful reunion realizes that they have disobeyed his orders to retreat. He searches in his bag for a grenade to mount a suicide attack with but finds that the girls have taken the detonator out. Although he threatens to court martial them for continuing to disobey orders, they refuse to leave and instead prepare to ambush the Germans. During a prolonged engagement, Rita is injured by shrapnel from a grenade and tells Zhenya to leave her. Realizing that they are cornered, Zhenya disobeys Vaskov's orders to cover them and instead taunts and lures the Germans away through the forest, as Vaskov did earlier and is killed. Vaskov stays with Rita against her wishes to treat her wounds and promises to take her back to base. She asks him to take care of her son in the neighboring village. After kissing her at her request, he leaves to find a way out, giving her the revolver but soon comes back to find that Rita has shot herself.

The desperate Vaskov, armed only with a knife, one shot in his revolver and a grenade without a fuze, returns to the cabin where the Germans are resting from their wounds. By stabbing a soldier, shooting another and bluffing with the grenade, he captures a submachine gun and forces the remaining Germans to drop their weapons. Vaskov threatens to kill them (''Five girls... five young girls were here, only five, and you did not pass! You'll croak here, everyone will croak!.. I'll kill each of you with my own hands... with my own hands! And let them judge me...''), but a Soviet radio communique calms him, and he eventually takes the three remaining Germans as prisoners back to Soviet lines. The rest of the women of the regiment, who have come to rescue the group, find Vaskov before he passes out from exhaustion.

Thirty years after the war ends, Vaskov visits the area of the battle again with an officer, implied to be Rita's son. The girl from the beginning arrives with a bouquet of flowers from her boyfriend, only to see that they are at a memorial for the five female soldiers that died there. She leaves the flowers at the memorial and the three of them pay their respects.

==Cast==
* [[Andrey Leonidovich Martynov|Andrey Martynov]] as Senior Sergeant Vaskov
* [[Yelena Drapeko]] as Lisa Britschkina
* [[Yekaterina Markova]] as Galya Chetvertak (as Ye. Markova)
* [[Olga Ostroumova]] as Zhenya Komelkova
* [[Irina Shevchuk]] as Rita Osyanina
* [[Irina Dolganova]] as Sonia Gurvich (as I. Dolganova)
* [[Lyudmila Zaytseva]] as Sergeant Kiryanova
* [[Alla Meshcheryakova]] as Maria Nikiforovna
* [[Igor Kostolevsky]] as Misha

==Production==
Director Stanislav Rostotskiy promised himself to make a movie about women in the war after a tank ran over him on the battlefield, and an unknown soldier and a nurse Anna Chugunova saved his life.<ref name="Karel15">[http://www.gov.karelia.ru/gov/Different/Culture/telenedela.html «Станислав Ростоцкий: Меня вытащила из боя женщина» Теленеделя, 19 мая 2001 г.] In Russian</ref><ref name=pravo>[https://pravoslavie.ru/112757.html А МОЛИТВЫ ЗДЕСЬ ТИХИЕ Чего мы не замечали в легендарном фильме Станислава Ростоцкого] In Russian</ref> The novel ...''And The Dawns Here Are Quiet'' by [[Boris Vasiliev]], published in 1969 in the magazine ''[[Yunost]]'', caused a great resonance among readers, becoming one of the most popular books about the [[Great Patriotic War]]. In 1971, the story was staged at Moscow's [[Taganka Theater]].

Only [[Olga Ostroumova]] was quite famous, starring in the film ''[[We'll Live Till Monday]]''. For the rest of the actors, the movie became a real debut on the big screen. According to the actors, "such roles fall out once in a lifetime." 26-year-old Andrey Martynov convincingly played the role of foreman Fedot Vaskov (who, according to the text of the book, was 32 years old) and looked much more mature on the screen than his age.<ref name="Nashf1">[http://www.nashfilm.ru/sovietkino/7.html «А зори здесь тихие — фильм с болью в сердце» Алина Бабаева] (in Russian)</ref><ref name=pravo/>

==Filming==
[[File:Пряжинский р-н, Крошнозерский родник, вид 3.jpg|thumb|240px|[[Pryazhinsky District]], [[Karelia]], [[Russia]].]]
Filming began in May 1971 in Karelia and went on daily, from dawn to dusk, without interruption. Filming often took place in harsh conditions - in cold weather, in a real swamp, in deep forests. For Rostotsky, the location of the shooting was of a fundamental nature. The Karelian Isthmus is pitted with craters and showered with fragments of guns of all calibers and ranges, and decades later the war still echoed in these places. [[Elena Drapeko]] recalled: "When we played 'war' in my childhood, we played with what was left of it. Some of the finds exploded, and many children from my generation died like that. The war did not go anywhere from here, the whole earth was soaked in iron and blood." She added: "For everyone who shot this film, it was their personal memory. After all, everyone, the director, the cameraman, the artist, even the make–up artist - they were all participants in the Great Patriotic War."<ref name=pravo/>

The actors carried bricks in their backpacks so that they would not play fatigue, but actually experience it. Rostotskiy, being disabled on a prosthesis, climbed over rocks, made his way through thickets and sat in a swamp just like the others. Olga Ostroumova recalled how the director often told them: "Don't be sad, guys, we weren't sad in the war, we were young, we fell in love, we wanted to live, we laughed." And we understood him perfectly."<ref name=pravo/>

Rostotskiy persuaded the actresses to strip naked for the bathhouse scene. In Soviet cinema of that period, such explicit filming of a naked female body was very rarely allowed, but the director of the picture pursued certain artistic goals. He explained the essence of the scene to the actresses (who had to be persuaded to undress in front of the camera) this way: "Girls, I need to show where the bullets are gonna go. Not into men's bodies, but into women's bodies that are supposed to give birth."<ref name="zhizn1">[http://www.zhizn.ru/article/culture/6185/ ''Елена Яровикова, Ксения Князева''. «А зори здесь тихие…»: 35 лет спустя] // «Zhizhn'». — 2007. — March 27. In Russian</ref> He promised that only he and a cameraman would stay in the bathhouse to shoot from a barrel from one point. However, as soon as the women undressed, the cameraman could not stand it and climbed out of the barrel.<ref>{{cite web |title=А зори здесь тихие. О фильме |work=www.spletnik.ru |url=https://www.spletnik.ru/blogs/govoryat_chto/169020_a-zori-zdes-tikhie-o-filme |access-date=5 August 2022}}</ref>

The tourist's song was performed by [[Vladimir Ivashov]].

==Awards==
* The film was nominated for an [[Academy Award for Best Foreign Language Film]] in 1972.<ref name="Oscars1973">{{Cite web|url=http://www.oscars.org/oscars/ceremonies/1973 |title=The 45th Academy Awards (1973) Nominees and Winners |accessdate=2011-11-30 |work=oscars.org}}</ref>
* A commemorative prize at the [[Venice Film Festival]] (1972).<ref>[https://ria.ru/20140827/1021511809.html Советские и российские лауреаты Венецианского кинофестиваля] In Russian</ref>
* The best film of 1972 according to the poll of the "[[Soviet Screen]]" magazine.<ref name=rg>[https://rg.ru/2022/11/04/a-zori-zdes-tihie-chemu-nas-uchit-staroe-kino.html "...А зори здесь тихие": Чему нас учит старое кино] In Russian</ref>
* The VI [[All-Union Film Festival]] in [[Alma-Ata]] - The First Prize (1973).
* [[Lenin Komsomol Prize]] (1974).
* [[USSR State Prize]] in (1975).

==Legacy==
The film became a classic of Soviet cinema, one of the most beloved folk films dedicated to the theme of war. The film became [[List of highest-grossing films in the Soviet Union|one of the leaders of the Soviet film distribution]] in 1973 — it was watched by about 66 million people.<ref name=rg/> In 2002, according to survey by Bashkirov and Partners, it was recognized as the most popular movie about the Great Patriotic War.<ref>[http://www.newizv.ru/news/2006-05-05/45860/ «Зори всё ещё тихие»] // ''Novye Izvestiya'' May 5, 2006. In Russian</ref>

In Soviet Russia, the film was among those recommended for viewing as part of the school curriculum. It is included in the educational program of Russian universities specializing in journalism.<ref>[http://window.edu.ru/window_catalog/files/r42131/Tele_radio_program_chapter4.html Программы дисциплин специализаций «Телевидение» и «Радиовещание»] In Russian</ref>

''The Dawns Here Are Quiet'' along with ''How the Steel Was Tempered'' (1973) is one of the most popular Soviet films in the [[People's Republic of China]]. The film was highly appreciated by [[Deng Xiaoping]].

==DVD release==
The 2004 [[Ruscico]] release includes a documentary, "Women's War". Interviewed are actresses [[Irina Shevchuk]], [[Yelena Drapeko]], and [[Yekaterina Markova]].

==Related media==
* The film was [[The Dawns Here Are Quiet (2015 film)|remade in 2015]] by director Renat Davletyarov.
* This film had been remade in Tamil as ''[[Peranmai]]'', starring [[Jayam Ravi]].<ref>{{cite web | url=http://www.vikatan.com/timepassvikatan/2015-nov-28/cinema/112858.art | title=சுட்ட படம் | work=[[Ananda Vikatan]] | date=23 November 2015 | accessdate=19 September 2016 | language=Tamil | trans-title=Stolen film}}</ref>
* The book was filmed the Chinese TV series in 2005 directed by [[Mao Weining]].

==See also==
* [[List of submissions to the 45th Academy Awards for Best Foreign Language Film]]
* [[List of Soviet submissions for the Academy Award for Best Foreign Language Film]]

==References==
{{reflist}}

==External links==
*{{IMDb title|id=0068161|title=The Dawns Here Are Quiet}}
* [https://www.youtube.com/watch?v=dfftHKf164E '''''The Dawns Here Are Quiet''''' — part 1] on [[YouTube]]
* [https://www.youtube.com/watch?v=-5mf6tTBNq8 '''''The Dawns Here Are Quiet''''' — part 2] on [[YouTube]]
{{Stanislav Rostotsky}}
{{Soviet submission for Academy Awards}}

{{DEFAULTSORT:Dawns Here Are Quiet, The}}
[[Category:1972 films]]
[[Category:1970s war drama films]]
[[Category:Soviet historical drama films]]
[[Category:Soviet war drama films]]
[[Category:Russian war drama films]]
[[Category:Eastern Front of World War II films]]
[[Category:Films based on Russian novels]]
[[Category:Films based on works by Boris Vasilyev]]
[[Category:Films set in Russia]]
[[Category:Films shot in Russia]]
[[Category:Gorky Film Studio films]]
[[Category:Films directed by Stanislav Rostotsky]]
[[Category:1972 drama films]]
[[Category:Films partially in color]]
[[Category:Russian World War II films]]
[[Category:Soviet World War II films]]
[[Category:World War II films based on actual events]]
[[Category:1970s Soviet films]]
[[Category:1970s Russian-language films]]
[[Category:Soviet epic films]]
[[Category:Russian-language historical drama films]]
[[Category:Russian-language war drama films]]

The Cuckoo (film)

2025-06-17T13:15:11Z

80.95.45.52: /* External links */

{{Infobox film
| name = The Cuckoo
| image = Cuckoo ver2.jpg
| caption = Film poster
| director = [[Aleksandr Rogozhkin]]
| producer = Sergei Selianov
| writer = Aleksandr Rogozhkin
| narrator =
| starring = [[Anni-Kristiina Juuso]] [[Ville Haapasalo]] [[Viktor Bychkov (actor)|Viktor Bychkov]]
| music = Dmitry Pavlov
| cinematography = Andrey Zhegalov
| editing =
| distributor = STV ({{langx|ru|СТВ}})
| released = {{Film date|df=y|2002|06|26|[[Moscow International Film Festival]]}}
| runtime = 105 minutes
| country = Russia
| language = [[Finnish language|Finnish]] [[Russian language|Russian]] [[Sami languages|Saami]]
| budget =
| gross =
}}

'''''The Cuckoo''''' ({{langx|ru|Кукушка}}, [[Transliteration|translit.]] Kukushka) is a 2002 Russian war [[drama]] film directed by [[Aleksandr Rogozhkin]].<ref>{{citation|url=https://www.themoscowtimes.com/2021/10/25/film-director-alexander-rogozhkin-dies-at-age-72-a75398 |title=Film Director Alexander Rogozhkin Dies at Age 72 |publisher=The Moscow Times |date=25 October 2021 |access-date=17 March 2024}}</ref> It takes place during [[World War II]], and the action is seen from the opposing perspectives of a [[USSR|Soviet]] soldier and a [[Finland|Finnish]] soldier stranded together at a [[Sami people|Sami]] woman's farmhouse.<ref>{{cite news |url=https://www.nytimes.com/2003/07/11/movies/film-in-review-the-cuckoo.html |newspaper=[[The New York Times]] |accessdate=1 January 2022 |title=Film in Review; ''The Cuckoo'' |date =11 July 2003 |first=Dave |last=Kehr}}</ref> It received generally positive reviews from critics.<ref>{{citation|url=https://ew.com/article/2003/07/10/cuckoo-2/ |title=The Cuckoo |publisher=Entertainment Weekly |date=10 July 2003 |access-date=17 March 2024}}</ref>

In 2004, film was awarded the [[State Prize of the Russian Federation]].<ref>{{Cite web |url=http://graph.document.kremlin.ru/page.aspx?789027 |title=Указ президента Российской Федерации от 12 июня 2004 года № 766 «О присуждении Государственных премий Российской Федерации в области литературы и искусства 2003 года»|trans-title=Decree of the President of the Russian Federation of June 12, 2004 No. 766 "On the awarding of State Prizes of the Russian Federation in the field of literature and art in 2003"|accessdate=2013-07-29 |archiveurl=https://web.archive.org/web/20140425003542/http://graph.document.kremlin.ru/page.aspx?789027 |archivedate=2014-04-25 }}</ref>

==Plot==
In September 1944, in the final moments of the [[Continuation War]] against the [[Soviet Union]], Veikko (Ville Haapasalo), a Finnish soldier, is turned in by his German compatriots for being in their eyes a would-be [[deserter]]. As punishment, the young man is placed in shackles, chained to a rock outcrop in a remote [[Lapland (Finland)|Lapland]] forest, and left with nothing but a few supplies and a rifle and ammunition – effectively forced to be a [[forlorn hope]] ''kukushka'' ([[cuckoo sniper]]). To ensure his willingness to fight, they dress him in the uniform of the German [[Waffen-SS]], as Soviet soldiers feel little mercy towards SS men. Days pass, and after several failed attempts, Veikko succeeds in freeing himself; and he heads for safety, shackles still attached.

Meanwhile, Ivan (Viktor Bychkov), a captain in the [[Red Army]] accused of anti-Soviet correspondence, is arrested by the [[NKVD]] secret police. En route to his court martial, Soviet planes accidentally bomb the vehicle carrying the disgraced captain, killing the driver and Ivan's guard. Veikko, at this stage still chained to the rock, witnesses the bombing through his rifle scope.

Not far away is the farm of Anni ([[Anni-Kristiina Juuso]]), a [[Sámi people|Sámi]] reindeer farmer whose husband was taken away together with their whole reindeer herd by Germans four years earlier, never to return. Hungry and alone, the young and resourceful widow locates the bodies of Ivan and his captors while foraging for food. As she begins to bury the dead, Anni discovers that Ivan is still alive, but seriously hurt. She carries him to her wooden hut and nurses him back to health. Meanwhile, Veikko, in search of tools to remove his shackles, stumbles upon Anni's farm.

None of the three characters speaks either of the others' languages. Comic and sometimes tragic misunderstandings soon arise, resulting in passionate relationships. Unable to communicate with the others and unaware that the war between the USSR and Finland is over, Ivan is convinced that Veikko is a German soldier gone astray. To Ivan, the German uniform the Finnish soldier was forced to wear is further proof. Ivan even refuses to tell Veikko his name, answering only "''Poshol ty!''" («Пошёл ты!» "Get lost!") — as a result, the two others think Ivan's name is "Psholty". Veikko is unaware of Ivan's hatred and just wants to cut off his shackles, return home and put the war behind him, but opts to stay on Anni's farm to avoid falling into enemy hands. The earthy and sensuous Anni, who has not been with a man in four years, could not be more delighted with her good fortune, disregarding the language barrier between them.

For Anni, Veikko and Ivan are not enemies, but just men. Uncommon and touching bonds develop, as the three unlikely souls begin a domestic routine of hunting and gathering in preparation for the long Lapp winter. The two men do what they can to contribute to Anni's well-being. Veikko builds a sauna and Ivan picks mushrooms. Veikko, Ivan, and Anni communicate only with gestures. Starved for love and physical touch, Anni seduces young, strapping Veikko, much to the chagrin of jealous, middle-aged Ivan.

Not long afterwards a Soviet biplane crashes in the forest near Anni's hut, spilling leaflets announcing [[Moscow Armistice|an armistice between Finland and the USSR]]. Veikko thinks he can finally return home safely; but Ivan, who does not understand Finnish, manages to find a pistol in the wreckage; and still convinced that Veikko is an enemy, shoots him when Veikko tries to take the gun. When Ivan reads the last line of the leaflet the plane was dropping (written in Russian and instructing Soviet soldiers to allow the Finns to return home unharmed), he realizes that the war is over. Ivan is torn with remorse; and, stumbling, carries Veikko back to the farm.

The nurturing Anni brings Veikko back from the brink of death through a series of ancient Sami magic rituals. With Veikko bedridden, Anni's needs for companionship and sexual longing draw Ivan into her bed. Gradually, Ivan and Veikko, no longer separated by ethnic hate or by rivalry for the affections of Anni, become friends. As winter arrives and the two men head back to their respective homes in opposite directions, Anni is left behind with memories, and much more, of her two men. In the final scene, she narrates the story to her children, whom she has named after their [[Superfecundation|fathers]]: Veikko and Psholty.

==Cast==
* [[Anni-Kristiina Juuso]] — Anni, Sami woman
* [[Ville Haapasalo]] — Veikko, Finnish sniper
* [[Viktor Bychkov (actor)|Viktor Bychkov]] — Captain Ivan Kartuzov ("Psholty")

==Crew==
* Director: [[Aleksandr Rogozhkin|Aleksander V. Rogozhkin]]
* Screenplay: [[Aleksandr Rogozhkin|Aleksander V. Rogozhkin]]
* Director of Photography: Andrey Zhegalov ({{langx|ru|Андрей Жегалов)}}
* Film Art: Vladimir I. Svetozarov ({{langx|ru|Светозаров, Владимир Иосифович)}}
* Composer: Dmitriy Pavlov ({{langx|ru|Павлов, Дмитрий)}}

==Reception==
===Critical response===
Based on 63 reviews collected by [[Rotten Tomatoes]], ''The Cuckoo'' has an overall approval rating from critics of 87%, with an average score of 7.02/10. The website's critical consensus states, "A sweet and amusing comedy".<ref>{{cite web |url=https://www.rottentomatoes.com/m/the_cuckoo_2003 |title = The Cuckoo - Rotten Tomatoes}}</ref> On [[Metacritic]], the film has a weighted average score of 69 out of 100, based on 27 critics, indicating "generally favorable reviews".<ref>{{cite web |url=https://www.metacritic.com/movie/the-cuckoo |title = The Cuckoo Reviews - Metacritic}}</ref>

===Awards===
* June 2002 - [[24th Moscow International Film Festival]] - presented as a part of the competition program<ref name="Moscow2002">{{cite web |url=http://www.moscowfilmfestival.ru/miff34/eng/archives/?year=2002 |title=24th Moscow International Film Festival (2002) |accessdate=2013-03-30 |work=MIFF |url-status=dead |archiveurl=https://web.archive.org/web/20130328141921/http://moscowfilmfestival.ru/miff34/eng/archives/?year=2002 |archivedate=2013-03-28 }}</ref>
** Prize "Silver Saint George" ({{langx|ru|Серебряный Святой Георгий}}) - Best Director
** Prize "Silver Saint George" - Best Actor - Ville Haapasalo
** Viewers' Choice Prize
** [[International Federation of Film Critics|Prize FIPPRESSI]]
** Russia's Cinema Club Federation Prize
* July 2002 - X Festival of the Festivals in [[Saint Petersburg]] - Grand Prize "Golden Griffin" - best film
* August 2002 - X Film Festival "Window to Europe" in [[Vyborg]] - presented as a part of the competition program
** Grand Prize - best film
** Prize for the best female actor- Anni-Kristiina Juuso
** 1 - 2nd place ( with film "The Star") in the external nomination "Vyborg's Count"
* October 2002 - International film festival "Europa Cinema" in Viareggio, [[Italy]] - presented as a part of the competition program
** Main Prize - best film
** Prize - best director
* December 2002 — 3 awards [[Russian Guild of Film Critics|Golden Aries]] of the National Guild of Film Critics and Film Press:<ref>{{Cite web|url=http://kinopressa.ru/?page_id=574|work=[[Russian Guild of Film Critics]]|title=2002}}</ref>
** best film of the year
** best screenplay
** best female actor
* February 2003 - 4 awards "Golden Eagle":
** best film of the year
** best director
** best screenplay
** best male actor - Viktor Bychkov
* March 2003 - 4 awards [[Nika Award|Nika]]:
** best movie of the year
** best director
** best female actor
** best film artist
* 2003 - International Film Festival in Troy, [[Portugal]]
** Prize for the best film
** Prize for the best female actor
* 2003 — International Film Festival in [[San Francisco]] — Viewers' Choice Prize
* 2003 — XI Russian Film Festival in Onfler, [[France]]
** Grand Prize best film
** Best male actor - Viktor Bychkov
** Prize for the best female actor - Anni-Kristiina Juuso

In June 2004, a Russian Federation National Award in Art and Literature Area was awarded to the crew of the film: to the director and the author of the screenplay, [[Aleksandr Rogozhkin]]; producer Segei Selianov; main cast Anni-Kristiina Juuso, Ville Haapasalo, and Viktor Bychkov; director of photography Andrey Zhegalov; director of the film art Vladimir I. Svetozarov; composer Dmitriy Pavlov; and sound engineers Anatoliy Gudkov and Sergei Sokolov.

==References==
{{reflist}}

==External links==
*[http://www.sonyclassics.com/thecuckoo/ ''The Cuckoo''] at [[Sony Classics]]
*{{IMDb title|id=0308476|title=Kukushka}}
{{Golden Eagle Award for Best Motion Picture}}
{{Nika Award Best Picture}}

{{DEFAULTSORT:Cuckoo, The}}
[[Category:2002 films]]
[[Category:Russian multilingual films]]
[[Category:2000s Finnish-language films]]
[[Category:Sámi-language films]]
[[Category:2000s Russian films]]
[[Category:2000s Russian-language films]]
[[Category:Films set in 1944]]
[[Category:Films set in Finland]]
[[Category:Films shot in Russia]]
[[Category:2000s war drama films]]
[[Category:Anti-war films about World War II]]
[[Category:Films directed by Aleksandr Rogozhkin]]
[[Category:Sun in a Net Awards winners (films)]]
[[Category:Russian war comedy films]]
[[Category:Russian war drama films]]
[[Category:Russian-language war comedy films]]
[[Category:Russian-language war drama films]]
[[Category:Russian World War II films]]
[[Category:2002 multilingual films]]

Bastards (2006 film)

2025-06-17T12:43:43Z

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{{Infobox film
|name = Bastards
|caption = DVD cover
|image = Svolochi.jpg

|writer = Aleksandr Atanesyan (co-writer) [[Vladimir Kunin]]
|starring = [[Andrey Panin]] [[Andrey Krasko]] [[Sergei Rychenkov]]
|narrator =
|director = [[Aleksandr Atanesyan]]
|producer =
|music = Arkady Ukupnik
|cinematography = Dmitry Yashonkov
|editing = [[Tchavdar Georgiev]] William S. Scharf
|distributor =
|released = {{Film date|2006|02|02|df=yes}}
|runtime = 94 minutes
|language = [[Russian language|Russian]], [[German language|German]]
|country = [[Russia]]
|budget = $2.5 million
}}
'''''Bastards''''' ({{langx|ru|Сволочи|Svolochi}}) is a 2006 Russian [[coming of age|coming-of-age]] [[war film]].

== Synopsis ==
In the Soviet Union, 1943, a group of teenage convicts are secretly trained for a guerrilla mission to stop the actions of a German army group called "Edelweiss".<ref>{{Cite web|url=http://erkindik.kz/gornyie-strelki-iz-gorelnika/|title=Горные стрелки из Горельника|author=Алишер Кожанов|date=2015-04-07|publisher=Еженедельная газета «Свобода слова»|accessdate=2016-11-04|archiveurl=https://web.archive.org/web/20161105113120/http://erkindik.kz/gornyie-strelki-iz-gorelnika/|archivedate=2016-11-05|lang=ru}}</ref>

==Plot summary==
The story is set in the Soviet Union during the Second World War in the year 1943. Colonel Vishnevetskiy is released from prison to organize a school of military training for saboteurs. Students,14–15 years old criminals, come from prisons and correction colonies. After harsh training they are sent to destroy a German oil depot deep in the Carpathian mountains.

==Controversy==
The film's release caused massive controversy in Russia, where some deemed it "state-supported anti-Soviet [[propaganda]]".<ref name=oper1>{{cite web|author=Dmitry Puchkov|author-link=Dmitry Puchkov|url=http://oper.ru/news/read.php?t=1051602094| title=About director Menschov at MTV ceremony|publisher=oper.ru|date=20 April 2007|accessdate=2015-04-03|language=Russian}}</ref> The plot for the film, written by Kunin, involved a story of teenagers with a criminal background who were caught by the [[NKVD]] during the [[Great Patriotic war|Great Patriotic War]], then trained as [[Sabotage|saboteurs]] in special schools and thrown into the German countryside to face a certain death.<ref name=oper1/>

After the film was shown in Russia, the [[Federal Security Service]] responded with a press-release, stating that archives of security services of Russia and [[Kazakhstan]] do not have any documents confirming the existence of "kid saboteur schools", and that there are no archive documents about missions to send saboteur groups consisting of teenagers into the adversary's rear. They stated that archive documents evidence the use of kids in saboteur purposes by special services of [[Nazi Germany]].<ref name=fsb1>{{cite web|url=http://www.fsb.ru/fsb/press/message/single.htm!id%3D10341111%40fsbMessage.html|title=In relation to the broadcast of the fiction film 'Svolochi'|publisher=Federal Security Service|date=1 February 2006|accessdate=2015-04-03|language=Russian}}</ref>

While the advertising campaign of the film claimed it was based on real accounts, after the controversy arose both the writer and the director confessed the plot was mere fiction.<ref>{{cite web|author=Alexander Boyko|url=http://www.kp.ru/daily/23652.4/49563/|title='Svolochi' director confessed it is fiction|work=[[Komsomolskaya Pravda]]|date=3 February 2006|accessdate=2015-04-03|language=Russian}}</ref>

While the film won the [[MTV Russia Movie Awards|MTV Movie Awards, Russia]] for 2007, the famous director [[Vladimir Menshov]] refused to hand over the award:

{{cquote|Mr Menshov gasped as he read the contents of the envelope, looked up and said: "I'm not going to hand over an award to a film that discredits my country, let [[Pamela Anderson]] (another of the evening's presenters) do it instead".

He then turned, dropped the envelope and stalked offstage, refusing to comment further. MTV Russia broadcast the ceremony live.<ref>{{cite web|url=http://www.abc.net.au/news/2007-04-22/presenter-refuses-to-reveal-mtv-russia-film-winner/2528888| title= Presenter refuses to reveal MTV Russia film winner|publisher=ABC Online|date= 22 April 2007|accessdate=2015-04-03}}</ref>}}

[[Dmitry Puchkov]] commented on the film making:

{{cquote|The sum of 700,000 USD was immediately released by the state to shoot this ideological carrion. The Minister of Culture Shvydkoy claimed that "the artist has a right to fiction". Certainly, that's excellent. It's only unclear, why on earth the artist has the right to shit on heads of his compatriots for the money of those citizens, that were paid as taxes and spent to shoot the film ''Svolochi''.<ref name=oper1/>
}}

Puchkov also sarcastically commented on the information that Russian school students were obligated to watch this film: "Have our children to know the history of the country? Well, now they know it: if anything happens, they would be caught and sent to face certain death."<ref name=oper1/>

==References==
{{Reflist}}

==External links==
*{{IMDb title|0460012|Bastards}}

{{DEFAULTSORT:Bastards (Film)}}
[[Category:2006 films]]
[[Category:2000s Russian films]]
[[Category:2000s Russian-language films]]
[[Category:Eastern Front of World War II films]]
[[Category:Films about the Soviet Union in the Stalin era]]
[[Category:Films based on Russian novels]]
[[Category:Films directed by Aleksandr Atanesyan]]
[[Category:Films set in 1943]]
[[Category:Russian World War II films]]
[[Category:Russian coming-of-age drama films]]
[[Category:Russian action war films]]
[[Category:Russian action drama films]]
[[Category:Russian war drama films]]
[[Category:Russian-language action drama films]]
[[Category:Russian-language war drama films]]

The Ascent (1977 film)

2025-06-17T12:38:55Z

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{{Short description|1977 film by Larisa Shepitko}}
{{Infobox film
| name = The Ascent
| native_name = {{Infobox name module|ru|Восхождение}}
| image = Ascent poster.jpg
| caption = German poster
| based_on = {{Based on|''Sotnikov''|[[Vasil Bykaŭ]]}}
| director = [[Larisa Shepitko]]
| producer =
| writer = [[Vasil Bykaŭ]] (novel) [[Yuri Klepikov]] Larisa Shepitko
| starring = [[Boris Plotnikov]] [[Vladimir Gostyukhin]] [[Sergei Yakovlev (actor)|Sergei Yakovlev]] [[Lyudmila Polyakova]] [[Anatoly Solonitsyn]]
| music = [[Alfred Schnittke]]
| cinematography = [[Vladimir Chukhnov]] [[Pavel Lebeshev]]
| editing =
| distributor =
| released = {{Film date|1977|04|02|df=y}}
| runtime = 111 minutes
| country = [[Soviet Union]]
| language = [[Russian language|Russian]] [[German language|German]]
| budget =
| studio = [[Mosfilm]]
}}
'''''The Ascent''''' ({{langx|ru|Восхождение}}, [[Romanization of Russian|tr.]] ''Voskhozhdeniye'') is a 1977 Soviet [[Drama (film and television)|drama film]] directed by [[Larisa Shepitko]] and made at [[Mosfilm]]. Shepitko and [[Yuri Klepikov]]'s screenplay was adapted from the 1970 novel ''Sotnikov'' by [[Vasil Bykaŭ]]. The film was shot in [[black-and-white]] in January 1974 near [[Murom]], Russia, in appalling winter conditions.

''The Ascent'' won the [[Golden Bear]] at the [[27th Berlin International Film Festival]] in 1977. It was also selected as the Soviet entry for the [[Academy Award for Best Foreign Language Film|Best Foreign Language Film]] at the [[50th Academy Awards]], but was not accepted as a nominee. It was Shepitko's last film before her death in a car accident in 1979.

==Plot==
During the [[Great Patriotic War]] ([[World War II]]), two [[Soviet partisans]], Sotnikov ([[Boris Plotnikov]]) and Rybak ([[Vladimir Gostyukhin]]) go to a [[Belarus]]ian village in search of food. After taking a farm animal from the collaborationist headman (Sergei Yakovlev), they head back to their unit, but are spotted by a German patrol. After a protracted gunfight in the snow in which one of the Germans is killed, the two men get away, but Sotnikov is shot in the leg. Rybak has to take him to the nearest shelter, the home of Demchikha ([[Lyudmila Polyakova]]), the mother of three young children. However, they are discovered and captured.

The two men and a sobbing Demchikha are taken to the German headquarters. Sotnikov is interrogated first by local collaborator Portnov ([[Anatoly Solonitsyn]]), a former Soviet [[Palace of Culture|club-house]] director and children's choirmaster who became the local head of the [[Belarusian Auxiliary Police]], loyal to the Germans. When Sotnikov refuses to answer Portnov's questions, he is brutally tortured by members of the collaborationist police, but gives up no information. However, Rybak tells as much as he thinks the police already know, hoping to live so he can escape later. Portnov offers him the job of policeman. Afterwards, they are imprisoned in the same cellar for the night with the headman, now suspected of supporting the partisans, Basya Meyer, a young Jewish girl hidden by one of the village members, and Demchikha. Sotnikov agrees to speak with Portnov the next day and shoulder all responsibility, hopefully absolving the others.

The next morning, all are led out of the cellar, with Sotnikov demanding to speak to Portnov, who brushes him off after an impassioned plea. Desperate, Rybak begs with Portnov to let him join the police, who allows it. Seeing this, Demchikha attempts to reveal who was hiding Basya but to no avail. Sotnikov and the others are led away and hanged.

As he heads back to the camp with his new comrades, Rybak is vilified by the villagers. With his guilt and lack of courage to escape, he tries to hang himself in the outhouse with his belt, but fails. A fellow policeman calls for Rybak until Rybak opens the door. The policeman tells him that their commander wants him and leaves him alone in the courtyard. Rybak stares out the open door and begins to laugh and weep.

==Cast==
* [[Boris Plotnikov]] as Sotnikov
* [[Vladimir Gostyukhin]] as Rybak
* [[Sergei Yakovlev (actor)|Sergei Yakovlev]] as Village elder
* [[Lyudmila Polyakova]] as Demchikha
* [[Viktoriya Goldentul]] as Basya Meyer
* [[Anatoly Solonitsyn]] as Portnov, the collaborationist interrogator
* [[Maria Vinogradova (actress)|Maria Vinogradova]] as Village elder's wife
* [[Nikolai Sektimenko]] as Stas'

==Production==

===Pre-production===
{{Quote|text=
All motion pictures are personal but the desire to film ''The Ascent'' was almost a physical need. If I had not shot this picture it would have been a catastrophe for me. I could not find any other material with which I could transmit my views on life, on the meaning of life.
|author=Larisa Shepitko {{sfn|Klimov|1987}}}}

Before ''The Ascent'', the director Larisa Shepitko shot the film ''[[You and Me (1971 film)|You and Me]]''. Production of ''You and Me'' took place under an atmosphere of severe stress. Technical and organizational difficulties led to the necessity of calling an ambulance for the director's health. The release of the film was not any easier; the censors deleted critical scenes and Shepitko had to fight for every single one of them. This struggle was not always successful. Despite the fact that the film has gone to the [[33rd Venice International Film Festival|Venice Film Festival]],<ref>{{Citation |title=You and Me (1971) - Release info - IMDb |url=https://www.imdb.com/title/tt0067894/releaseinfo/ |access-date=2024-03-20 |language=en-US}}</ref> the removed scenes were a terrible blow to Shepitko, who believed that changing an important moment leads to the loss of main ideas.<ref name=horoshee />

For Shepitko it was a difficult time. By her own admission, for a period of four months the director was in "a monstrous mental and physical exhaustion." The realization of what was subsequently necessary came to her suddenly while she was recuperating at a [[Sochi]] [[sanatorium]], but her creative plans were undermined by a disastrous fall, which resulted in a serious concussion and a spinal injury. For a few weeks Shepitko was confined to bed. The situation was also aggravated by the fact that she was pregnant, but she felt that during her pregnancy she came to understand the complexities of life more fully. Every day she was haunted by the possibility of death; reading the novel ''Sotnikov'' by [[Vasil Býkaŭ]] during this period helped Shepitko express this state on the silver screen.<ref name=horoshee>{{cite web|url=http://www.horosheekino.ru/voskhozhdenie.htm|script-title = ru:Лариса. Воспоминания о работе с Ларисой Шепитько|author=Валентина Хованская|access-date=2013-05-30|archive-url=https://web.archive.org/web/20150419215851/http://www.horosheekino.ru/voskhozhdenie.htm|archive-date=2015-04-19|language=ru|url-status=dead}}</ref>

===Screenplay===
For the most part the screenplay written by [[Yuri Klepikov]] follows the novel. Shepitko turned to Klepikov on the recommendation of her classmate [[Natalya Ryazantseva]] but he was already busy working on another script. Klepikov did not refuse the commission, but he asked to postpone working on ''The Ascent'' for a week. Shepitko urged him to start work immediately and a single telephone conversation with her convinced him to drop everything he was doing. Klepikov, by his own admission, "could not withstand the energy of the typhoon whose name was Larisa," and started the task of revising the literary foundation which he later described as "a piping philosophical parable which combined the high spirit of man with his obvious desire to keep the body as a receptacle of the spirit."{{sfn|Klimov|1987|p=93}} The result of the work became a 70-page script that Shepitko then meticulously edited.{{sfn|Klimov|1987|p=93}}<ref name=rus>{{cite web|publisher=Энциклопедия отечественного кино|script-title = ru:Восхождение (1976)|url=http://2011.russiancinema.ru/index.php?e_dept_id=2&e_movie_id=1110|language=ru}}</ref> Shepitko practised the "engineer's" approach: she did not tolerate uncertainty or haziness in work and did not rely on director's improvisation or creative inspiration. Every frame, every remark, every scene was carefully checked and planned in advance. According to Yuri Klepikov even "the fruitful spontaneity was due to the very environment of the shoot," which was ensured by the carefully crafted script.{{sfn|Klimov|1987|pp=94–95}}

When adapting the script from ''Sotnikov'' the main concern of the director was not to lose the deeper philosophical content of the story. While the literary work by Býkaŭ was full of sensual details like "icy cold", "famine", "danger", Shepitko strongly discouraged attempts to be satisfied with external action and demanded an "internal justification" of each movement, gesture and glance of the heroes. In order to express the spiritual states she often had to deviate from the literary basis. For example, in the finale of the original story Rybak decides to hang himself in the latrine but discovers that he forgot to ask for the belt back which had been taken by the policemen an evening before. Theoretically, the film could portray the absence of the belt, but then - according to the writers - the scene would be limited to the designation of the circumstances: informative but unimpressive denial in terms of the artistic sense. The authors "returned" the belt to Rybak but he was deprived of the ability to hang himself; implying that even death refuses a traitor. Their idea was to leave Rybak alone with the knowledge of his fall. The following long close-up of majestic nature signified the freedom which Rybak desperately desires and was intended to emphasize the utmost despair "of a person who lost himself."{{sfn|Klimov|1987|p=94}}

Shepitko's husband [[Elem Klimov]] suggested the film's title. Long before, in 1963, a tradition was established between the future spouses that for a good idea they would receive ten [[roubles]]. When they just started dating, Klimov came up with the name for Shepitko's thesis film – ''Heat''. Shepitko and Klimov decided to continue this playful approach of rewarding each other but after all the years of their union Klimov alone received the ten rouble reward and only twice: for ''Heat'' and for ''The Ascent''.{{sfn|Klimov|1987|p=18}}

===Beginning of production===
The next step was the need for the script's approval from the [[State Committee for Cinematography]]. By that time Shepitko had already gained a reputation of an inconvenient director. In 1973, when she raised the topic of making the film, the answer from an official of the State Committee for Cinematography was a firm negative.<ref name=durov>{{cite web|url=http://www.levdurov.ru/show_arhive.php?id=1200|script-title = ru:Гибель режиссёра Ларисы Шепитько|publisher=Официальный сайт Льва Дурова|access-date=2013-05-31|archive-url=https://web.archive.org/web/20130622032417/http://www.levdurov.ru/show_arhive.php?id=1200|archive-date=2013-06-22|language=ru|url-status=dead}}</ref> The director did not spark a confrontation but she also did not offer any other projects.<ref name=horoshee /> Throughout her directing career, Shepitko only started working on a film if she felt that "if she does not do it, then she dies."<ref name=ist>{{cite web|url=http://istoriya-kino.ru/books/item/f00/s00/z0000015/st002.shtml|script-title = ru:Восхождение|author=Марина Базавлук|publisher=История кино|access-date=2013-05-31|archive-url=https://web.archive.org/web/20121211212307/http://istoriya-kino.ru/books/item/f00/s00/z0000015/st002.shtml|archive-date=2012-12-11|language=ru|url-status=dead}}</ref>

For help in overcoming the resistance of the authorities and the [[State Political Directorate]], Shepitko turned to Gemma Firsova with whom she had studied at [[VGIK]]. Firsova was an administrator of an association of military-patriotic films. She was affected much more by the script than by the novel and the day she met Shepitko, she went to meet the Minister of Cinematography Philippe Ermash. In a conversation with Ermash's replacement (in her memoirs Firsova did not call Boris Pavlenok by his name), Firsova said that she took the script under her responsibility, with a lie that "everything will be fine with the State Political Directorate." Ermash's replacement reacted skeptically to the pleas, and the subsequent process from script approval to acceptance of the film's actors was accompanied by considerable difficulties. The main accusation was that Shepitko allegedly made a religious parable with a mystical tone from the partisan story; this was considered an insurrection in the atheistic Soviet cinema.<ref name=durov /> Shepitko retorted that she was not religious and that a story about betrayal was antediluvian. According to her, Judas and Jesus had always existed and that if the legend connected with people then this means that it was alive in every person.<ref name=horoshee /> Officials met Schnittke's score with resistance and they ordered that the allusions to biblical texts be removed.<ref name=firsova>{{cite web|url=http://kinoart.ru/archive/2006/12/n12-article13|script-title=ru:Предупреждение. О Ларисе Шепитько|date=December 2006|access-date=2013-05-31|publisher=Искусство кино|author=Gemma Firsova|archive-url=https://web.archive.org/web/20130317082025/http://kinoart.ru/archive/2006/12/n12-article13|archive-date=2013-03-17|language=ru|url-status=dead}}</ref>

From the moment she read the story ''Sotnikov'', it took Larisa Shepitko four years to prepare and to obtain permits from the authorities to begin shooting the picture.<ref name=sneg />

===Casting===

Shepitko decided to use unknown or little-known actors whose past roles would not cast a shadow on their characters in ''The Ascent''. Because of this, she rejected [[Andrey Myagkov]], who wanted to act in the picture. The same fate befell Nikolai Gubenko. [[Vladimir Vysotsky]], who yearned to play Rybakov, also did not pass selection. At the time when the castings for ''The Ascent'' were taking place, Vysotsky was starring in the film ''[[The Negro of Peter the Great]]''. Production of that film took place at the Mosfilm sound stage, adjacent to where the auditions were being held, and during his breaks Vysotsky often went to see what was happening at Shepitko's sound stage.<ref name=teatral />

From the beginning of the search for the actor who would play Sotnikov, Larisa Shepitko instructed Emma Baskakova, her casting assistant, to keep in mind the image of Christ, although it was impossible to mention this out loud.<ref name=horoshee /> Boris Plotnikov, a 25-year-old actor of the Sverdlovsk Theater, turned out to be the best candidate for the role according to the director, but the officials of Goskino saw in Shepitko's plan the intention to put Jesus on to the Soviet screen. Plotnikov, whose repertoire until then largely included the roles of magical animals,<ref name=gost-bio /> even had to be made up for the purpose of greater glorification of the character so that the artistic council would approve him for the role. The actor went through seven test shots altogether for which he always had to fly to Moscow from Sverdlovsk.<ref name=gordon />

For the role of Rybak the director screened 20 candidates. The actor chosen for the role was the unknown actor [[Vladimir Gostyukhin]].<ref name=rus /> Gostyukhin, who had worked for six years in the Soviet Army theater as a furniture and prop maker, had once replaced a sick actor in the play ''Unknown Soldier.'' His performance was noticed by Svetlana Klimova, who was the [[second unit]] director for Vasiliy Ordynski. Gostyukhin received an invitation to act in the series ''The Road to Calvary'', where he played the role of the anarchist and bandit Krasilnikov for whom charisma and a strong temperament were required. It was while working that set that he was noticed by Larisa Shepitko's assistants. Gostyukhin was invited to audition for the role of Rybak, but initially could not equate "a woman of great beauty [Sheptiko] with the super-masculine, tough and tragic story by Vasil Býkaŭ." But after a 20-minute conversation with the director, he was convinced that only she could film the adaptation of this weighty book. Even so, Shepitko initially had doubts about the candidate, who even with his actor's training, was still only a stage laborer. Plotnikov had immediately attracted the director with his constitution, smile, look and plasticity while Gostyukhin's appearance did not coincide with how Shepitko saw Rybak: the young actor came to his audition with "frivolous" bangs which were uncharacteristic for a partisan. Gostyukhin's rude manners initially alienated other members of the selection committee but Shepitko explained away his behavior as shyness and decided to audition the candidate who had already at the first rehearsal made a strong impression on everyone with his dedication in realizing the character.<ref name=teatral>{{cite web|url=http://www.teatral-online.ru/news/4411/|script-title = ru:Актёр Владимир Гостюхин: Самая ранимая и зависимая – это профессия артиста|publisher=Театрал|date=2011-07-21|access-date=2013-06-04|author=Анжелика Заозерская|archive-url=https://web.archive.org/web/20160305060218/http://www.teatral-online.ru/news/4411/|archive-date=2016-03-05|language=ru|url-status=dead}}</ref><ref name=gost-bio>{{cite web|url=http://www.russkoekino.ru/books/star/star-0001.shtml|script-title=ru:Владимир Гостюхин. Творческая биография|publisher=Русское кино|access-date=2013-06-04|author=Юрий Тюрин|archive-url=https://web.archive.org/web/20130426102338/http://russkoekino.ru/books/star/star-0001.shtml|archive-date=2013-04-26|language=ru|url-status=dead}}</ref>

The actor for the role of Portnov was selected based on the image of Sotnikov. Larisa Shepitko wanted to find someone similar in external characteristics to Plotnikov, saying, "They are similar, but Portnov is an antipode to Sotnikov based on internal beliefs. This should be a very good actor. Their duel, yes, yes, the fight with Sotnikov - the eternal conflict, the everlasting battle between spirit and lack of spirituality ... Dying, suffering Sotnikov wins because he is strong in spirit. He dies and rises above his tormentor."

Anatoly Solonitsyn at first did not see anything interesting in what he thought of as a "supporting role", and which he considered a "rehash" of what had been filmed earlier. Initially, the actor did not even understand what was wanted of him despite the fact that he diligently played the "enemy," a "man with a bruised heart," or a "man without a future" as was required. But he felt that the character would turn out to be little but a caricature, as in cheap popular literature.{{sfn|Klimov|1987|pp=62–63}} Only a long conversation with the director allowed him to understand her vision of Portnov: the personification of the negative side in the eternal history of man's struggle with the animal inside himself in the name of the supreme value – namely, the value of the spirit. The director insisted that the [[Great Patriotic War]] was won by the Soviet people because of their high level of awareness, so Portnov's "anti-hero" role was especially important because the character was supposed to emphasize the superiority of the human spirit's power over matter.<ref name=horoshee />

===Filming===
Filming began on Jan. 6, 1974 – the birthday of the director Shepitko (according to other sources filming began on January 5{{sfn|Klimov|1987|p=50}}) - in the vicinity of the town of [[Murom]]. The first scenes were shot on location in the middle of fields, forests and ravines despite the fact that the weather was forty degrees below zero. According to Boris Plotnikov the frost and the virginal snow were mandatory conditions which Vasil Býkaŭ had set out in his story.<ref name=gordon /> This approach was endorsed by Larisa Shepitko, according to whom the actors had to "feel the winter all the way down to their very cells" for a more reliable way of entering the character.<ref name=horoshee /> Together with this, the filming process was planned in such a way that the actors started with the easiest acting in the psychological sense, and scenes which allowed them to gradually sink into their characters.{{sfn|Klimov|1987|p=51}}

From the outset Shepitko managed to inspire every co-worker with her idea; they understood the film to be about sacred things: motherland, higher values, conscience, duty and spiritual heroism. Her ability to enthrall her colleagues had already manifested before: Yuri Vizbor (lead actor in the movie ''You and Me'') said: "We worked for Larisa, specifically, personally for her. She had faith and that was the reason. Faith in goodness and the need for our work, and it is this faith that was absolutely a material substance, which can be very real to rely on."

In the harsh conditions in which the shoot took place, this factor was very important: extras and crew members were frostbitten, but no one complained. Shepitko herself did not ask for or require special treatment and her colleagues remembered her as an example of courage, faith, patience, and extraordinary care. For example, Boris Plotnikov was dressed very lightly and quickly grew numb from the cold and the piercing winds in the open field; but after the command "Stop! Cut!" the director came over to him to warm him up and to thank him. She also had to warm up Vladimir Gostyukhin who later wrote: "It was worth it “to die” in the scene to be able to feel her gratitude." He said that almost no one knew what effort Shepitko gave when shooting each frame. Sometimes Gostyukhin had to carry the director from the car to the hotel room by himself: Shepitko was sometimes not very physically well and occasionally her strength weakened. Long before ''The Ascent'', Shepitko became ill with hepatitis on the set of the movie ''Heat''. Ignoring advice to go to Moscow, she went on to shoot the picture from a stretcher on which she was brought from the infectious barracks.<ref name="trud" /> Moreover, Shepitko did not recuperate enough, and the consequences of the disease adversely affected her well-being in the future, in particular on the set of ''The Ascent''. In addition she experienced extreme pain which was caused by her recent spinal trauma. But Shepitko still rose two to three hours before the crew to have time to prepare, after which she worked to the maximum limit of her capabilities throughout the day. For example, in one long scene, the partisans are running away with difficulty through the thick snow from their pursuers. On screen it was necessary to show the deadly fatigue of the flushed, panting people. To prevent hypocrisy in the scenes, the director ran alongside the actors while filming, experiencing their exhausted state with them.<ref name="sneg" /> With this dedication the shooting took place without interruption and was completed one month ahead of schedule.<ref name="gordon">{{cite web|url=http://www.bulvar.com.ua/arch/2013/1/50df47e8afa96/|script-title=ru:И жизнь, и слёзы, и любовь|publisher=Бульвар Гордона|access-date=2013-05-31|date=2013-01-13|archive-url=https://web.archive.org/web/20130627024052/http://www.bulvar.com.ua/arch/2013/1/50df47e8afa96/|archive-date=2013-06-27|language=ru|url-status=dead}}</ref>

In order to achieve the desired performance from the actors, Shepitko sometimes talked for a long time with them out in the cold. For example, despite the crew's full readiness, the director would talk for a long time with Boris Plotnikov, whose character she carefully directed during the filming. Shepitko's habit of clearly stating her thoughts contributed to a successful transmission of information; she did not use abstruse terms that might mask the lack of clarity. {{sfn|Klimov|1987|p=41}} She waited for the necessary expression of emotion, for the right facial expression and gestures and then suddenly would give the order to start filming. Boris Plotnikov later said that he would have liked to repeat this experience in other films, but never did. On working with Shepitko, Plotnikov spoke of "a meeting with a living genius." Vasil Býkaŭ also shared a similar opinion about the film's director, he called her "[[Fyodor Dostoyevsky|Dostoevsky]] in a skirt." Býkaŭ valued Larisa Shepitko very highly and once admitted that had he met her before, he would have written ''Sotnikov'' differently.<ref name=gordon />

Vladimir Gostyukhin described the filming process not as acting but as "death in every frame." For him and Plotnikov it was extremely important to validate the director's trust, since she had needed to defend their casting choices long and hard in front of the Soviet film authorities. Gostyukhin spoke of Shepitko's ability to convey an idea to the actors, akin to [[hypnosis]], under which he with Plotnikov - the newcomers to the film studio - could produce the "miracle of transformation." During the first rehearsal Shepitko even sprayed their faces with snow. By the latter's suggestion it was done to collect their attention and will and also to give texture and credibility to their characters. Later it became a kind of ritual, often preceding the next take on the film set.<ref name=sneg>{{cite web|url=http://istoriya-kino.ru/books/item/f00/s00/z0000015/st003.shtml|script-title=ru:Снегом обожженное лицо|publisher=История кино|access-date=2013-06-07|author=Владимир Гостюхин (записал Ю. Коршак)|archive-url=https://web.archive.org/web/20121211212313/http://istoriya-kino.ru/books/item/f00/s00/z0000015/st003.shtml|archive-date=2012-12-11|language=ru|url-status=dead}}</ref> Gostyukhin recalled that he transformed into Rybak to such a degree that even the made-up bruise only fell from his face after three weeks. After the film was shot the actor tried for such a long time to leave his role behind and to become himself again that he refused to star in Shepitko's next planned film, entitled ''Farewell'', despite her persistent requests.<ref name=teatral />

The production designer Yuriy Raksha later spoke about the situation as follows:
{{Quote|text=
We started to work and began our unique existence along with the characters. I can say that the film matured us too. Speaking about the holy things, about categories of high spirituality, we were obligated to apply high standards to ourselves too. It was impossible to be one person on the set and to be another one in real life.
}}

==Release==
The film was nearly banned: regulatory authorities believed that a "religious parable with a mystical tinge" was shot instead of a partisan story. The chances were very high that the film would be shelved, until Elem Klimov (the husband of Larisa Shepitko and also a film director by profession) decided to take a desperate step. While Klimov was preparing for the shooting of the film ''Kill Hitler'' (which was released under the title of ''[[Come and See]]'' in 1985), he met with [[Pyotr Masherov]], the first secretary of the Communist Party of Belarus, who strongly supported the director and even acted as a historical consultant. During the war, the senior official was himself a partisan and moreover in 1942 the German occupiers hanged his mother for collaborating with the partisans.<ref name=horoshee /><ref name=trud>{{cite web|author=Ивойлова И.|script-title=ru:Восхождение|url=http://www.trud.ru/article/04-01-2003/51289_vosxozhdenie.html|publisher=Труд|location= М.|year= 2003|issue=1 to 4 January|language=ru}}</ref>

When Klimov, bypassing [[Mosfilm]], invited Masherov to a special preview of ''The Ascent'', Masherov initially was skeptical and was expecting to see "effeminate directorial work." The still somewhat wet film was brought to [[Minsk]] directly from the lab, and Larisa Shepitko herself sat at the mixing console .{{sfn|Klimov|1987|p=12}} Twenty or thirty minutes after Masherov had started watching, he found he could not tear himself away from the screen, and by the middle of the movie he was crying, without hiding away from the republic's leaders who were present in the hall. At the end of the film, Masherov - contrary to tradition (usually at such premieres opinions were heard first from the lower ranks and then from the highest) - came on stage and spoke for about forty minutes. His words were not recorded by anyone but Elem Klimov testified to his wife that his excited speech was one of the best he ever heard addressed. The Belarusian writer and veteran of the Great Patriotic War Ales Adamovich, who was present at the screening, described Masherov as someone who questioned, "Where did this girl come from, who of course experienced nothing of the sort, but knows all about it, how could she express it like this?"{{sfn|Klimov|1987|p=15}} After a few days, ''The Ascent'' was formally accepted without any amendments.<ref name=horoshee /><ref name=trud />

In July 2018, it was selected for screening in the Venice Classics section at the [[75th Venice International Film Festival]].<ref>{{cite web|url=http://www.labiennale.org/en/news/restored-films-venezia-classici |title=Biennale Cinema 2018, Venice Classics |work=labiennale.org |date=13 July 2018 |access-date=22 July 2018}}</ref>

The film was first released on North American home video in a boxed [[DVD]] set by [[The Criterion Collection]] in 2008 through its [[Eclipse (DVD brand)|Eclipse]] series, where it was paired with ''[[Wings (1966 film)|Wings]]''. <ref>{{Cite web |title=Eclipse Series 11: Larisa Shepitko |url=https://www.criterion.com/boxsets/75-eclipse-series-11-larisa-shepitko |access-date=2023-04-24 |website=The Criterion Collection |language=en}}</ref> Criterion later released it on [[Blu-ray]] in 2021.<ref>{{Cite web |title=The Ascent |url=https://www.criterion.com/films/561-the-ascent |access-date=2023-04-24 |website=The Criterion Collection |language=en}}</ref> While browsing the Criterion Collection as part of the promotion for ''[[Tár]]'', [[Cate Blanchett]] described ''The Ascent'' DVD as something "to be owned by every single human in the world".

==See also==
*[[List of submissions to the 50th Academy Awards for Best Foreign Language Film]]
*[[List of Soviet submissions for the Academy Award for Best Foreign Language Film]]

==References==
{{Reflist}}

== Literature ==
* {{cite book |last=Klimov |first=Elem |author-link=Elem Klimov |trans-title=Larisa: book about Larisa Shepitko |script-title=ru:Лариса: книга о Ларисе Шепитько |location=Moscow |publisher=Iskusstvo |year=1987 |pages=290 |language=ru}}
* {{cite book |last1=Klimov |first1=Hermann |last2=Murzina |first2=Marina |last3=Plahov |first3=Andrei |last4=Fomina |first4=Raisa |trans-title=Elem Klimov. Unshot cinema |script-title=ru:Элем Климов. Неснятое кино |location=Moscow |publisher=Chroniqueur |year=2008 |page=384 |isbn=978-5-901238-52-3 |language=ru}}

==External links==
*{{IMDb title|0075404}}
* [https://www.tcm.com/tcmdb/title/490152/the-ascent#articles-reviews Ascent''] at [[Turner Classic Movies]]
*[http://cinema.mosfilm.ru/films/film/1970-1979/voshojdenie/ ''The Ascent''] at the official [[Mosfilm]] site with English subtitles
*[https://www.criterion.com/current/posts/7256-the-ascent-out-in-the-cold ''The Ascent: Out in the Cold''] an essay by [[Fanny Howe]] at the [[Criterion Collection]]

{{Golden Bear 1960-1979}}
{{Soviet submission for Academy Awards}}
{{Alfred Schnittke}}
{{Authority control}}

{{DEFAULTSORT:Ascent (1977 film), The}}
[[Category:1977 films]]
[[Category:1970s war drama films]]
[[Category:Soviet war drama films]]
[[Category:Russian war drama films]]
[[Category:1970s Soviet films]]
[[Category:1970s Russian-language films]]
[[Category:Soviet black-and-white films]]
[[Category:Eastern Front of World War II films]]
[[Category:Films set in 1942]]
[[Category:Films set in Belarus]]
[[Category:Films shot in Vladimir Oblast]]
[[Category:Golden Bear winners]]
[[Category:Mosfilm films]]
[[Category:Films directed by Larisa Shepitko]]
[[Category:Films scored by Alfred Schnittke]]
[[Category:1977 drama films]]
[[Category:Russian black-and-white films]]
[[Category:Soviet World War II films]]
[[Category:Russian World War II films]]
[[Category:Films based on novels]]
[[Category:Russian-language war drama films]]

White Sun of the Desert

2025-06-17T10:55:40Z

80.95.45.52: /* External links */

{{Use dmy dates|date=June 2016}}
{{Infobox film
| name = White Sun of the Desert
| image = Beloe Solntse Pustyni DVD.jpg
| director = [[Vladimir Motyl]]<ref name=mosfilm/>
| writer = [[Valentin Yezhov]] [[Rustam Ibragimbekov]]<ref name=mosfilm/>
| starring = [[Anatoly Kuznetsov (actor)|Anatoly Kuznetsov]] [[Spartak Mishulin]] [[Pavel Luspekayev]]
| producer = Experimental Studio of ''[[Mosfilm]]''
| music = [[Isaac Schwartz]] (song lyrics by [[Bulat Okudzhava]])
| cinematography = [[Eduard Rozovsky]]
| distributor = [[Lenfilm]] [[Mosfilm]]
| released = {{Film date|df=y|1970|3|30}}<ref name="rollberg"/>
| runtime = 85 min<ref name=mosfilm/>
| country = Soviet Union
| language = Russian
}}
{{Wikiquote}}
'''''White Sun of the Desert''''' ({{langx|ru| Белое солнце пустыни|Beloye solntse pustyni}}) is a 1970 Soviet [[Ostern]] film.<ref name="rollberg">{{cite book|title=Historical Dictionary of Russian and Soviet Cinema|author=Peter Rollberg|publisher=Rowman & Littlefield|year=2009|place=US|isbn=978-0-8108-6072-8|pages=745–746}}</ref>

Its blend of [[action comedy]], music and drama made it highly successful at the Soviet box-office and resulted in a number of memorable quotes. It retains high domestic approval. Its main theme song, "Your Noble Highness Lady Fortune" ([[:ru:Ваше благородие, госпожа удача|Ваше благородие, госпожа удача]], music: [[Isaac Schwartz]], lyrics: [[Bulat Okudzhava]], performed by [[Pavel Luspekayev]]) became a hit. The film is watched by Russian [[Astronaut|cosmonauts]] before most space launches as a good luck ritual.<ref>{{cite web |last1=Heath |first1=Roderick |title=White Sun of the Desert (Beloe Solntse Pustyni, 1970) |url=http://www.ferdyonfilms.com/2015/white-sun-of-the-desert-beloe-solntse-pustyni-1970/24306/ |publisher=Ferdy on Films |date=April 4, 2015}}</ref>

==Plot==
The setting is the east shore of the [[Caspian Sea]] (modern [[Turkmenistan]]) where the [[Red Army]] soldier Fyodor Sukhov has been fighting the [[Russian Civil War|Civil War]] in Russian Asia for a number of years. The movie opens with a panoramic shot of a bucolic Russian countryside. Katerina Matveyevna, Sukhov's beloved wife, is standing in a field. Awakening from this daydream, Sukhov is walking through the Central Asian desert – a stark contrast to his homeland.<ref name=script3/> He finds Sayid buried in the sand. Sukhov frees Sayid, and they strike a friendly but reticent relationship. Sayid, an austere Central Asian, comes to Sukhov's rescue in sticky situations throughout the movie. While traveling together they are caught up in a desert fight between a Red Army cavalry unit and [[Basmachi movement|Basmachi guerrillas]]. The cavalry unit commander, Rakhimov, leaves to Sukhov's temporary protection the [[harem]] of the Basmachi leader Abdullah, left behind by him. Rakhimov also leaves a young Red Army soldier, Petrukha, to assist Sukhov, and proceeds to pursue the fleeing Abdullah.
[[File:Comrade Sukhov by Moiseikin Jewellery House.jpg|thumb|left|A timepiece portraying the scene from the film when Sukhov sees Sayid buried in sand]]
Sukhov and women from Abdullah's harem return to a nearby shore village. There, Sukhov charges the local museum's curator with protecting the women, and prepares to head home. Sukhov hopes to "modernize" the wives of the harem, and make them part of the modern society. He urges them to take off their [[burqa]] and reject [[polygamy]]. The wives are loath to do this, though, and as Sukhov takes on the role of protector, the wives declare him their new husband.
[[File:Customs vereschagin.jpg|thumb|A monument to Vereshchagin]]
Soon, looking for a seaway across the border, Abdullah and his gang come to the same village and find Abdullah's wives. Sukhov is bound to stay. Hoping to obtain help and weapons, Sukhov and Petrukha visit Pavel Vereschagin, a former Tsar's customs official. Vereschagin warms to Petrukha who reminds him of his dead son, but after discussing the matter with his nagging wife, Vereschagin refuses to help Sukhov. Sukhov finds a [[machine gun]] and a case of [[dynamite]] that he plants on Abdullah's ship. Meanwhile, Abdullah has confronted his wives, and is preparing to punish them for their "dishonor", as they did not kill themselves when Abdullah left them. Sukhov manages to capture and lock Abdullah as a hostage, but after he leaves, Abdullah convinces Gyulchatai, the youngest wife of the harem, to free him and then kills Gyulchatai and Petrukha.

The museum curator shows Sukhov an ancient underground passage that leads to the sea. Sukhov and the women of the harem attempt to escape through the passage, but on arriving at the seashore they are impelled to hide in a large empty oil tank. Abdullah discovers that and plans on setting the oil tank on fire.

Enraged at the cold-hearted murder of Petrukha, Vereschagin decides to help Sukhov and takes Abdullah's ship. Sayid also helps Sukhov, and together they fend off Abdullah's gang. Vereschagin, unaware of the dynamite on the ship and not hearing Sukhov's shouted warnings, dies on the exploding ship.

Sukhov kills Abdullah and his gang, returns the harem to Rakhimov and bids farewell to Sayid. He then begins his journey home on foot, having refused a horse since a horse is merely "a nuisance".<ref name=sp7/>

==Cast==
*[[Anatoly Kuznetsov (actor)|Anatoly Kuznetsov]] as [[:ru:Красноармеец Сухов|''Fyodor Ivanovich Sukhov'']] – a [[Red Army]] soldier, who returns home on foot through the desert after recovering in a hospital from wounds sustained in the war. He shows much wisdom and skill in his actions and a gentle human side in his graphical dreams, in which he mentally writes letters to his beloved wife.
:[[Georgi Yumatov]] was chosen for the role, but was dismissed for a drunken brawl right before the shooting. Therefore, Motyl called for Kuznetsov, who was the second choice during the selection.<ref name=script/>
*[[Pavel Luspekayev]] as [[:ru:Павел Артемьевич Верещагин|''Pavel Vereschagin'']] – a former tsarist customs official. Vereschagin lives a lonely life as the only [[Russian people|Russian]], along with his wife, in a remote village. The walls of his house are covered with pictures of the military campaigns where he was awarded and wounded. The Civil War has left him without an official job and a place to go. He is a big man and a straightforward person with a tendency for alcoholism due to the nostalgia for his past. He has an arsenal of weapons that brings both conflicting parties (Sukhov and Abdullah's men) to his house at some point in the film. Initially neutral, he eventually takes the side of Sukhov.
:This was Luspekayev's last role. A World War II veteran and an experienced stage actor, both of his feet were amputated in the 1960s due to past injuries. Given Luspekayev's condition, Motyl wrote a script for a man on [[crutch]]es. Luspekayev refused, arguing that his character should appear not as a cripple, but as a strong person who died prematurely.<ref name=script/> While filming, he walked on prosthetic legs and had to take regular rests due to pain. He died in 1970.<ref name=pavel/><ref name=pavel2/>
*[[Spartak Mishulin]] as [[:ru:Саид|''Sayid'']] – a skilled man of few words. He seeks revenge on [[:ru:Джавдет|Dzhavdet]], a [[Basmachi movement|Basmachi]] gang leader who killed his father, robbed his family and buried him in sand for a slow death; otherwise his motives and reactions are unclear and unexpected. For example, after Sukhov dug him out, Sayid, instead of thanking him, says, "Why did you dig me out? There will be no rest while Dzhavdet is alive." Sayid suddenly appears every now and then to help Sukhov against bandits, but when asked why, simply replies that he has "heard shooting,"<ref name=sp2/> giving an impression that he just seeks Dzhavdet via any armed conflict nearby.
:In contrast with Luspekayev, this was one of the first movie roles for Mishulin, although he was previously active as a TV and stage actor.<ref name=filming/>
*[[Kakhi Kavsadze]] as [[:ru:Чёрный Абдулла|''Abdullah'']] – a cunning Basmachi leader with no respect for human life. Both he and Sayid originate from poor families, and their fathers were friends. However, contrary to Sayid, Abdullah took the path of banditry.<ref name=sp4/>
:Kavsadze, a [[Georgian people|Georgian]] by nationality, fit very well into the role of an Asian gang leader. However, he had never ridden a horse, while his character was supposed to be a keen horse rider. He never actually rides in the film, but only sits on a horse, or even on the shoulders of an assistant.<ref name=filming/>
*[[:ru:Годовиков, Николай Львович|Nikolai Godovikov]] as [[:ru:Петруха|''Petrukha'']] – a young Red Army soldier. He attempts to court Gyulchatai, aiming to start a family.
:Coincidentally, Godovikov started dating Denisova (one of the actresses who played Gyulchatai) after filming.<ref name=script/>
*[[Raisa Kurkina]] as ''Nastasia'', Vereschagin's wife and a homemaker.
*[[Galina Luchai]] as ''Katerina Matveyevna'', Sukhov's wife – she appears in the film only through Sukhov's dreams, to elaborate his character.
;Abdullah's wives<ref name=cast/>
* Alla Limenes – Zarina
* Tatyana Krichevskaya, [[Galina Dashevskaya]] and Galina Umpeleva as Dzhamilya
* Zinaida Rakhmatova as Gyuzel
* Svetlana Slivinskaya as Saida
* [[:ru:Чеботаренок, Велта Арнольдовна|Velta Chebotarenok (Deglav)]] as Khafiza
* [[:ru:Ткач, Татьяна Дмитриевна|Tatyana Tkach]] as Zukhra
* Lidiya Smirnova as Leila
* Zinaida Rachmatova as Zulfia
* Tatiana Fedotova and Tatiana Denisova as [[:ru:Гюльчатай|Gyulchatai]] – the youngest and most inquisitive wife of Abdullah. She is the only wife who interacts with outsiders, i.e., Sukhov and Petrukha.

Most of Abdullah's wives were portrayed by non-professional actors. As they wore [[burqa]]s most of the time, they were often replaced by other women, and even by male soldiers from the military unit stationed nearby.<ref name=motyl2/> Motyl shot a few semi-nude scenes involving some of the wives for character development, but those scenes were cut by censors.<ref name=script/>

==Weapons==
[[File:Lewis gun St Thomas 6.JPG|thumb|Sukhov supposedly uses a [[Lewis gun]] (bottom), though in some scenes it is replaced by a Russian [[Degtyaryov machine gun#Variants|DT]] gun with an attached dummy cooling shroud.<ref>[http://tainy.info/technics/pulemet-tovarishha-suxova/ Пулемет товарища Сухова] {{Webarchive|url=https://web.archive.org/web/20130603081730/http://tainy.info/technics/pulemet-tovarishha-suxova/ |date=3 June 2013 }}. tainy.info</ref> Abdullah's gang members carry rifles similar to the one shown on top.]]
[[File:MWP Nagant.JPG|thumb|[[Nagant M1895|Nagant revolver]] similar to that used by Sukhov]]
Weaponry is explicitly used to characterize and develop the characters. Sayid is found barehanded in the beginning; he acquires all his weapons through the film and uses them skillfully. Sukhov gives him a knife, which Sayid later throws to kill an attacker. He shoots a [[carbine]] taken from a bandit, whom he strangled using rope as a [[lasso]] (while helping Sukhov).<ref name=sp2/> His skills in riding are demonstrated when he jumps on a horse, back first, while walking backwards and keeping his enemy at gunpoint. He then slowly rides away, sitting backwards on the horse.

Vereschagin, despite having an arsenal of [[small arms]], fights barehanded, which accentuates his brute force and straightforwardness. Both Sukhov and Abdullah use handguns rather than rifles, as appropriate to their leading, officer-like positions. Sukhov carries a [[Nagant M1895]] revolver, a personal gift from brigade commander M. N. Kovun,<ref name=sp2/> whereas Abdullah uses a [[Mauser C96]]. To deal with Abdullah's gang, Sukhov fetches and fixes a machine gun. Petrukha has a rifle that jams and never fires when needed.<ref name=sp5/> Abdullah's gang members carry carbines and long knives characteristic of the time and region.

==Development and script==
The director, [[Vladimir Motyl]], said such films as ''[[Stagecoach (1939 film)|Stagecoach]]'' and ''[[High Noon]]'' influenced him and he has described the film as being a "cocktail" of both an adventurous Russian folktale and a [[western (genre)|western]]. Initially several directors, including [[Andrei Tarkovsky]] and [[Andrei Konchalovsky]], were offered the film but they turned it down, Motyl claims,<ref name=motyl/> for two main reasons. Firstly, Konchalovsky thought only [[United States|American]] actors could pull off the part of a lead role in a western, and secondly the screenplay was considered weak.<ref name=b1/> Motyl also initially turned down the offer, but then found himself in a no-choice situation, as he would not be given any other film to direct.<ref name=motyl2/><ref name=motyl/>

After the first version of the film was turned down by Mosfilm, Valentin Yezhov and Rustam Ibragimbekov were assigned to improve the script. Ibragimbekov was chosen by his nationality as an expert on the East, though in reality he was raised in Russia and never been in the region.<ref name=script3/> A war veteran told Yezhov a story of a harem abandoned by a [[Basmachi movement|Basmachi leader]] on the run, which became the pivot of the new script.<ref name=script/><ref name=b1/> Further rewriting came from Motyl after he replaced Konchalovsky as director. Motyl completely reshaped and put forward the character of Vereschagin – all his dialogues, as well as about 60% of the entire script, were rewritten and improvised during the filming. Motyl also came up with the idea of revealing Sukhov's personality through his dreams, in which he writes letters to his beloved wife. Those letters were composed by [[Mark Zakharov]], a friend of Motyl's.<ref name=motyl/>

Years later, Konchalovsky praised the final script as a masterpiece.<ref name=script3/>

==Filming==

Sukhov's dream scenes were filmed first, near [[Luga, Leningrad Oblast]], while the bulk of the film was shot on the western shore of the [[Caspian Sea]] near [[Makhachkala]], [[Dagestan]]. The sand dune scenes were shot in the [[Karakum Desert]] near [[Mary, Turkmenistan]], with the museum scenes filmed in the nearby ancient city of [[Merv]].<ref name=luga/> The distinctive [[wikisource:tk:Mary:Uly Gyzgala we Kiçi Gyzgala|Kyz Kala (Gyz Gala)]] fortress, for example, figures prominently. The dune scenes were demanding for actors, who had to make large circles in the scorching heat to approach the shooting location without leaving telltale traces in the sand. However, the heaviest burden fell on Mishulin, who spent in total several days in a box buried in sand while preparing for several takes of the opening scene.<ref name=script/><ref name=script2/> The village buildings and Vereschagin's house were temporary mockups that had to be regularly repaired due to damage from frequent winds.<ref name=motyl/>

Horse riding scenes were performed by the special stunt unit formed for the ''[[War and Peace (film series)|War and Peace]]'' film series. Although it did not perform any stunts in this film, one member of the unit died in an accident during filming. Some other accidents occurred due to poor overall discipline and security. For example, a cut is seen on Vereschagin's face when he fights on the ship. He received this cut in a drunken brawl the day before. Also, some [[Theatrical property|props]] were stolen by local thieves one night. Security was improved after Motyl hired a local criminal leader for the role of a member of Abdullah's gang.<ref name=script/><ref name=b1/>

The film involved two dangerous stunts, the first when Abdullah's officer, supposedly thrown out by Vereschagin, breaks through a second-floor window and falls to the sand below. The other is when Sukhov jumps from an oil tank set on fire. Both stunts were performed by Valentin Faber.<ref name=filming/>

==Soundtrack==
"{{ill|Your Noble Highness, Lady Luck|ru|Ваше благородие, госпожа удача}}" ({{langx|ru|Ваше благородие, госпожа Удача|lit=Vashe blagorodye, gospozha Udacha}}), sung by Vereschagin accompanied by a guitar, is a musical motif in the film. The lyrics talk about loneliness, humanity’s dependence on luck, and hope for love. These lyrics mirror many of the film's central themes, including Vereschagin's sadness and Sukhov's separation from Katerina. The song was written by Okudzhava on personal request by Motyl, who had worked with him in the past.<ref name=motyl/> A line from this song, "Nine grams into your heart, wait, don't call," is included as an homage in the script of the 1985 Soviet action film ''[[The Detached Mission]]''.

==Reception==
''White Sun of the Desert'' became one of the most popular movies of all time in the Soviet Union, where it has attained the status of a classic.<ref name="autogenerated2003">{{cite journal|author=David Gillespie|title=The Sounds of Music: Soundtrack and Song in Soviet Film |volume=62|issue=3|year=2003|pages=477–478|jstor=3185802|journal=Slavic Review|doi=10.2307/3185802 |s2cid=162189615 }}</ref> With 34.5 million viewers, it was one of the most popular films of 1970. The film received no awards during the Soviet era. It was nominated for the 1970 [[USSR State Prize]], but lost to ''[[By the Lake]]''. The latter one was seen as "ideologically correct", while the first one was seen as pure entertainment, i.e., of low ideological value.<ref name=r1/>{{clarify|date=March 2023|reason=see talk}} In the opinion of film director Motyl the film was not allowed to film festivals abroad, because the Soviet ideologists were sure that it will receive awards there, which was ideologically inadmissible. Only in 1998 was it awarded the [[Russian State Prize]] by a special decree of President [[Boris Yeltsin]], being recognized as culturally significant.<ref name=r1/>

The film received limited attention in the West.{{citation needed|date=December 2023}} It was shown at a Soviet film festival at the Little Carnegie Theatre in 1973, meant to tie in with [[Leonid Brezhnev]]'s visit to the United States. [[Roger Greenspun]], the ''[[New York Times]]'' movie critic, classified it as an "escapist entertainment" (together with another Soviet film, a comedy ''[[Ivan Vassilyevich Changes His Profession]]'') and describes it as a "[[picaresque]] adventure".<ref>Roger Greenspun (23 June 1973) [https://www.nytimes.com/1973/06/23/archives/screen-simplicity-marks-soviet-films-in-festivalfive-premieres-held.html "Screen: Simplicity Marks Soviet Films in Festival:Five Premieres Held at Little Carnegie Collective-Farm Tale Is Among Features"]. ''The New York Times''.</ref>

==Legacy==
[[File:Памятник Сухову 1.jpg|thumb|Monument of Sukhov in [[Donetsk]]]]
In 1998, the creators of the film were awarded the 1997 [[Russian Federation State Prize]] in Literature and Arts, nearly 30 years after the film left the silver screen.<ref name=r1/> A Russian computer game was released based on the film.<ref name=pc/> Vereschagin became a symbol of a [[customs officer]], with monuments honoring him erected in [[Amvrosiivka]] (2001),<ref name=amvr/> [[Kurgan, Kurgan Oblast|Kurgan]] (2007),<ref name=kurgan/> Moscow (2008)<ref name=pavel/> and [[Luhansk]] (2011).<ref name=lugansk/> Monuments of Sukhov are known in [[Donetsk]] (ca. 2009) and [[Samara]] (2012)<ref name=samara/>

All crew members boarding Russian space flights are committed to watch "White Sun of the Desert" before the launch,<ref name=launch/><ref name="Cosmonauts traditions"/><ref name="BBC"/> and the names of Abdullah's wives are assigned to craters on [[Venus]]: Зарина, Джамиля, Гюзель, Саида, Хафиза, Зухра, Лейла, Зульфия, Гюльчатай.<ref name=venus/><ref name=venus2/>

==Popular quotes==
Many popular sayings have entered the [[Russian language]] from the film. The first is by far the best known.
*''The Orient is a delicate matter'' (Восток — дело тонкое); refers to any complicated or difficult matter, not necessarily "oriental" in nature.
*''I feel sorry for the great state'' (Мне за державу обидно); used in the face of failure of the state or collapse of its institutions. This phrase, among other things, was used as the title of several books by notable writers.<ref>E.g.
*{{cite book|author=Alexander Lebed|author-link=Alexander Lebed|title=За державу обидно--|url=https://books.google.com/books?id=wcNNAAAAMAAJ|year=1995|publisher=Грэгори-Пэйдж|isbn=9785748200066}}
*{{cite book|author=Yury Mukhin|author-link=Yury Ignatyevich Mukhin|title=За державу обидно!|url=https://books.google.com/books?id=wU0WAQAAIAAJ|year=2006|publisher=Яуза|isbn=978-5-87849-198-3}}
*{{cite book|author=Dmitry Puchkov|author-link=Dmitry Puchkov|title=За державу обидно: вопр. и ответы про СССР|url=https://books.google.com/books?id=-0dBQwAACAAJ|year=2008|publisher=Крылов|isbn=978-5-9717-0723-3}}
*{{cite book|author=Aleksandr Kontorovich|author-link=:ru:Конторович, Александр Сергеевич|title=За Державу обидно!|url=https://books.google.com/books?id=YfwvAAAAQBAJ|date=2014|publisher=Яуза : Эксмо|isbn=978-5-457-26138-9}}
</ref>
*''Are there questions? No, there aren't!'' (Вопросы есть? Вопросов нет!); refers to the commanding tone of an officer that will not hear objections to his command. This line was reused in the 2005 Afghanistan war epic [[The 9th Company]].
*''Customs gives the green light'' (Таможня дает добро!); refers to any type of approval, especially reluctant approval.
*''His grenades are the wrong caliber'' (Да гранаты у него не той системы); refers to or to comment upon any kind of excuse, particularly a pathetic one. The line wasn't scripted, but improvised by the actor. It is similar to the English "[[The wrong type of snow]]"
*''Gyulchatai, show your sweet face'' (Гюльчатай, открой личико); a popular Russian saying for boys to say to girls.
:Gyulchatai has become a [[placeholder name]] for a Central Asian girl.<ref>Arina Dolya, [https://cyberleninka.ru/article/n/etnicheskie-prozvischa-v-angliyskom-i-russkom-yazykah-motivatsionnyy-aspekt/viewer Этнические прозвища в английском и русском языках]</ref>
*''Mahmud, light the fire'' (Махмуд, поджигай!); used when embarking cheerfully on some difficult potentially dangerous mission.
* ''I'm unlucky in death, maybe I'll be lucky in love'' (Не везёт мне в смерти, повезёт в любви); the refrain of the theme song

==References==
{{reflist|30em|refs=
<ref name=mosfilm>[https://web.archive.org/web/20090526063336/http://www.mosfilm.ru/films/about/beloje_solnce_pustyni.html Белое солнце пустыни]. mosfilm.ru</ref>
<ref name=script3>[[Neya Zorkaya]], [http://www.portal-slovo.ru/art/35998.php «Белое солнце пустыни» — рейтинг зрителя]. portal-slovo.ru</ref>
<ref name=sp7>Yezhov and Ibragimbekov, p. 7</ref>
<ref name=script>[http://cyclop.com.ua/content/view/322/1/1/73/ Белое солнце пустыни]. yclop.com.ua</ref>
<ref name=pavel>[http://www.newsru.com/cinema/10jan2008/monument.html "В Москве будет установлен памятник таможеннику Верещагину из "Белого солнца пустыни"]. Newsru (10 January 2008).</ref>
<ref name=pavel2>[http://www.c-cafe.ru/days/bio/18/031_18.php Павел Луспекаев. Верещагин – свой среди своих]. c-cafe.ru</ref>
<ref name=sp2>Yezhov and Ibragimbekov, p. 2</ref>
<ref name=sp5>Yezhov and Ibragimbekov, p. 5</ref>
<ref name=filming>[https://web.archive.org/web/20131019220804/http://kino-teatr.ru/kino/art/kino/29/ Я не догадывался, что стал знаменитым...] kino-teatr.ru (8 May 2006)</ref>
<ref name=sp4>Yezhov and Ibragimbekov, p. 4</ref>
<ref name=cast>[http://www.kino-teatr.ru/kino/movie/sov/475/annot/ Белое солнце пустыни]. kino-teatr.ru</ref>
<ref name=motyl2>[http://tv.km.ru/iznachalno_za_beloe_solncze_pust/textversion За год до смерти Владимир Мотыль рассказал о своей непростой кинематографической судьбе]. km.ru</ref>
<ref name=motyl>{{cite web |url=http://www.peoples.ru/art/cinema/producer/motyl/interview.html |title=Владимир Мотыль interview|access-date=23 January 2007 |language=ru }}</ref>
<ref name=b1>Федор Раззаков: ''Гибель советского кино. Интриги и споры. 1918–1972'', Эксмо, 2008, {{ISBN|978-5-699-26846-7}}</ref>
<ref name=luga>[http://www.trud.ru/article/30-12-2005/98903_anatolij_kuznetsov_beloe_solntse_menja_sogrelo_i_o.html АНАТОЛИЙ КУЗНЕЦОВ: "БЕЛОЕ СОЛНЦЕ" МЕНЯ СОГРЕЛО И ОБОЖГЛО] Trud (30 December 2005)</ref>
<ref name=script2>[https://web.archive.org/web/20160320220714/http://smena.ru/news/2005/02/04/4554/ Как снимали «Белое солнце пустыни»]. smena.ru (4 February 2005); ".. the heat during the shooting was such that chicken eggs could be cooked in sand within 10 minutes".</ref>
<ref name=r1>[http://www.kommersant.ru/doc/200046 Владимир Мотыль: в кино нужна госполитика]. Kommersant. №104 (1507) (11 June 1998)</ref>
<ref name=pc>[https://web.archive.org/web/20140203203152/http://www.zone-x.ru/showtov.asp?Cat_id=491023&Group_Id=2538 1С:Коллекция игрушек "Белое солнце пустыни"]. zone-x.ru</ref>
<ref name=amvr>[http://www.trud.ru/article/23-08-2001/28760_pamjatnik_tem_komu_za_derzhavu_obidno.html ПАМЯТНИК ТЕМ, КОМУ ЗА ДЕРЖАВУ ОБИДНО]. Trud (23 August 2001)</ref>
<ref name=kurgan>[http://vsesmi.ru/news/900587/1773897/ Курганские таможенники установили памятник Павлу Верещагину из «Белого солнца пустыни»]. vsesmi.ru (7 August 2007)</ref>
<ref name=lugansk>[http://podrobnosti.ua/society/2011/06/21/776649.html В Луганске открыли памятник Павлу Верещагину]. podrobnosti.ua (21 June 2011)</ref>
<ref name=samara>[http://ria.ru/culture/20121207/913858864.html Памятник товарищу Сухову из "Белого солнца пустыни" появился в Самаре]. ria.ru (7 December 2012)</ref>
<ref name=launch>[http://www.esa.int/esaMI/Gagarin/SEM7BO3UFLG_2.html ESA – 50 years of humans in space – Gagarin's traditions – printer version]. Esa.int. Retrieved on 18 April 2012.</ref>
<ref name="Cosmonauts traditions">{{cite web| url=http://suzymchale.com/kosmonavtka/ceremonies.html| archive-url=https://web.archive.org/web/20070210052857/http://www.suzymchale.com/kosmonavtka/ceremonies.html| url-status=dead| archive-date=10 February 2007| title=Kosmonavtika| access-date=21 January 2007| language=ru}}</ref>

<ref name="BBC">[http://news.bbc.co.uk/2/hi/science/nature/6529149.stm American space 'nerd' blasts off]. BBC (7 April 2007)</ref><ref name=venus>[http://galspace.spb.ru/nature.file/02010.html ЧЕТЫРЕ СТОЛЕТИЯ АСТРОНОМИИ]. galspace.spb.ru</ref><ref name=venus2>[http://planetarynames.wr.usgs.gov/SearchResults?target=VENUS&featureType=Crater,%20craters Nomenclature Search Results]. wr.usgs.gov</ref>

}}

==Bibliography==
*Yezhov, Valentin and Ibragimbekov, Rustam (2001) ''Белое солнце пустыни'', Vagrius, {{ISBN|5-264-00694-6}}

==External links==
{{wikiquote}}
*{{IMDb title|id=0066565|title=Beloe solntse pustyni}}
*{{Rotten Tomatoes|the-white-sun-of-the-desert}}
*[http://www.vothouse.ru/films/beloe_solntse_pustyni_text.html Final script] (in Russian)
* Watch [https://www.youtube.com/watch?v=GqnqFhc9aho/ ''White Sun of the Desert''] online on the official [[Mosfilm]] [[YouTube]] channel (with English subtitles)
* {{Cite news|last=Eric|first=Berger|url=https://arstechnica.com/science/2020/04/i-was-bored-so-i-watched-the-movie-that-astronauts-must-view-before-launch/|title=I was bored, so I watched the movie that astronauts must view before launch|date=8 April 2020|work=Ars Technica|access-date=2020-04-08}}

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Strong with Spirit

2025-06-17T10:43:46Z

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{{Infobox film
| name = Strong with Spirit (Сильные духом)
| image = Strong_with_Spirit.jpg
| caption =
| director = [[Viktor Georgiyev]]
| producer =
| writer = [[Anatoli Grebnev]] [[Aleksandr Lukin]]
| narrator =
| starring = [[Gunārs Cilinskis]] [[Ivan Pereverzev]] [[Yevgeni Vesnik]] [[Lyusyena Ovchinnikova]] [[Yuri Solomin]]
| music =
| cinematography =
| editing =
| studio = [[Sverdlovsk Film Studio]]
| distributor =
| released = {{Film date|1967}}
| runtime = 192 minutes
| country = Soviet Union
| language = [[Russian language|Russian]]
| budget =
| gross = First part was viewed by 55.2 million and the second part by 54.6 million
}}

'''''Strong with Spirit''''' ({{langx|ru|Сильные духом|Silnye dukhom}}) is a 1967 Soviet [[spy film]] directed by [[Viktor Georgiyev]] based on a screenplay by [[Anatoli Grebnev]] and [[Aleksandr Lukin]]. It tells the story of the Soviet intelligence officer [[Nikolai Ivanovich Kuznetsov|Nikolai Kuznetsov]]. The picture was the 26th most attended domestic film in the Soviet Union.<ref>{{cite web|url=http://kinanet.livejournal.com/14172.html|title=Отечественные фильмы в советском кинопрокате|author=[[Sergey Kudryavtsev (film critic)|Sergey Kudryavtsev]]}}</ref>

==Plot==
The film is about the Soviet intelligence officer [[Nikolai Ivanovich Kuznetsov]].

==Cast==
* [[Gunārs Cilinskis]] as [[Nikolai Ivanovich Kuznetsov|Nikolai Kuznetsov]] / Paul Zibert (dubbed by [[Aleksandr Belyavsky (actor)|Aleksandr Belyavsky]])
* [[Ivan Pereverzev]] as [[Dmitry Medvedev (partisan)|Dmitry Medvedev]]
* [[Yevgeni Vesnik]] as Voronchuk, agent
* [[Lyusyena Ovchinnikova]] as Galya
* [[Yuri Solomin]] as Mayor Gettel
* [[Vija Artmane]] as Lidia Lisovskaya
* [[Victoria Fyodorova]] as Valentina Dovger
* [[Aleksandr Galevsky]] as Prikhodko
* [[Yuri Bogolyubov]] as Belotinsky
* [[Yuri Volkov]] as Ortel
* [[Daniil Netrebin]] as mayor
* [[Paul Butkevich]] as Kaminsky
* [[Andrei Fajt]] as count Gran
* [[Pyotr Sobolevsky]] as hauptmann
* [[Anatoli Romashin]] as ober-lieutenant (dubbed by Oleg Golubitsky)

==References==
{{Reflist}}

==External links==
* {{IMDb title|0062272}}

[[Category:World War II spy films]]
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{{1960s-USSR-film-stub}}
{{1960s-adventure-film-stub}}

The Seventh Bullet

2025-06-17T10:36:14Z

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{{short description|1972 film}}
{{Infobox film
|name = The Seventh Bullet
|image =

|caption =
|director = [[Ali Khamraev]]
|producer =
|writer = [[Fridrikh Gorenshtein]] [[Andrei Konchalovsky]]
|narrator =
|starring = [[Dilorom Kambarova]] [[Suimenkul Chokmorov]] [[Bolot Bejshenaliyev]] [[Talgat Nigmatulin]]
|music = [[Rumil Vildanov]]
|cinematography = Aleksandr Pann
|editing =
|studio = [[Uzbekfilm]]
|released = {{Film date|1972}}
|runtime = 84 min.
|country = Soviet Union
|language = Russian
|budget =
|gross =
}}
'''''The Seventh Bullet''''' ({{langx|ru|Седьмая пуля}}, [[Transliteration|translit.]] ''Sedmaya pulya'') is a [[Soviet Union|Soviet]] [[Ostern]] film of 1972 directed by [[Ali Khamraev]].<ref>[http://www.kino-teatr.ru/kino/movie/sov/6303/annot/ «Седьмая пуля» на сайте kino-teatr.ru]</ref>

In the same tradition as ''[[White Sun of the Desert|The White Sun of the Desert]]'' and ''[[The Bodyguard (1979 film)|The Bodyguard]]'', ''The Seventh Bullet'' is set in the 1920s in [[Soviet Central Asia]], after the end of the [[Russian Civil War]] and in the context of a waning [[Basmachi movement|Basmachi rebellion]]. Compared to other [[Ostern|Red Westerns]] it can be considered closer to a typical [[war film]].

==Plot==
A commander dressed in the white uniform of a Red Army officer arrives at a devastated village, where he encounters a bearded man hurling a grenade, yelling, "I won’t surrender alive!" Recognizing the man as Hashimov, the commander learns that a mutiny occurred while he was away. The uprising was sparked when Commissar Pyotr Ivanovich forbade Umar, a soldier, from performing his prayers. Many mutineers joined the band of Khairulla, swelling its numbers to 200 sabers. Hashimov captures a prisoner who shows no fear of death, but the commander surprises everyone by handing the man a loaded pistol and releasing him. Later, a veiled woman visits the commander, asking him to kill Khairulla, deliver his head to Tashkent, and marry her. The commander doubts her intentions but suspects she can lead him to Khairulla.

Determined to reclaim his "Muslim Red Squad," the commander arms himself with six bullets in his revolver and a seventh hidden under his cap, reserved for Khairulla. Disguising himself as Maksumov, he infiltrates a group of Khairulla's horsemen. Recognized but doubted for allegedly defeating Khairulla with a machine gun, Maksumov is captured and taken to the bandit leader. Along the way, they meet a neutral shepherd, Ismail, who mistakenly believes Maksumov killed his brother and attempts vengeance, only to be beaten by Khairulla's men. Ismail’s clan later ambushes Khairulla’s forces, nearly annihilating them. After multiple captures and escapes, Maksumov earns Ismail’s trust, and they unite against Khairulla. In a final battle, Ismail’s men, using throwing knives, seize a machine gun, demoralizing Khairulla's band. As Khairulla tries to flee, Maksumov kills him with the reserved seventh bullet by a border river. In the closing scene, Maksumov leads his reunited Red squad, riding under a crimson flag.

== References ==
{{reflist}}

==External links==
*{{IMDb title|0171726}}

{{Andrei Konchalovsky}}

{{DEFAULTSORT:Seventh Bullet, The}}
[[Category:Ostern films]]
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[[Category:1970s Russian-language films]]
[[Category:1972 Western (genre) films]]
[[Category:1970s war adventure films]]
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[[Category:Russian-language war adventure films]]

{{1970s-USSR-film-stub}}
{{1970s-Western-film-stub}}

At Home Among Strangers

2025-06-17T10:28:28Z

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{{Short description|1975 film}}
{{Infobox film
| name = A Friend to Foes, a Foe to Friends
| image = Illaposter.jpg
| caption = A 1974 Soviet movie poster
| director = [[Nikita Mikhalkov]]
| producer =
| writer = [[Eduard Volodarsky]] Nikita Mikhalkov
| starring = [[Yuri Bogatyryov]] [[Anatoly Solonitsyn]]
| music = [[Eduard Artemyev]]<ref>[http://www.1tv.ru/documentary/fi=7835 Биографический фильм «Эдуард Артемьев. В своем фантастическом мире»]</ref>
| cinematography = [[Pavel Lebeshev]]
| editing = Lyudmila Yelyan
| studio = [[Mosfilm]]
| distributor = RUSCICO (DVD)
| released = {{Film date|1975|11|11}}
| runtime = 93 minutes
| country = [[Soviet Union]]
| language = Russian
}}
'''''A Friend to Foes, a Foe to Friends''''' ({{langx|ru|Свой среди чужих, чужой среди своих}}; ''Svoy sredi chuzhikh, chuzhoy sredi svoikh'') is a 1974 Soviet [[Red Western]] film starring [[Yuri Bogatyryov]] and [[Anatoly Solonitsyn]] and directed by [[Nikita Mikhalkov]]. It is Mikhalkov's directorial debut.<ref>{{cite news|last=Bouis|first=Jean-Claude|title=Nikita Mikhalkov interview|url=https://www.newspapers.com/article/168993266/|newspaper=[[Honolulu Star-Bulletin]]|agency=[[Associated Press]]|date=17 October 1978|access-date=29 March 2025|via=[[Newspapers.com]]}}</ref> Produced mainly in colour, some scenes are black and white.<ref name="Тайны нашего кино">Тайны нашего кино «Свой среди чужих, чужой среди своих» (ТВЦ, 2014)</ref>

==English language titles==
The film's English title has numerous variants, and this in part has hindered success in English-speaking countries, along with particularly bad [[Dubbing (filmmaking)|dubbing]] when it was first released in those countries. Variants range from a full length translation of the Russian title — ''At home among strangers, a stranger among his own'' or ''A friend among foes, a foe among friends'' to ''At home among the Strangers''.

==Plot==

The setting is post-[[Russian Civil War]], during the reconstruction of the young [[Soviet Union|Soviet]] republic. During the war, Shilov, Sarichev, Kungorov, Zabelin and Lipyagin had become great friends.

There are two main plots in the film, the first involving the theft of gold by [[outlaw]]s just after the Russian civil war. Though the [[cannon]]s are now silent, the enemy continues to harass the Soviets. The regional committee sends a precious shipment of gold by train to [[Moscow]], and a group of [[demobbed|demobilized]] [[Red Army]] soldiers — now [[Cheka]] officers — led by Shilov are entrusted with the responsibility of guarding it. The [[gold]] is needed to buy bread from overseas to feed the [[Russian famine of 1921–1922|starving population]]. The Cheka guards are attacked and killed by a group of [[Assassination|assassins]], and the briefcase of gold is stolen. The group then hops onto another train, only to face a reversal of their own when their train is attacked by [[bandits]]. All the assassins are killed except their leader, who discovers that a bandit has secretly stolen the gold. He then joins the bandits in an effort to learn where the gold is, and to escape with it. In the meantime, Shilov is kidnapped and drugged before the train sets off, and is dumped in the street after the attack and framed as the inside man. He is suspected of treason, partly because his brother was a "[[White movement|White]]", which is where the second plot comes in. Shilov must infiltrate the enemy bandit camp to find the gold, hence the title. The second plot involves Shilov's desire to clear his name of murder, and he must find out who killed his friends. During his efforts, Shilov uncovers a web of deceit and treachery, which allowed the robbery to succeed. The story of a hero battling against corruption and greed echoes the cattle baron or railroad Westerns.

==Themes and influence==
The film combines traits of a "buddy film" with "[[Ostern|Eastern]]" look and setting. Nancy Condee writes that the choice of film location likens the Russian Civil War to U.S. frontier history: "the clean slate, a ''terra nullius'' at the imperial periphery, an unlimited moral expanse where socialism could be inscribed".{{Sfn|Condee|2009|p=92}} The Chekists, shown at the beginning of the movie merely as former brothers in arms and friends, by the end of the film become a well-oiled organism supporting state sovereignty and governability. Likewise, the landowner's carriage, destroyed at the beginning of the film, gives way to a sleek and modern limousine as a symbol of the new state.{{Sfn|Condee|2009|p=92}}

The Chekists are presented as the main instrument of the new state, its Mind, Honor and Conscience. The ordinary people, for whose sake the gold is confiscated, are never shown in contact with each other or the central characters. The only distinct folk figure is Kaium, a half-wit of unspecified Asian ethnicity. To Nancy Condee, Kaium plays the same part to Shilov as a friendly Indian to a U.S. marshal in a traditional Western movie. Shilov brings him "into the imperial fold as the state's first colonial subject".{{Sfn|Condee|2009|p=93}}

The finale "brings home the spirit of the Revolution, which forges friendship that lasts forever".{{Sfn|Beumers|2005|p=26}} On the other hand, Lemke, a captured White officer, "has no friend, nobody to rely on; he is lonely, and this is almost enough punishment".{{Sfn|Beumers|2005|p=27}}

Ultimately, in the final scene, "the image of the old order represented by the carriage that featured in the black and white flashbacks becomes coloured: the past has caught up with the present, and the new order has won".{{Sfn|Beumers|2005|p=28}}

As Birgit Beumers notices, Mikhalkov does not attempt to portray an accurate version of events, but creates a myth of a heroic Revolution. Mikhalkov presents history "as it should have been". Not rooted in historical facts, the film blurs the historical perspective. Birgit Beumers mentions [[Svetlana Boym]]'s distinction between two types of nostalgia, "one dwelling on longing for, the other on rebuilding, the past". Boym, addressing whether a past that has slipped out of reach can be reclaimed by means of nostalgia, warns against nostalgia that engages in "anti-modern mythmaking of history".<ref>{{cite news |title=Svetlana Boym, 56, Scholar of Myth and Memory, Dies|url=https://www.nytimes.com/2015/08/23/arts/international/svetlana-boym-56-scholar-of-myth-and-memory-dies.html|first=Margalit|last=Fox|work=New York Times |date=22 August 2015}}</ref>

==Cast==
* [[Yuri Bogatyryov]] — Egor Shilov
* [[Anatoly Solonitsyn]] — Sarychev<ref>{{Cite web |url=https://tvkinoradio.ru/article/article1104-kak-eto-snyato-svoj-sredi-chuzhih-chuzhoj-sredi-svoih |title=Как это снято: Свой среди чужих, чужой среди своих|access-date=2018-02-09 |archive-date=2017-12-01 |archive-url=https://web.archive.org/web/20171201045739/https://tvkinoradio.ru/article/article1104-kak-eto-snyato-svoj-sredi-chuzhih-chuzhoj-sredi-svoih |url-status=dead }}</ref>
* [[Alexander Kaidanovsky]] — rittmeister Lemke
* [[Nikita Mikhalkov]] — Brylov
* [[Aleksandr Porokhovshchikov]] — Kungarov
* [[Sergey Shakurov]] — Zabelin
* [[Nikolai Pastukhov]] — Stepan Lipyagin
* [[Alexander Kalyagin]] — Vanyukin
* [[Konstantin Raikin]] — Tatar Kayum<ref>{{Cite web |url=https://www.novochag.ru/family_and_children/movies-and-series/svoy-sredi-chuzhih-chuzhoy-sredi-svoih-kak-nikita-mihalkov-uchil-yuriya-bogatyryova-dratsya/|title="Свой среди чужих, чужой среди своих": как Константину Райкину не дали утонуть на съёмках и кто его спас|access-date=2022-11-11|language=ru|work=novochag.ru}}</ref>
* [[Aleksandr Adabashyan]] — Brylov's informant
* [[Elena Sanayeva]] — bride

==References==
{{reflist}}

;Sources
*{{cite book|last=Condee|first=Nancy|title=The Imperial Trace: Recent Russian Cinema|url=https://books.google.com/books?id=ORuZiKsMBVgC&pg=PA93|date=2009|publisher=Oxford University Press|isbn=9780199710546}}
*{{cite book|last=Beumers|first=Birgit|title=Nikita Mikhalkov: The Filmmaker's Companion 1|url=https://books.google.com/books?id=lxUsYpj7gIQC&pg=PA26|date=2005|publisher=I.B.Tauris|isbn=978-1-86064-785-7}}

==External links==
#{{IMDb title|0072231}}

{{Nikita Mikhalkov}}
[[Category:1970s action adventure films]]
[[Category:1970s action drama films]]
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[[Category:1970s adventure drama films]]
[[Category:1970s Russian-language films]]
[[Category:1970s Soviet films]]
[[Category:1970s war adventure films]]
[[Category:1970s war drama films]]
[[Category:1974 action films]]
[[Category:1974 films]]
[[Category:1974 Western (genre) films]]
[[Category:1975 action films]]
[[Category:1975 films]]
[[Category:Films directed by Nikita Mikhalkov]]
[[Category:Films partially in color]]
[[Category:Films scored by Eduard Artemyev]]
[[Category:Films set in Russia]]
[[Category:Films set in the 1920s]]
[[Category:Films shot in Azerbaijan]]
[[Category:Films shot in Moscow Oblast]]
[[Category:Films shot in the North Caucasus]]
[[Category:Films with screenplays by Nikita Mikhalkov]]
[[Category:Mosfilm films]]
[[Category:Ostern films]]
[[Category:Russian-language action adventure films]]
[[Category:Russian-language action drama films]]
[[Category:Russian-language war adventure films]]
[[Category:Russian-language adventure drama films]]
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[[Category:Soviet action drama films]]
[[Category:Soviet action war films]]
[[Category:Soviet adventure drama films]]
[[Category:Soviet war adventure films]]
[[Category:Soviet war drama films]]
[[Category:Russian Civil War films]]

Krazana

2025-06-17T10:19:36Z

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{{short description|1928 film}}
{{Other uses|Ovod (disambiguation){{!}}Ovod}}
{{Use dmy dates|date=October 2020}}
{{Infobox film
| name = Krazana
| image =
| caption =
| director = [[Kote Marjanishvili]]
| producer =
| writer = [[Kote Mardjanishvili]] [[Viktor Shklovsky]] [[Ethel Lilian Voynich]] (novel)
| starring =
| cinematography = [[Sergei Zabozlayev]]
| editing =
| distributor = [[Sakhkinmretsvi]] (Georgian SSR)
| released = {{Film date|1928|12|25|df=y}}
| runtime = 95 minutes
| country = Soviet Union ([[Georgian SSR]])
| language = [[Georgian language|Georgian]] [[Russian language|Russian]]
| budget =
| gross =
}}
'''''Krazana''''' ({{lang-ka|კრაზანა}}) is a 1928 Soviet-[[Georgian SSR|Georgian]] [[black-and-white]] [[silent film]] directed by [[Kote Marjanishvili]]. It is based on the 1897 novel ''[[The Gadfly]]'' by [[Ethel Lilian Voynich]].

"Krazana" means [[wasp]] in [[Georgian language]].

==Cast==
* [[Nato Vachnadze]] as ''Jema''
* Iliko Merabishvili as ''Arthur''
* [[Aleksandre Imedashvili]] as ''Cardinal Montanelli''
* Eliazar Imereli as ''Martin''
* [[Victor Chankvetadze]] as ''Revolutionary''

== External links ==
* {{IMDb title|0261008|Krazana}}

[[Category:1928 films]]
[[Category:1928 adventure films]]
[[Category:Soviet black-and-white films]]
[[Category:Soviet silent feature films]]
[[Category:Soviet war adventure films]]
[[Category:Soviet-era films from Georgia (country)]]
[[Category:Georgian-language films]]
[[Category:Georgian words and phrases]]
[[Category:Adventure films from Georgia (country)]]
[[Category:Black-and-white films from Georgia (country)]]
[[Category:Silent Soviet adventure films]]

{{1920s-USSR-film-stub}}
{{Georgia-film-stub}}
{{silent-adventure-film-stub}}
{{1920s-adventure-film-stub}}

Ilya Muromets (film)

2025-06-17T10:13:10Z

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{{Expand Russian|topic=cult|date=September 2019}}
{{Infobox film
| name = Ilya Muromets
| image = Ilya Muromets vhs.jpg
| caption = VHS cover
| director = [[Aleksandr Ptushko]]
| writer = Mikhail Kochnev
| based_on = ''[[bylina]]''
| producer = D. Vyatich-Berejnikh
| starring = {{plain list|
* [[Boris Andreyev (actor)|Boris Andreyev]]
* [[Shukur Burkhanov]]
* [[Andrei Abrikosov]]
* [[Natalia Medvedeva (actress)|Natalya Medvedeva]]
* Yelena Myshkova
}}
| cinematography = {{plain list|
* Yuli Kun
* Fedor Provorov
}}
| editing = M. Kuzmina
| music = Igor Morozov
| studio = [[Mosfilm]]
| distributor = Mosfilm
| released = {{Film date|1956|9|16|df=y}}
| runtime = 91 minutes
| country = Soviet Union
| language = Russian
}}
'''''Ilya Muromets''''' ({{langx|ru|Илья Муромец}}), also known as '''''The Sword and the Dragon''''' (US) and '''''The Epic Hero and the Beast''''' (UK), is a 1956 Soviet [[fantasy film]] by noted fantasy director [[Aleksandr Ptushko]] and produced at [[Mosfilm]].<ref>[https://web.archive.org/web/20210915212907/https://www2.bfi.org.uk/films-tv-people/4ce2b72bd1507 BFI]</ref> It is based on the old [[bylina|Russian oral epic poems]] about the [[bogatyr|knight]] [[Ilya Muromets]].<ref>[https://www.nytimes.com/1960/11/17/archives/russian-spectacle.html Russian Spectacle - The New York Times]</ref>

==Plot==
The film opens in medieval Russia, where the aging bogatyr [[Svyatogor]] entrusts his magical sword to pilgrims before transforming into a mountain as he dies. Meanwhile, the Tugars, an Asiatic pagan horde, terrorize the land, pillaging villages, including that of [[Ilya Muromets]]. Crippled since childhood, Ilya is unable to protect his fiancée, Vassilisa, who is taken captive. Mishatychka, a villager caught by the Tugars, agrees to betray his people in exchange for his life. When pilgrims arrive at Ilya’s home, they cure his paralysis with a magical potion and song and present him with [[Svyatogor]]’s sword. Determined to defend his homeland, Ilya sets off on a journey, riding a foal that magically matures into a steed. Along the way, he defeats [[Nightingale the Robber]], a monstrous forest dweller.

In [[Kiev]], [[Vladimir the Great|Prince Vladimir the Fair Sun]] oversees preparations against the Tugars. Ilya arrives, presenting [[Nightingale the Robber]] as a prisoner and earning the prince's admiration. He joins a brotherhood of bogatyrs alongside [[Dobrynya Nikitich]] and [[Alyosha Popovich]]. When the Tugar ambassador, the massive Idolishche Poganoye, demands an exorbitant tribute, Ilya refuses and kills him, escalating tensions. Rescuing Vassilisa from Tugar captors, Ilya temporarily reunites with her but leaves to continue his fight. Pregnant with Ilya's child, Vassilisa is recaptured by the Tugars and gives birth to their son, Sokolnichek, who is raised as a Tugar warrior by their leader, Tsar Kalin. Betrayed by Mishatychka, Ilya is imprisoned for a decade. Meanwhile, the Tugars besiege [[Kiev]], demanding a vast ransom. Ilya is eventually freed and devises a clever ploy to delay the Tugars, allowing time for reinforcements to arrive. Mishatychka is exposed as a traitor and executed.

In the climactic battle, Ilya confronts his son, Sokolnichek, now a formidable warrior. Recognizing the familial bond, Sokolnichek switches sides, helping to free Vassilisa and other captives. The Rus' armies, led by Ilya, [[Dobrynya Nikitich]], and [[Alyosha Popovich]], engage the Tugars in a massive confrontation. During the battle, Tsar Kalin releases the fire-breathing dragon [[Zmey Gorynych]], which is ultimately defeated by the Rus' forces. A final arrow from [[Kiev]]'s ballista topples Tsar Kalin from his perch, ensuring victory. With the Tugars routed, Ilya declines royal honors to reunite with his family and embarks on new adventures, passing his sword and legacy to Sokolnichek, who continues the heroic lineage.

==Cast==
* [[Boris Andreyev (actor)|Boris Andreyev]] – [[Ilya Muromets]]
* Ninel Myshkova – Vassilisa
* [[Shukur Burkhanov]] – Tsar Kalin
* [[Andrey Abrikosov]] – [[Prince Vladimir]]
* Natalya Medvedeva – Princess Apraksia
* Aleksander Shvorin – Sokolnichek (20 years)
* [[Sergey Martinson]] – Mishatychka
* [[Sergei Stolyarov]] – [[Alyosha Popovich]]
* [[Iya Arepina]] – Alyonushka
* [[Mikhail Pugovkin]] – Razumey
* Muratbek Ryskulov – Nevryui

Monsters besides Nightingale the Robber and the dragon Zmey Gorynych, are [[Idolishche|Idolishche Poganoye]] and [[Likho]] the One-Eyed.<ref>{{cite book |title=Огонек, Volume 34 |publisher=Издательство "Правда" |year=1956 |url=https://books.google.com/books?id=DAEjAQAAMAAJ&q=%22%D0%98%D0%BB%D1%8C%D1%8F+%D0%9C%D1%83%D1%80%D0%BE%D0%BC%D0%B5%D1%86%22 |page=1005 |language=ru |quote=В съемках принимали участие «чудища», которые создавались здесь же, в студии, вроде Идолища, Соловья-разбойника, Змея-Горыныча, Лиха Одноглазого}} (other «monsters» participating in the filming: [[Idolishche]], [[Nightingale the Robber]], {{interlanguage link|Zmey Gorynych|ru|Змей Горыныч}}, [[Likho|one-eyed Likho]])</ref>

==Production==
[[Roger Corman]] re-edited the film in the early 1960s for US release, changing many names: [[Nightingale the Robber]] was changed to Wind Demon, Svyatogor became Invincor, Gorynych the Serpent was renamed Zuma the Fire Dragon, Dobrynya became Durbar, and the Khan was changed to Khalin. This version also includes narration by [[Mike Wallace]]<ref>Credits on US release print.</ref> and [[Shukur Burkhanov]] (Khalin) was dubbed by voice actor [[Paul Frees]].

==Legacy==
Corman's edit was featured on an episode of ''[[Mystery Science Theater 3000]]'' as ''The Sword and the Dragon''.<ref>[https://www.rifftrax.com/mst3k-the-sword-and-the-dragon MST3K: The Sword and the Dragon|RiffTrax]</ref> The ''MST3K'' crew mistook the film's nation of origin to be [[Finland]], and filled the episode with jokes about the Finnish.

Zmey Gorynych was a heavy inspiration for the [[Kaiju]] [[King Ghidorah]], who would go on to become the archnemesis of [[Godzilla]].

===Comic book adaptation===
* [[Dell Comics|Dell]] [[Four Color]] #1118 (June 1960)<ref>{{gcdb issue|id=15953|title=Dell Four Color #1118}}</ref><ref>{{comicbookdb|type=issue|id=314201|title=Dell Four Color #1118}}</ref>

==See also==
* ''[[Alexander Nevsky (film)|Alexander Nevsky]]'' - a 1938 film featuring music by [[Sergei Prokofiev]]
* ''[[Vasilisa the Beautiful (1939 film)|Vasilisa the Beautiful]]'' (1939)

==References==
{{reflist}}

== External links ==
{{refbegin}}
* [https://www.youtube.com/watch?v=uopfqauEz64 ''Ilya Muromets''] at YouTube Cinema Concern [[Mosfilm]] channel
* {{IMDb title|0049358|Ilya Muromets}}
* [http://cinema.mosfilm.ru/films/film/1950-1959/ilya-muromets/ ''Ilya Muromets''] {{Webarchive|url=https://web.archive.org/web/20131219002953/http://cinema.mosfilm.ru/films/film/1950-1959/ilya-muromets/|date=2013-12-19}} online at official [[Mosfilm]] site
* {{Internet Archive film|id=SwordAndTheDragon|name=The Sword and the Dragon}}
* [http://vobzor.com/dvdreview.php?id=100 Review of Krupnyy Plan DVD] {{in lang|ru}}
* [https://www.shoutfactorytv.com/mystery-science-theater-3000/mst3k-the-sword-and-the-dragon/58012468ea906d0d4800e422 MST3K episode on ShoutFactoryTV] {{Webarchive|url=https://web.archive.org/web/20221207192923/https://www.shoutfactorytv.com/mystery-science-theater-3000/mst3k-the-sword-and-the-dragon/58012468ea906d0d4800e422 |date=2022-12-07}}
{{refend}}

{{Aleksandr Ptushko}}

[[Category:1956 films]]
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The Queen of Spades (1982 film)

2025-06-16T17:10:51Z

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{{unreferenced|date=June 2019}}
{{Infobox film
|name = The Queen of Spades
|image =
|director = [[Igor Maslennikov]]
|writer = [[Alexander Pushkin]] [[Aleksandr Shlepyanov]]
|starring = [[Viktor Proskurin]] [[Innokenty Smoktunovsky]]
|producer =
|narrator = [[Alla Demidova]]
|music = [[Dmytro Bortniansky]]
|cinematography = [[Yuri Veksler]]
|distributor = [[Lenfilm]]
|released = {{Film date|1982}}
|runtime = 92 minutes
|language = Russian
|country = Soviet Union
}}
'''''The Queen of Spades''''' ({{langx|ru|«Пиковая дама»|Pikovaya dama}}) is a 1982 film adaptation of the 1834 [[Alexander Pushkin]] short story [[The Queen of Spades (story)|of the same name]].

Film is verbatim (including epigraphs) screening of Pushkin's story.

==Plot==
In fact, it retains virtually all of the original text of the story. Maslennikov does everything possible to create a “realistic” version of the tale, using costumes which accurately reflect the period, filming exclusively in [[Sankt-Petersburg]], and even limiting his soundtrack to period music (compositions of Dmitry Bortniansky). Even the epigraphs at the beginning of each brief chapter are printed on the screen.

To hold to Pushkin's text, a narrator (played by Alla Demidova) appears in the streets and salons of St. Petersburg, convincingly telling the story in Pushkin's words. She begins narrating as she opens the door to the dining room of Narumov (played by Konstantin Grigoriev), where several aristocratic guards officers have been playing cards all night. Their game is observed by Hermann/Germann (played by Viktor Proskurin), an officer of the corps of engineers (and thus not of the high aristocratic class of the other officers). He seems fascinated by the card game, and is very attentive to the conversations of the guards officers. Germann is an ethnic German, and seems to fit the Russian stereotype of a thrifty German: he does not gamble because he is not willing to risk losing “that which is necessary to gain that which is superfluous.”

As the night is coming to an end, one of the officers, Count Pavel (“Paul”) Tomsky (played by Vitaly Solomin) tells a story from the youth of his now aged grandmother, who once gained a huge gambling debt in France, and supposedly approached the mysterious Count Saint-Germain for help. Tomsky goes on to state that the Count gave her a winning card combination, and she won back enough to pay off her gambling debt. Tomsky further states that his grandmother, now in her eighties, refuses to share the secret with anyone in his family. Tomsky gets a bit carried away with his story, saying that Cardinal Richelieu had been madly in love with his grandmother. The famous Cardinal Richelieu (1585-1642) was before his grandmother's time, so we can only assume he was referring to the less celebrated Louis-François-Armand du Pless Richelieu (1696-1788), a French marshal and grand-nephew to the renowned Cardinal and statesman. Also, the mention of Count Saint Germain (1710-1784), a mysterious character associated with the occult, makes the story seem a bit fantastic, and the other officers may have taken note of this, but Germann takes the story quite literally.

The elderly countess Anna Fedotovna (played by Elena Gogoleva) is attended by a young companion (a “ward,” probably an impoverished distant relative) called Lizaveta Ivanovna (played by Irina Dymchenko), and Germann begins to seek a way to initiate a romance with Lizaveta in order to gain access to the elderly countess and her secret.

After negligently causing the death of the countess, Germann is visited by her ghost, who tells him the secret of the 3 cards. Germann is now confidant that he can use the secret to win a fortune. He uses his contacts among the guards officers to gain entrance to the elite card game of Chekalinsky (played by Innokenty Smoktonovsky), where he risks his modest fortune in an attempt to gain fantastic wealth.

The German stereotype has been turned inside out - Germann has gone from being sober, hard-working and thrifty to being obsessed with gaining a quick and easy fortune, and this proves to be his undoing.

==Cast==
* [[Alla Demidova]] as the narrator
* [[Viktor Proskurin]] as Herman
* [[Irina Dymchenko]] as Lisa
* [[Elena Gogoleva]] as Countess
* [[Vitaly Solomin]] as Count Tomsky
* [[Innokenty Smoktunovsky]] as Chekalinsky

==Commentary==
Igor Maslennikov said about the film:
* "Queen of Spades" came out in me absolutely by such as I wanted her to see - not only as the motion picture director, but as men with the classical philological education. We brought to the consciousness of a spectator the authentic, true text of this piece of Pushkin, and indeed many receive "Queen of Spades" using the material of [[Pyotr Ilyich Tchaikovsky|Tchaikovsky]]'s opera. There is even guide on Petersburg, in which under the photograph of winter groove stands the signature: "the winter groove, in which was drowned Pushkin's Liza". Here immediately several errors. It suffices to say that anywhere Pushkin does not have any Liza, but Lizaveta Ivanovna, who safely marry... And here these myths we attempted to destroy...".
* "... most important myth - about Hermann, who by Pushkin not was neither demonic nor romantic hero. This is such kind of ''nemchik'' {{efn|"nemchik" is a derogatory form for ''nemets'', "German person"}}, which in Petersburg there was much - 30% of population. Pushkin irritated all of them, to Hermann he gave the pejorative characteristic: no one of the officers perceived nonsense about the three cards, the very same to this believed; passing by the house of the countess, he saw her niece and began to letter her. But not his own, but he copied pages from the German novels."

==See also==
* [[The Queen of Spades (1916 film)|''The Queen of Spades'' (1916 film)]]
* [[The Queen of Spades (1960 film)|''The Queen of Spades'' (1960 film)]]

==Notes==
{{notelist}}
==References==
{{reflist}}
==External links==
*{{IMDb title|0084498}}

{{The Queen of Spades}}

{{DEFAULTSORT:Queen of Spades, The (1982 film)}}
[[Category:1982 films]]
[[Category:1980s Soviet films]]
[[Category:1980s Russian-language films]]
[[Category:1980s fantasy drama films]]
[[Category:1980s ghost films]]
[[Category:1980s horror drama films]]
[[Category:Soviet fantasy drama films]]
[[Category:Soviet horror drama films]]
[[Category:Russian films about gambling]]
[[Category:Films directed by Igor Maslennikov]]
[[Category:Films based on The Queen of Spades]]
[[Category:Films set in the 1820s]]
[[Category:Films set in Saint Petersburg]]
[[Category:Lenfilm films]]

The Queen of Spades (1916 film)

2025-06-16T15:59:50Z

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{{Use dmy dates|date=March 2015}}
{{Infobox film
|name = The Queen of Spades
|image = The Queen of Spades (1916 film) poster.jpg
|director = [[Yakov Protazanov]]
|writer = [[Aleksandr Pushkin]] Yakov Protazanov [[Fedor Ozep]]
|starring = [[Ivan Mosjoukine]]
|producer = Joseph N. Ermolieff
|music = Rafal Rozmus
|cinematography = Yevgeni Slavinsky
|distributor =
|released = {{Film date|1916|04|01|Russian Empire|1917|11|18|U.S.|df=y}}
|country = [[Russian Empire]]
|runtime = 84 minutes
|language = [[Silent film]] [[Russian language|Russian]] [[intertitle]]s
}}
'''''The Queen of Spades''''' ({{langx|ru|«Пиковая дама»|Pikovaya dama}}) is a 1916 [[film adaptation]] of the 1834 [[Aleksandr Pushkin]] short story [[The Queen of Spades (story)|of the same name]]. It is noted for its high production values, directorial technique and psychological depth of acting, especially by [[Ivan Mosjoukine]]. It is considered to be one of the best pre-revolutionary Russian films.

The film was the second production of the story, the first being the silent short film adaptation of the [[Pyotr Tchaikovsky]] opera by [[Pyotr Chardynin]] in 1910. [[Yakov Protazanov]] uses a wide combination of narrative, staging and camera techniques, many of which were unusual for that time, including retrospection, visions (prototypes of the [[Stream of consciousness writing|stream of consciousness]]), [[split screen (video production)|split screen]] combination shots, [[Flashback (narrative)|flashbacks]], [[jump cut]]s, [[deep focus]] and deep staging, and [[Dissolve (filmmaking)|dissolves]].

==Plot==
[[File:Пиковая дама. (1916).webm|thumb|left|thumbtime=5|''The Queen of Spades'' (1916)]]
As described in a film magazine,<ref>{{cite journal |title=Synopsis of Current Publications: ''The Queen of Spades'' |journal=Exhibitors Herald |volume=5 |issue=21 |publisher=Exhibitors Herald Company |date=November 17, 1917 |location=New York |page=[https://archive.org/details/exhibitorsherald05exhi/page/n44 35] |url=https://archive.org/details/exhibitorsherald05exhi}}</ref> Hermann, a Russian military officer with a limited fortune, is fascinated when he hears the story of Countess Fedotovna, who won her fortune by playing three particular cards, the identity of which she refuses to reveal. Hermann gains entrance to the countess's house through a flirtation with Lizaveta, ward of the countess. He confronts the countess with a revolver and demands to know the cards she played. The countess collapses, dead of fright. Remorseful, Hermann goes home. The next morning he seems to see the phantom of the countess, who tells him that the three cards are the three, the seven, and the [[ace]]. The first two nights he plays the three and the seven and is successful. The third night he bets all of his money, feeling sure that the card will be the ace. However, he finds his own card has become the queen of spades and he has lost everything. With the loss of his fortune he also loses his mind.

==Cast==
* Hermann - [[Ivan Mosjoukine]]
* Lizaveta Ivanovna - [[Vera Georgievna Orlova|Vera Orlova]]
* Countess Anna Fedotovna as an old woman - [[Yelizaveta Shebueva]]
* The Countess as a young woman - [[Tamara Duvan]]
* Count Fedotovna - [[Pavel Pavlov (actor)|Pavel Pavlov]]
* Count St. Germain - [[Nikolai Panov]]

==Home media==
The film has been released on DVD.<ref>[http://www.silentera.com/PSFL/data/P/PikovayaDama1916.html Progressive Silent Film List: ''Pikovaya Dama''] at silentera.com</ref>

==See also==
* ''[[The Queen of Spades (1960 film)]]''
* ''[[The Queen of Spades (1982 film)]]''
* [[Queen of spades]]

==References==
{{reflist}}

==External links==
{{commons category|Queen of spades (1916 film)}}
* {{IMDb title|id = 0007183|title=The Queen of Spades}}
* [http://www.kultprosvet.ru/text/?id=357 About the film] {{in lang|ru}}
* [https://archive.today/20030612215256/http://mega.km.ru/cinema/encyclop.asp?TopicNumber=3573 Article in mega.km.ru] {{in lang|ru}}
* [http://www.kinopoisk.ru/level/1/film/40909/ ''The Queen of Spades'' at Kinopoisk] {{in lang|ru}}
* [http://video.kylekeeton.com/2009/08/russian-video-queen-of-spades-1916-film.html Watch ''The Queen of Spades'' with English subtitles]

{{Yakov Protazanov}}
{{The Queen of Spades}}

{{DEFAULTSORT:Queen of Spades (1916 film), The}}
[[Category:1916 films]]
[[Category:1910s fantasy drama films]]
[[Category:1910s ghost films]]
[[Category:1910s horror drama films]]
[[Category:1910s Russian-language films]]
[[Category:Russian black-and-white films]]
[[Category:Russian silent films]]
[[Category:Russian dark fantasy films]]
[[Category:Russian fantasy drama films]]
[[Category:Russian horror drama films]]
[[Category:Russian films about gambling]]
[[Category:Films of the Russian Empire]]
[[Category:Films based on The Queen of Spades]]
[[Category:Films directed by Yakov Protazanov]]
[[Category:Films set in the 1750s]]
[[Category:Films set in the 1820s]]
[[Category:Films set in France]]
[[Category:Films set in Saint Petersburg]]
[[Category:Films shot in Moscow]]
[[Category:Silent drama films]]

Shadowboxing (2005 film)

2025-06-12T15:18:56Z

80.95.45.52: /* External links */

{{Infobox film
| name = Shadowboxing
| image = BoySTenyu.jpg
| caption = Russian film poster
| director = Aleksei Sidorov
| producer = Ruben Dishdishyan
| writer = Aleksei Sidorov
| narrator =
| starring = Denis Nikiforov [[Yelena Viktorovna Panova|Yelena Panova]] [[Andrey Panin]]
| music = Aleksei Shelygin
| cinematography =
| editing =
| distributor = [[Central Partnership]]
| released = {{Film date|2005|3|17|df=y}}
| runtime = 132 minutes<ref>[https://web.archive.org/web/20091221153051/http://leomartik.narod.ru/boy_s_tenyu.html Саундтрек фильма «Бой с тенью»]</ref>
| country = Russia
| language = [[Russian language|Russian]] English
| budget =
}}
'''''Shadowboxing''''' ({{langx|ru|Бой с тенью|Boy s tenyu}}; literally "Fight with Shadow") is a 2005 Russian 4-episode [[List of sports films|sports drama]] movie.<ref>{{Cite web|url=http://kommersant.ru/doc/554473|publisher=[[Kommersant]]|title=Бригадный подряд}}</ref>

The film stars Denis Nikiforov, [[Yelena Viktorovna Panova|Yelena Panova]], and [[Andrey Panin]], and it was directed by [[Aleksey Sidorov]]. The title track from the music score was performed by Finnish [[cello rock]] band [[Apocalyptica]].

The film's sequel, ''[[Shadowboxing 2: Revenge]]'', was released in Russia in 2007.<ref>{{cite web|url=https://russia.tv/brand/show/brand_id/7586/|publisher=[[Russia-1]]|title=Бой с тенью-2. Реванш. Х/ф}}</ref>

==Plot==
Artyom Kolchin, the story's protagonist,<ref>[http://www.kinokadr.ru/articles/2005/03/16/shadowboxing_2.shtml Кино в сверхтяжёлом весе]</ref> is a [[boxing|boxer]], who has become a contender for the world boxing championship. The whole country knows him and wants him to win. In the beginning of the film, while they are both waiting at a crosswalk for the light to change, [[Brigada|Sasha Belov]] asks for his autograph for his son Ivan, who is in [[England]] and is learning boxing. Artyom likes his car and Sasha says he will give it to Artyom if he wins the fight. Valiyev, a man well known in both the criminal and business worlds, takes care of Artyom and refuses to accept the fights scenario presented by the opponent's manager, according to which Artyom should lose the first fight, win a return-match; after the third fight both opponents will be famous and TV channels will fight to get permission to show the match. However, Artyom cannot fight because he has eye problems. The doctor does not want to grant him permission to fight, but he asks her very pitifully, and, unable to endure the begging, she gives him the permit.

During the fight in the ring, Aryom receives a severe blow and his vision becomes worse and worse. Soon, he can only guess where his opponent is, and after a short attack exchange, he loses consciousness.

Artem ends up in a hospital; the doctor, who has fallen in love with him, visits him and tells him the diagnosis: [[Retinal detachment]]. At the moment, it is possible to save his sight, she says, but the blindness is going to progress. If it is not cured in three days, it will never be curable. The operation costs $30,000. Artyom does not have this much money, and neither does the doctor. Artyom had been like a son to his benefactor, Valiyev, who has several million dollars, but Artyom has disappointed him, so he refuses to pay for the operation.

The only thing Artyom can do is to violate the law to save his own sight and his new love, the doctor Victoria. She becomes a witness to a murder of her ex-boyfriend who was a drug dealer and to whom she came to borrow money, so someone is after her in order to arrest her, kill her, and register her death as an accident. A hired killer is also hunting her. She, her teenage [[communist]] brother Konstantin (Kostya), and Artyom hide. The police are told to hunt Artyom but they are given no instructions and the policemen do not know why they must watch him.

Artyom, with Kostya's help, prepares to rob a bank belonging to Valiyev. They buy a powerful fire cracker and put it into a beer can. Kostya passes the guard, holding the can and gets stopped. He is told that he may not bring beer into the bank. Konstantin agrees, throws the can into a trash bin and walks away to hide at a corner. Artyom goes into the bank, pulls a debit card from his pocket and feigns trying to get cash from the [[Automated teller machine|ATM]]. A guard helps him. At that moment, cash messengers arrive. Kostya detonates the [[firecracker]], and Artyom attacks the guards and the cashiers. When nearly everyone is knocked down, one cashier pulls out his gun. Artyom hears the trigger click and knocks down this cashier too.

One of Artyom's fans arranges for Artyom to have an illegal operation. After the procedure, Artyom's eyes are bandaged. Valiyev's people get him, but Artyom does not know it. They bring him to Valiyev's house and discover his eyes, but Artyom pretends he still cannot see. Valiyev says: "You're not in a hospital." They are going to torture Artyom to learn where the money is, and then continue to torture him until he dies. But Artyom's feigned helplessness stills their suspicions, and they leave the room, leaving only two men there. Artyom asks them to fetch some water for him. One man goes for water. Artyom then calls another man and tells him that he stole more than 2 million dollars, he will not return the money to Valiyev so he wants to tell him (the second guard) where the money is. The guard bends down over his bed, and Artyom suddenly knocks him down. He knocks down the other guard and leaves the house.

During an open air play of ''[[Richard III (play)|Richard III]]'', a hired killer finds Vika. Artyom gave her a gun before being taken to the operation, so she pulls it out and points it at the killer, but her hands are trembling and she is not able to pull the trigger. Grinning, the killer slowly takes the gun and points it at Vika just as Artyom appears behind his back and hits him.

A bit later Valiyev finds Artyom and shoots him. Artyom is badly wounded, arrested and taken to a hospital. Next day the [[Federal Security Service (Russia)|FSB]] arrests Valiyev.

After some years have passed, Artyom's term of imprisonment is over. He is let out and is met by Vika and their mutual friends. Suddenly, someone calls one of his friends and asks in [[English language|English]] to call Artyom. Artyom answers. The camera quickly pans from the prison's walls to [[Las Vegas, Nevada|Las Vegas]]. The caller is Larry, his opponent in the fight during which he lost ability to see. He says he knows that Artyom is free and asks him if he wants a rematch. Artem is silent. Larry repeats his question, "I said, how 'bout a rematch?". The camera quickly pans back and shows wild snowy field and far forest. Artyom looks at the field, smiles widely and lowers the phone and the film ends without showing the answer.

==Cast==
* Denis Nikiforov as Artyom Kolchin
* [[Yelena Viktorovna Panova|Yelena Panova]] as Vika
* Ivan Makarevich as Kostya
* Dmitryi Shevchenko as Nechayev
* [[Andrey Panin]] as Vagit Valiyev
* Gas Redwood as Larry Palmer
* [[John Amos]] as Hill
* [[Alexander Kuznetsov (actor)|Alexander Kuznetsov]] as "Snake"
* [[Pavel Derevyanko]] as Timokha
* Irina Dymchenko as Vika's Mother
* [[Sergey Bezrukov]] as Sasha Beliy

==See also==
* [[List of boxing films]]

==References==
{{Reflist}}

==External links==
*{{IMDb title|0415678|Shadowboxing}}
*{{in lang|ru}}{{official website|http://www.shadowboxing.ru}}
*{{in lang|ru}} [http://kino-teatr.ru/kino/movie/ros/586/annot/ Kino-teatr.ru]
*[https://archive.today/20070928041220/http://russart.com/?movietrailer&mid=247 Trailer] and [https://archive.today/20070930190147/http://russart.com/?moviepictures&mid=247 Screenshots]

{{Shadowboxing}}

[[Category:2005 films]][[Category:Russian action drama films]]
[[Category:Russian sports drama films]]
[[Category:2000s Russian-language films]]
[[Category:2000s sports drama films]]
[[Category:Films shot in Russia]]
[[Category:Russian boxing films]]
[[Category:2005 drama films]][[Category:Russian-language action drama films]]
[[Category:Russian-language sports drama films]]

War and Peace (film series)

2025-06-12T12:30:39Z

80.95.45.52: /* External links */

{{short description|1967 film by Sergei Bondarchuk}}
{{about|the 1966–67 film series|other uses|War and Peace (disambiguation)}}
{{Use dmy dates|date=February 2022}}
{{Infobox film
| name = War and Peace
| image = War and Peace poster, 1967.jpg
| alt =
| caption = Original theatrical release poster for Part I: ''Andrei Bolkonsky''.
| director = [[Sergei Bondarchuk]]
| producer = {{plainlist|
*Viktor Tsirgiladze
*Nikolai Ivanov
*G. Meyerovich
*V. Krivonoschenko
}}
| writer =
| screenplay = {{plainlist|
*Sergei Bondarchuk
*Vasily Solovyov
}}
| story =
| based_on = {{based on|''[[War and Peace]]''|[[Leo Tolstoy]]}}
| starring = {{plainlist|
*Sergei Bondarchuk
*[[Ludmila Savelyeva]]
*[[Vyacheslav Tikhonov]]
}}
| narrator =
| music = [[Vyacheslav Ovchinnikov]]
| cinematography = {{plainlist|
*Anatoly Petritsky
*Yu-Lan Chen
*Alexander Shelenkov
}}
| editing = Tatiana Likhacheva
| distributor = [[Mosfilm]]
| released = {{Film date|df=y|1966|03|14|Part I|1966|07|20|Part II|1967|07|21|Part III|1967|11|04|Part IV}}
| runtime = {{plainlist|
*'''Part I:'''
*147 minutes
*'''Part II:'''
*100 minutes
*'''Part III:'''
*84 minutes
*'''Part IV:'''
*100 minutes
*'''Total:'''
*431<ref>{{cite magazine|author=Wook Kim|title=Longest Film (Running Time) to Win an Award: 431 Minutes|date=22 February 2013|magazine=[[Time (magazine)|Time]]|url=https://entertainment.time.com/2013/02/22/17-unusual-oscar-records/slide/all/|access-date=9 February 2019}}</ref> minutes
}}
| country = Soviet Union
| language = {{plainlist|
*Russian
*French
*German
}}
| budget = {{Plainlist|
*8,291,712 [[Soviet rouble|Rbls]]
*(US$9.2 million)
}}
| gross = 58,000,000 Rbls (USSR estimate)
}}
'''''War and Peace''''' ({{langx|ru|Война и мир|Voyna i mir}}) is a 1966–1967 Soviet [[Epic film|epic]] [[War film|war]] [[Drama (film and television)|drama film]] co-written and directed by [[Sergei Bondarchuk]], adapted from [[Leo Tolstoy]]'s [[War and Peace|1869 novel]]. Released in four installments throughout 1966 and 1967, the film starred Bondarchuk in the leading role of [[Pierre Bezukhov]], alongside [[Vyacheslav Tikhonov]] and [[Ludmila Savelyeva]], who depicted Prince [[Andrei Nikolayevich Bolkonsky|Andrei Bolkonsky]] and [[Natasha Rostova]].<ref>{{cite book|title=Historical Dictionary of Russian and Soviet Cinema|author=Peter Rollberg|publisher=Rowman & Littlefield|year=2009|place=US|isbn=978-0-8108-6072-8|pages=744–745}}</ref>

The film was produced by the [[Mosfilm]] studios between 1961 and 1967, with considerable support from the Soviet authorities and the [[Soviet Army]] which provided hundreds of horses and over ten thousand soldiers as extras. At a cost of 8.29 million [[Soviet rouble|Rbl]]s (equal to US$ 9.21 million at 1967 rates, [[Most Expensive Film#Most expensive films (adjusted for inflation)|or $60–70 million in 2019, accounting for rouble inflation]]) it was the most expensive film made in the Soviet Union.

Upon its release, it became a success with audiences, selling approximately 135 million tickets in the USSR. ''War and Peace'' also won the Grand Prix in the [[Moscow International Film Festival]], the [[Golden Globe Award for Best Foreign Language Film]] and the [[Academy Award for Best International Feature Film|Academy Award for Best Foreign Language Film]]. Since its release, the film has often been considered the grandest epic film ever made, with many asserting its monumental production to be unrepeatable and unique in film history.<ref>{{cite web|last=Ebert|first=Roger|author-link=Roger Ebert|title=War and Peace movie review & film summary (1969)|url=https://www.rogerebert.com/reviews/war-and-peace-1969|website=[[RogerEbert.com]]|publisher=Ebert Digital LLC|access-date=16 August 2021|date=22 June 1969|quote=... 'War and Peace' is the definitive epic of all time. It is hard to imagine that circumstances will ever again combine to make a more spectacular, expensive, and -- yes -- splendid movie.}}</ref><ref>{{cite news|last=Barone|first=Joshua|title=A Peerless 'War and Peace' Film Is Restored to Its Former Glory|url=https://www.nytimes.com/2019/02/15/movies/war-and-peace-bondarchuk-lincoln-center.html|access-date=16 August 2021|work=[[The New York Times]]|date=15 February 2019|quote=... Sergei Bondarchuk's 1960s adaptation of the Leo Tolstoy novel "War and Peace" is a singular feat of filmmaking that can never be repeated.}}</ref><ref>{{cite web|last=Lumbard|first=Neil|title=War and Peace Blu-ray Review|url=https://www.blu-ray.com/movies/War-and-Peace-Blu-ray/230476/#Review|website=Blu-ray.com|access-date=16 August 2021|date=19 March 2020|quote=War and Peace is an epic of a magnitude which is rarely seen in cinema.}}</ref><ref>{{cite web|last=Galbraith|first=Stuart IV|title=War and Peace (Criterion)|url=https://www.dvdtalk.com/reviews/review/73900|website=DVD Talk|publisher=MH Sub I, LLC|access-date=16 August 2021|date=8 July 2019|quote=... the Soviet-financed, four-part adaptation of Leo Tolstoy's War and Peace (1965-67) is an epic among epics, the biggest scale film production ever attempted, the kind of motion picture event that almost certainly will never come again.}}</ref>

==Plot==

=== Part I: Andrei Bolkonsky (Война и мир: Андрей Болконский) ===
In [[Saint Petersburg]] of 1805, [[Pierre Bezukhov]], the [[Legitimacy (family law)|illegitimate son]] of a rich nobleman, is introduced to high society. His friend, Prince [[Andrei Nikolayevich Bolkonsky|Andrei Bolkonsky]], joins the [[Imperial Russian Army]] as aide-de-camp of General [[Mikhail Kutuzov]] in the [[War of the Third Coalition]] against [[Napoleon]]. As Pierre's father recognizes him, Pierre attracts the attention of [[Hélène Kuragina]] and marries her, only to learn through rumor that she has been unfaithful and slept with Fyodor Dolokhov, an intimate of Hélène's brother [[Anatole Kuragin|Anatole]]. Meanwhile, Andrei takes part in the failed campaign in Austria, where he witnesses the [[Battle of Schöngrabern]] and the [[Battle of Austerlitz]], is badly wounded and mistaken for dead. He returns to his father's estate just in time to witness his wife Lisa die during childbirth.

=== Part II: Natasha Rostova (Война и мир: Наташа Ростова) ===
In the end of 1809, Natasha, the young daughter of a count [[Debutante|attends her first ball]] at age 16. Andrei Bolkonsky falls in love with her and intends to marry her, but his father demands they wait. Andrei travels abroad, and Natasha desperately longs for him. But she then meets the handsome Anatole Kuragin who falls in love with her and follows her with much passion. Overwhelmed Natasha decides she prefers him over Andrei. At the last minute, she regrets her choice and abandons her plans to elope with Anatole. However, Andrei has heard of her plans and declares their betrothal is over. Natasha suffers a nervous breakdown. Pierre, trying to calm her down, suddenly announces he loves her.

=== Part III: The Year 1812 (Война и мир: 1812 год) ===
In 1812, [[French invasion of Russia|Napoleon's Army invades Russia]]. Field Marshal Kutuzov is appointed by the Tsar to defend the land. Kutuzov asks Andrei to join him as a staff officer, but he requests a command in the field. Pierre approaches the battlefield of the upcoming confrontation between the armies during the [[Battle of Borodino]], he volunteers to assist in an artillery battery. Andrei's unit waits in the reserve, but he is hit by a shell and both he and Anatole suffer severe wounds. The battle involves hundreds of thousands of soldiers, thousands of horses, and hundreds of cannons firing from both sides. The French army forces the Russian army to retreat, leaving Moscow unprotected. [[Napoleon]] advances on [[Moscow]].

=== Part IV: Pierre Bezukhov (Война и мир: Пьер Безухов) ===
As [[Fire of Moscow (1812)|Moscow is set ablaze]] by the retreating Russians, the Rostovs flee their estate, taking wounded soldiers with them, and unbeknownst to them, also Andrei. Pierre, dressed as a peasant, tries to assassinate Napoleon but is taken prisoner. As the French are forced to retreat, he is marched for months with the [[Grande Armée]], until being freed by partisans. The French army is defeated by Field Marshal Kutuzov in the [[Battle of Krasnoi]]. Andrei is recognized and is brought to his estate. He forgives Natasha on his deathbed. She reunites with Pierre as Moscow is being rebuilt.

==Cast==
{{Div col|colwidth=25em}}
*[[Sergei Bondarchuk]] as [[Pierre Bezukhov]]
*[[Ludmila Savelyeva]] as [[Natasha Rostova]]
*[[Vyacheslav Tikhonov]] as [[Andrei Nikolayevich Bolkonsky|Andrei Bolkonsky]]
*[[Boris Zakhava]] as [[Mikhail Kutuzov]]
*[[Anatoly Ktorov]] as Nikolai Bolkonsky
*[[Antonina Shuranova]] as [[Maria Bolkonskaya]]
*[[Oleg Tabakov]] as [[Nikolai Rostov]]
*[[Viktor Stanitsyn]] as Ilya Rostov
*[[Kira Golovko]] as Natalya Rostova
*[[Irina Skobtseva]] as [[Hélène Kuragina]]
*[[Vasily Lanovoy]] as [[Anatole Kuragin]]
*[[Irina Gubanova]] as [[Sonya Rostova]]
*[[Oleg Yefremov]] as Fyodor Dolokhov
*[[Eduard Martsevich]] as Boris Drubetskoy
*[[Aleksandr Borisov (actor)|Aleksandr Borisov]] as Uncle Rostov
*[[Nikolai Rybnikov]] as Vasily Denisov
*Viktor Murganov as [[Alexander I of Russia]]
*Larisa Borisenko as Mlle. Bourienne
*[[Georgy Millyar]] as Morel
*[[Nonna Mordyukova]] as Anisya
*[[Anna Timiryova]] as old lady
*[[Boris Khmelnitsky]] as Bolkonsky's adjutant
*Valeri Yeremichev as [[Alexander Ostermann-Tolstoy]]
*Boris Smirnov as Vasili Kuragin
*Nikolai Tolkachyov as Kirill Bezukhov
*Dzhemma Firsova as Katishe Mamontova
*Mikhail Khrabrov as Platon Karataev
*[[Nikolay Trofimov]] as Tushin
*[[Vladislav Strzhelchik]] as [[Napoleon]]
*Jānis Grantiņš as [[Ludwig von Wolzogen]]
*Dz. Eizentāls as [[Carl von Clausewitz]]
*[[Galina Kravchenko]] as Marya Karagina
*Boris Molchanov as [[Louis-Nicolas Davout]]
*Lev Polyakov as [[Jacques Lauriston]]
*Rodion Aleksandrov as [[Alexander Balashov]]
*[[Anastasiya Vertinskaya]] as Lisa Bolkonskaya
*Giuli Chokhonelidze as [[Pyotr Bagration]]
*Vadim Safronov as [[Francis II, Holy Roman Emperor|Francis II]]
*Jean-Claude Ballard as Ramballe
*Yelena Tyapkina as Marya Dmitryevna
*Sergei Yermilov as [[Petya Rostov]]
*[[Nikita Mikhalkov]] as Petya Rostov's body double during hunting (uncredited)
*Herberts Zommers as [[Count Benningsen]]
*Nikolai Bubnov as [[Karl Mack von Leiberich]]
*Angelina Stepanova as Anna Scherer
*Erwin Knausmüller as [[Franz von Weyrother]]
*Mikhail Pogorzhelsky as [[Michael Andreas Barclay de Tolly]]
*Leonid Vidavsky as [[Paisi Kaysarov]]
*[[Nikolai Grinko]] as Dessalles
{{div col end}}

==Production==
===Inception===
In August 1959, [[King Vidor]]'s American-Italian [[Co-production (media)|co-production]] ''[[War and Peace (1956 film)|War and Peace]]'' was released in the Soviet Union, attracting 31.4 million viewers and gaining wide acclaim. The impending 150th anniversary of the [[French invasion of Russia|1812 French Invasion]], as well as the worldwide success of Vidor's adaptation of the Russian national epic – at a time when the USSR and the United States were competing for prestige – motivated the Soviet [[Ministry of Culture (Soviet Union)|Minister of Culture]] [[Yekaterina Furtseva]] to begin planning a local picture based on [[Leo Tolstoy]]'s novel.<ref>Razzakov. ''o Vojne''. p. 6.</ref> An open letter which appeared in the Soviet press, signed by many of the country's filmmakers, declared: "It is a matter of honor for the Soviet cinema industry, to produce a picture which will surpass the American-Italian one in its artistic merit and authenticity."<ref name="MK"/> According to ''[[Der Spiegel]]'', the film was to serve as a "counterstrike" to Vidor.<ref name="DS"/>

During 1960, several leading Soviet directors proposed themselves to head the project, including [[Mikhail Romm]] and [[Sergei Gerasimov (film director)|Sergei Gerasimov]]. But soon, the only viable candidate remaining was [[Ivan Pyryev]]. As his selection to the position seemed secure, several officials in the Ministry of Culture offered it to forty-year-old [[Sergei Bondarchuk]], who had completed his directorial debut, ''[[Fate of a Man]]'', in 1959. Bondarchuk had not sought the position and did not know of the proposal until a letter from the Ministry reached him, but he chose to accept it and contend with Pyryev.<ref>Razzakov. ''Gibelʹ sovetskogo kino''. p. 74.</ref>

Fedor Razzakov wrote that the invitation of Bondarchuk was orchestrated by Pyryev's many enemies in the establishment, who were determined not to let him receive the lucrative project. In early February 1961, a letter endorsing Bondarchuk was sent to the Minister, signed by several prominent figures from the cinema industry. At first, Furtseva decreed that both candidates would each direct a pilot to be screened before a commission. However, Pyryev soon withdrew his bid. Razzakov believed he had done so after realizing his chances were slim: Bondarchuk, whose career began only during the [[Khrushchev Thaw|Thaw]], represented a generation of young directors promoted by [[Nikita Khrushchev]]'s Kremlin to replace the old filmmakers from the [[Joseph Stalin|Stalin]] era. In the end of February, after Pyryev conceded, the Minister held a meeting and confirmed Bondarchuk as the director.<ref>Razzakov. ''Gibelʹ sovetskogo kino''. p. 75.</ref>

===Development===
[[File:War and Peace (1967, Russia) movie script.jpg|right|thumb|250px|The director's screenplay of ''War and Peace'']]
On 3 April 1961, Vladimir Surin, the director-general of the [[Mosfilm]] studios, sent Furtseva a letter requesting to approve the adaptation of a script for a film in three parts based on ''War and Peace'', as well as to allocate 150,000 [[Soviet rouble|Rbl]]s in funds. On 5 May the Minister replied, authorizing to begin writing the scenario and granting 30,000 Rbls. On that day, the work on the picture began.<ref name="HO">Razzakov. ''o Vojne''. p. 224.</ref>

Bondarchuk hired Vasily Solovyov, a playwright, as his assistant for composing the script. The two later changed the earlier premise and decided to make four parts instead of three.<ref name = "OV"/> They chose to downplay or exclude completely several of Tolstoy's plotlines and themes, in order not to make the film too cumbersome: the episodes concerning Nikolai Rostov and Maria Bolkonskaya were reduced, and Anatole Kuragin received a slightly better treatment. The author's views on philosophy and history were substantially redacted.<ref name = "MY">Muskyi. p. 274.</ref>

The Mosfilm directorate approved the finished script on 27 February 1962. On 20 March, in a plenum in the Ministry of Culture attended by Surin and the [[State Committee for Cinematography]]'s deputy chairman Basakov, Furtseva approved the scenario and requested all relevant agencies to assist the producers, including the Ministry of Defense, which was deemed central in providing support for the project.<ref name = "OV">Razzakov. ''o Vojne''. p. 225.</ref>

The producers appointed three military advisers: Army General [[Vladimir Kurasov]] became the film's chief consultant, and Army General [[Markian Popov]] also assisted;<ref>Palatnikova. p. 75.</ref> Lieutenant General [[Nikolai Oslikovsky]] was brought in as an expert on cavalry. The [[Soviet Army]] would supply thousands of soldiers as extras during the filming.<ref name="MK">{{cite web |url=http://www.mk.ru/culture/article/2011/09/20/625328-tovarisch-kutuzov-chtoto-stalo-holodat.html|script-title=ru:Товарищ Кутузов, что-то стало холодать!|trans-title=Comrade Kutuzov, It Got Colder!| language = ru|author=Gnedinskaya, Anastasia |date=21 September 2011|publisher=[[Moskovskij Komsomolets]]|access-date=10 September 2012}}</ref>

More than forty museums<ref name = "DZ"/> contributed historical artifacts, such as chandeliers, furniture and cutlery, to create an authentic impression of early 19th-century Russia. Thousands of costumes were sewn, mainly military uniforms of the sorts worn in the Napoleonic Wars,<ref>Muskyi. p. 275.</ref> including 11,000 [[shako]]s.<ref name="MK"/> Sixty obsolete cannons were cast and 120 wagons and carts constructed for the production.<ref name = "DZ">{{cite news |url=http://www.zeit.de/1965/31/tauziehen-auf-den-moskauer-festspielen/seite-3|title=Tauziehen auf den Moskauer Festspielen|trans-title=Tug of War in the Moscow Festival| language = de|author=Drommert, René |date=30 July 1965|work=[[Die Zeit]]|access-date=10 September 2012}}</ref>

Anticipating the need for cavalry, [[line producer]] Nikolai Ivanov and General Osilkovsky began seeking appropriate horses. While the cavalry formations of the Army were long abolished, several units in the [[Transcaucasian Military District]] and the [[Turkestan Military District]] retained horse-drawn mountain artillery. In addition to those, the Ministry of Agriculture donated nine hundred horses<ref name="HO"/> and the [[Moscow City Police]] provided a detachment from its mounted regiment.<ref name="MK"/> The producers also needed to arrange hounds for the [[Wolf hunting with dogs|wolf hunting]] at the Rostov estate. At first, it was planned to use [[borzoi]]s, as depicted in the novel. Sixteen borzois were obtained from individual private owners, but the dogs had no experience in hunting and were hard to handle. Eventually, [[scent hound]]s supplied by the Ministry of Defense chased down the wolves{{mdash}}provided by the zoological department of the State Studio for Popular Science Films{{mdash}}while the borzois caught them.<ref>{{cite web|url=http://www.rodgaz.ru/index.php?action=Articles&dirid=25&tek=27096&issue=429|script-title=ru:Николай Иванов: В моей биографии самое главное – "Война и мир"|trans-title=Nikolai Ivanov: In My Biography, "War and Peace" is the Most Important|language=ru|author=Rtischeva, Natalia|date=1 December 2010|publisher=Rodnaya Gazetta|access-date=10 September 2012|archive-url=https://web.archive.org/web/20121013160227/http://www.rodgaz.ru/index.php?action=Articles&dirid=25&tek=27096&issue=429|archive-date=13 October 2012}}</ref>

===Casting===
Bondarchuk began holding auditions in May 1961. [[Oleg Strizhenov]] received the leading role of Prince [[Andrei Bolkonsky]]. However, in spring 1962, shortly before the commencing of principal photography, Strizhenov changed his mind after being accepted into the ensemble of the [[Moscow Art Theatre]]. Bondarchuk complained to the Ministry of Culture. Furtseva spoke with the actor, but failed to convince him. The director then tried to enlist [[Innokenty Smoktunovsky]], who was supposed to star in [[Grigori Kozintsev]]'s [[Hamlet (1964 film)|''Hamlet'']]. After deliberations, Smoktunovsky accepted Bondarchuk's offer, but Kozintsev used his influence in the Ministry and received his actor back. As a last resort, [[Vyacheslav Tikhonov]] was given the role. He first arrived on the set in mid-December 1962, three months after filming began.<ref>Razzakov. ''Tajnoe stanovitsja javnym''. p. 18.</ref>

Bondarchuk envisaged the character of [[Pierre Bezukhov]] as having great physical strength, in accordance with his description by Tolstoy. Therefore, he had offered the role to Olympic weightlifter [[Yury Vlasov]], and even rehearsed with him. Vlasov soon gave it up, telling the director that he had no acting skills.<ref name = "GD">{{cite web|url=http://www.argumenti.ru/history/n300/118508|script-title=ru:Зеленая точка|trans-title=A Green Dot|language=ru|author=Nekhamkin, Sergei|date=4 August 2011|publisher=Argumenti Nedeli|access-date=11 September 2012}}</ref><ref name="FR">Razzakov. ''Tajnoe stanovitsja javnym''. p. 247.</ref><ref>{{cite web|url=http://1k.com.ua/92/details/13/1|script-title=ru:Тарас Шевченко – автор эпопеи "Война и мир"|trans-title=Taras Shevchenko – Creator of "War and Peace"|language=ru|author=Palchikovsky, Sergei|date=29 September 2005|publisher=Pervaya Krimskaya Gazeta|archive-url=https://web.archive.org/web/20121013150142/http://1k.com.ua/92/details/13/1|archive-date=13 October 2012}}</ref> Bondarchuk then cast himself as the protagonist. His wife, actress [[Irina Skobtseva]], portrayed [[Hélène Kuragina]], Pierre's first wife. During the making of the third and fourth parts in the series, a journalist named Yury Devochkin, who resembled the director, substituted for him in many of the scenes.<ref name="FR"/>

[[Anastasiya Vertinskaya]], [[Lyudmila Gurchenko]] and other known actresses wanted to portray [[Natasha Rostova]], but Bondarchuk chose the inexperienced 19-year-old ballerina [[Ludmila Savelyeva]], who had just recently graduated from [[Vaganova Academy of Russian Ballet]].<ref>Palatnikova. p. 192.</ref> [[Nikita Mikhalkov]] was cast as Natasha's little brother, Petya Rostov; however, as he was in the age of adolescence and quickly growing up, he had to abandon the role in favor of the younger Sergei Yermilov. Still, Mikhalkov's scenes of riding a horse during hunting were left in the final film.<ref>{{cite web |url=http://kp.ru/daily/23603.3/45792/ |script-title=ru:Никита Михалков снимает "Утомленных-2" и разводит кабанов |trans-title=Nikita Mikhalkov Films "Burnt by the Sun 2" and Breeds Hogs| language = ru|author=Veligzhanina, Anna |date=27 October 2005|publisher=[[Komsomolskaya Pravda]]|access-date=11 September 2012}}</ref>

Tikhonov was the highest-paid member of the cast, and received R22,228 for portraying Bolkonsky. Bondarchuk earned R21,679 for directing and 20,100 for depicting Pierre. Savelyeva got R10,685. Most other actors received less than R3,000.<ref name = "SL"/>

===Cinematography===
[[File:Pavlograd hussar uniform 01.jpg|right|thumb|250px|The hussar officer's [[pelisse]] worn by actor Nikolai Rybnikov, who portrayed Denisov]]
Before beginning principal photography, the producers resolved to shoot the picture with [[70 mm film|70-mm]] wide-format and high-resolution film instead of the standard [[35 mm movie film|35-mm]]. Although they considered purchasing it from [[Kodak]] or from [[ORWO]] in the [[East Germany|German Democratic Republic]], they eventually decided to use Soviet-made film stock manufactured in the [[Svema|Shostka Chemical Plant]], both because of financial shortage and for considerations of national pride. Director of photography Anatoly Petritsky recalled that the Shostka film was "of horrible quality" and that he often would photograph a sequence only to discover that the film was defective. This, as well as the need to cover large crowds from many angles, forced the director to repeat many of the scenes; some of the more elaborate battle sequences were retaken more than forty times.<ref name="P">{{cite web|url=http://zn.ua/CULTURE/anatoliy_petritskiy_eta_kartina__samoe_glavnoe,_chto_ya_v_zhizni_sdelal-40558.html|archive-url=https://archive.today/20130419095128/http://zn.ua/CULTURE/anatoliy_petritskiy_eta_kartina__samoe_glavnoe,_chto_ya_v_zhizni_sdelal-40558.html|archive-date=19 April 2013|script-title=ru:Анатолий Петрицкий: "Эта картина – самое главное, что я в жизни сделал"|trans-title=Anatoli Petritsky: "This is the Most Important Film I Have Made in My Life"|language=ru|author=Naumenko, Alexei|date=24 July 2004|publisher=Zerkalo Nedely|access-date=11 September 2012}}</ref> According to ''[[Kommersant]]'' journalist Yevgeni Zhirnov, Bondarchuk had to re-shoot more than 10% of the footage in the picture due to problems with the film stock; Zhirnov estimated that this raised the cost of production by 10% to 15% or more.<ref>{{cite web |url=http://www.kommersant.ru/doc/506604|script-title=ru:Целлулоидное искусство |trans-title=Celluloid Art| language = ru|author=Zhirnov, Yevgeni |date=20 September 2004|publisher=[[Kommersant]]|access-date=11 September 2012}}</ref>

The first cinematographers, husband and wife Alexander Shelenkov and Yu-Lan Chen, quarreled with Bondarchuk on several occasions. On 20 May 1963, half a year after commencing photography, they wrote to Surin, asking to be dismissed from work on the picture and stating that Bondarchuk "dictated without consulting with the crew". Their 31-year-old assistant Petritsky, who had made only one film previously, was appointed in their stead.<ref>Razzakov. ''Tajnoe stanovitsja javnym''. p. 234.</ref>

The operators pioneered photographic techniques which had never been used before in Soviet cinema. Aerial lifts with cameras were hoisted over sets to create a "cannonball view". When filming Natasha's first ball, an operator with a hand-held camera circled between the dancing extras on roller skates. The crowd scenes were shot using cranes and helicopters. Another new feature was the sound technicians' use of a six-channel audio recording system.<ref name="Master">{{cite web|url=http://ttk.625-net.ru/files/605/531/h_45eac6de29116a08d11cc932436d2759|script-title=ru:Слово мастера|trans-title=The Word of the Master|language=ru|author=Lsovoi, Nine|date=February 2008|publisher=Техника и технологии кино|access-date=15 April 2011|archive-url=https://web.archive.org/web/20101204172126/http://ttk.625-net.ru/files/605/531/h_45eac6de29116a08d11cc932436d2759|archive-date=4 December 2010}} p. 7.</ref>

===Principal photography===
[[File:Costume for War and Peace movie (1967) 06 by shakko.jpg|right|thumb|250px|A costume used during the filming]]
On 7 September 1962, the 150th anniversary of the [[Battle of Borodino]], [[principal photography]] began. The first scene to be filmed depicted the execution of suspected arsonists by the French army, and was shot in the [[Novodevichy Convent]]. After a few days, the crew moved into the [[Moscow Kremlin]] for further work. Later that month, the hunt in the Rostov's estate was filmed in the village of Bogoslavskoye, in the [[Yasnogorsky District]].<ref>Razzakov. ''o Vojne''. p. 18.</ref>

On 1 December, Bondarchuk and the production team, with 150 wagons of equipment, traveled to [[Mukachevo]] in the [[Zakarpattia Oblast]]. The director had only planned to photograph two episodes there: the [[Battle of Schöngrabern]] and the [[Battle of Austerlitz]]. But due to the harsh winter, none of those could be shot. Bondarchuk revised his plans and decided to film in Zakarpattia 231 scenes that he had planned to make elsewhere, while waiting for the weather to improve.<ref>Razzakov. ''o Vojne''. p. 19.</ref> The [[Battle of Krasnoi]] episode and its related parts were filmed in the snow,<ref>Razzakov. ''Tajnoe stanovitsja javnym''. p. 232.</ref> and involved 2,500 Soviet soldiers, allocated as extras, who wore French uniforms and 500 in Russian uniforms.<ref name = "MU"/> When conditions enabled it, 3,000 soldiers from the [[Carpathian Military District]] re-created the Battle of Schöngrabern near the village of [[Mukachevo Raion#Villages#Kushtanovytsia|Kushtanovytsia]]. The Battle of Austerlitz was filmed in the vicinity of [[Svaliava]]. As the budget had been exceeded due to the weather and film stock problems, Bondarchuk had to refrain from filming several battle sequences. On 17 May, the crew returned to the capital.<ref>Razzakov. ''o Vojne''. p. 20.</ref>

On 20 July, the producers went on another expedition, to [[Dorogobuzh]], in order to film the [[Battle of Borodino]] and the related parts of the plot. Photography could not be carried out in [[Borodino (village), Mozhaysky District, Moscow Oblast|Borodino]] itself, mainly because of the many memorials located there. On 1 August, work was commenced. The shooting of the battle itself began on 25 August 1963{{mdash}}its 151st anniversary by the [[Julian Calendar]]. 13,500 soldiers and 1,500 horsemen substituted for the historical armies<ref name = "KG"/> (Several reports in the Western press have put the number of soldiers who participated at 120,000;{{#tag:ref | The 1979 ''Guinness Book of World Records'' and other sources state that "the re-creation of the Battle of Borodino involved 120,000 Soviet Army extras".<ref name="RM"/> This figure is contradicted by several contemporary sources: the ''New York Times'' journalist Theodore Shabad reported that "12,000 soldiers and 800 horses" took part.<ref>{{Cite news |last=Shabad|first=Theodore|date=12 January 1964|title=War and Peace on Native Soil|work=[[The New York Times]] |url=https://select.nytimes.com/gst/abstract.html?res=FB0914F63F581B728DDDAB0994D9405B848AF1D3|access-date=8 September 2012}}</ref> Chief military consultant [[Vladimir Kurasov]] wrote that "12–13 thousand soldiers" would be used for Borodino.<ref>{{cite web |url=http://media.filmz.ru/users/images/387.jpg|script-title=ru:фильм о славе русского оружия |trans-title=A Film of Glory to Russian Arms| language = ru|author=Kurasov, Vladimir |date=September 1962|publisher=Sovetskii Ekran|access-date=11 September 2012}}</ref> Nikolai Ivanov recalled a "force of 15,000".<ref name="MK"/> Even the 1971 ''Guinness Book of World Records'' states: "The re-creation of the Battle of Borodino involved '''12,000''' men and 800 horses."<ref>McWhirter. ''1971''. p. 198.</ref> The figure used here is cited by Razzakov, who had access to the production records.|group="nb"|name="A"}} however, in a 1986 interview to ''[[National Geographic (magazine)|National Geographic]]'', Bondarchuk stated: "That is exaggeration, all I had was 12,000.")<ref>{{cite journal|journal=[[National Geographic (magazine)|National Geographic]]|date=June 1986|volume=169|issue=6|page=764|title=The World of Tolstoy|author=White, Peter. T.|issn=0027-9358}}</ref> The troops were supposed to return to their bases after thirteen days, but eventually remained for three months.<ref>{{cite web |url=http://tverlife.ru/news/56731.html|script-title=ru:Директор "Войны и мира" |trans-title=The Producer of "War and Peace"| language = ru|author=Vorobyov, Vyacheslav |date=9 April 2012|publisher=Tverskaya Zhizn|access-date=11 September 2012}}</ref> 23 tons of gunpowder, handled by 120 [[sapper]]s, and 40,000 liters of [[kerosene]] were used for the [[pyrotechnics]],<ref name = "KG"/> as well as 10,000 [[smoke grenade]]s.<ref name = "MU">Muskyi. p. 276.</ref> Tens of thousands of cubic meters of soil were dug out to construct earthworks resembling the [[Bagration flèches]] and the Raevsky redoubt.<ref>Cowie. p. 39.</ref> The set was divided to sectors, and a system of loudspeakers was installed{{mdash}}one for each area{{mdash}}to enable the director to coordinate the troops' movements.<ref name = "MU"/> On 4 November, the session ended and Bondarchuk went back to Moscow.<ref name = "KG">Razzakov. ''o Vojne''. p. 23.</ref>

From the end of December to mid-June 1964, the crew worked in Mosfilm's studios. Most notably, Natasha's [[debutante ball]] was photographed there, with five hundred extras. On 15 June, the production team went to Leningrad, where shooting took place in the [[Hermitage Museum]], the [[Summer Garden]], the [[Peter and Paul Fortress]] and in [[Vasilyevsky Island]].<ref>Razzakov. ''Tajnoe stanovitsja javnym''. pp. 241–242.</ref> Upon his return to the studio on 7 July, Bondarchuk was abruptly instructed by his superiors to abandon all other work and focus on preparing the first two parts for the 1965 [[Moscow Film Festival]], contrary to all former designs and while they were far from finished. During the same month, he suffered a major [[cardiac arrest]] and was [[clinically dead]] for a short while.<ref>Palatnikova. p. 56.</ref> His first words after regaining consciousness were: "If I die, let [[Sergei Gerasimov (film director)|Gerasimov]] finish it".<ref>Bondarchuk. p. 161.</ref> Filming was postponed until late September.<ref>Razzakov. ''Tajnoe stanovitsja javnym''. p. 242.</ref>

In spite of the tight schedule, the parts ''Andrei Bolkonsky'' and ''Natasha Rostova'' were completed and were submitted to Mosfilm's directorate on 30 June 1965, less than a week before the festival. The two parts had their world premiere on 19 July 1965, in the [[Kremlin Palace of Congresses]].<ref name = "J">Razzakov. ''Tajnoe stanovitsja javnym''. p. 243.</ref> During July, Bondarchuk suffered another heart attack: this time, he was clinically dead for four minutes.<ref>{{cite web |url=http://www.trud.ru/article/30-09-2005/94416_natalja_bondarchuk_na_semkax_vojny_i_mira_otets_pe.html|script-title=ru:Наталья Бондарчук: на съемках "Войны и мира" Отец пережил две клинические смерти |trans-title=Natalya Bondarchuk: My Father had Two Heart Attacks On the Set of "War and Peace"| language = ru|author=Starodubetz, Anatoly |date=30 September 2005|publisher= Gazeta Trud|access-date=11 September 2012}}</ref><ref>Razzakov. ''Gibelʹ sovetskogo kino''. p. 129.</ref> The white wall of light seen by Bolkonsky before his death was inspired by the director's experience.<ref name = "GD"/>

The work on the remaining episodes of parts 3 and 4 resumed on 9 August. During the next months, the crew filmed in [[Mozhaysk]], [[Tver|Kalinin]] and [[Zvenigorod]]. The final plot line to be shot was the [[Fire of Moscow (1812)|Fire of Moscow]]; filming began on 17 October 1966. For four months prior to that, a plywood set was built in the village of Teryayevo, next to the [[Joseph-Volokolamsk Monastery]].<ref name = "J"/> The entire construction, doused with diesel fuel, was burned to the ground as five fire engines stood nearby. Principal photography ended on 28 October 1966. On 28 December, the edited third part was approved by the studio. Work on the fourth and final part continued until early August 1967.<ref>Razzakov. ''o Vojne''. p. 34.</ref>

===Budget===
In 1962, officials in the Ministry of Culture estimated ''War and Peace'' would cost some 4 million roubles, not including support from the Army. In comparison, the most expensive Soviet film until then, the 1952 ''[[The Unforgettable Year 1919]]'', cost 1.093 million Rbls in prices adjusted to the [[Soviet rouble#Sixth Soviet ruble, 1961–1991, (Identified as ISO code SUR)|1961 monetary reform]].<ref>M.M. Goldin. ''Opyt gosudarstvennogo upravleniya iskusstvom: Deyatelnost pervogo otechestvennogo Ministerstva kulʹtury''. Moscow (2006). p. 73.</ref> ''War and Peace'' remains the costliest picture made in the USSR.<ref>Beumers. p. 143.</ref>

On 20 March 1962, Furtseva set a preliminary budget of 1.395 million Rbls.<ref name = "OV"/> On 21 May 1963, the Ministry approved a plan for a series in four parts with a budget of 8,165,200 Rbls.<ref>Razzakov. ''o Vojne''. p. 30.</ref> On 25 August 1964, the State Committee for Cinematography issued a directive revisiting the terms, authorizing to spend 8.5 million Rbls, of which 2.51 million Rbls were to cover the expenses of the Ministry of Defense.<ref>Deryabin. p. 637.</ref> Producer Nikolai Ivanov recalled: "the domestic press later claimed the budget was 18 million Rbls or 25 million Rbls, but they had 8.5 million and managed to reduce expenditures to 7.8 million during principal photography."<ref name="MK"/>

Towards the end of post-production, the total cost forecast estimated was 8,083,412 Rbls. However, in August 1967, with all work completed, "the last debit and credit entries were written in the books. According to its financial statements, the film consumed 8,291,712 Rbls."<ref name="RV">Razzakov. ''o Vojne''. p. 36.</ref> This was equal to US$9,213,013 by the 1967 exchange rate,{{#tag:ref | The exchange rate of the rouble to US dollar from 1961 to 1971 was 0.9:1.<ref>{{cite web|url=http://cbr.ru/currency_base/OldDataFiles/USD.xls |title=Central Bank of Russia: Ruble to US Dollar Exchange Rate History |access-date=2012-09-11|work=cbr.ru}}</ref> Other exchange rates used here are the 1969 rate of £0.41667:$1 and the 1967 rate of DM 3.9866:$1.<ref>{{cite web|url=http://fx.sauder.ubc.ca/etc/USDpages.pdf |title=Pacific Exchange: Foreign Currency Units per 1 U.S. Dollar, 1948–2011|access-date=2012-09-11|work=ubc.ca}}</ref>|group="nb"|name="D"}} or to approximately [[List of most expensive films#Most expensive films (adjusted for inflation)|$60–70 million in 2021, accounting for rouble inflation]].

Various estimates of the series' budget circulated in the international press. ''[[The New York Times]]'' reported that it was "the most expensive film ever made... Russians say cost $100 million".<ref name="Weiler">{{Cite news |last=Weiler|first=Abraham H.|date=19 January 1968|title=7-Hour 'War and Peace' Booked Here |work=[[The New York Times]] |url=https://www.nytimes.com/1968/01/19/archives/7hour-war-and-peace-booked-here.html |access-date=8 September 2012}}{{subscription required}}</ref> This figure was repeated throughout the American press.<ref name="Crist">{{Cite news |last=Crist|first=Judith|date=29 April 1968|title=Waiting for Tolstoy|work=[[New York (magazine)|New York]]}}</ref><ref name="RS"/><ref name = "Time"/> ''The New York Times'' estimated this figure to be equivalent to $700 million upon adjustment for [[inflation]] to 2007 levels,<ref>{{cite news |last=Kehr |first=Dave |date=19 October 2007 |title=Movies – War and Peace |work=[[The New York Times]] |url=https://www.nytimes.com/2007/10/19/movies/19movies.html?pagewanted=2 |access-date=20 February 2019}}</ref> a claim it reiterated in 2019.<ref name="nyt2019">{{cite news |last1=Barone |first1=Joshua |title=A Peerless 'War and Peace' Film Is Restored to Its Former Glory |url=https://www.nytimes.com/2019/02/15/movies/war-and-peace-bondarchuk-lincoln-center.html |access-date=20 February 2019 |work=The New York Times |date=15 February 2019}}</ref> After its release in the United Kingdom in 1969, ''[[The Annual Register]]'' announced it "reputedly" cost [[£]]40 million ($96 million).<ref>{{cite journal |journal=The Annual Register: World Events in 1969|year=1970|volume=211|page=435 |issn=0266-6170 }}</ref> The 1979 ''[[Guinness Book of World Records]]'' published a similar figure, claiming that ''War and Peace'' was "the most expensive film ever made" based on that "the total cost has been officially stated to be more than $96 million".<ref name="RM">McWhirter. ''1979''. p. 242.</ref> Other estimates put the cost of production between $25 million and $60 million.{{#tag:ref |In March 1965, the British magazine ''[[Films and Filming]]'' reported that the two first parts required £9 million (equal to $25.2 million);<ref>{{cite journal |journal=Films and Filming|date=March 1965|page=49 |title=A Moscow Letter |issn=0015-167X }}</ref> in July, ''[[L'Express]]'' stated that they cost $50 million.<ref>{{cite news |newspaper=L'Express |date=28 June – 4 July 1965 |page=35}}</ref> René Drommert of ''[[Die Zeit]]'' was told that 135 million West German Marks ($33.8 million) were spent making them,<ref name = "DZ"/> while ''[[Der Spiegel]]'' stated that it cost 240 million [[German mark|West German Mark]] ($60.2 million).<ref name="DS">{{cite web |url=http://www.spiegel.de/spiegel/print/d-46453121.html|title=Fünfte Fassung|trans-title=Fifth Edition| language = de|date=20 February 1967|work=[[Der Spiegel]]|access-date=11 September 2012}}</ref>|group="nb"|name="I"}}

==Reception==

===Distribution===
The distribution (along with the displaying and later preserving) of such a massive piece of work posed physical difficulties. The whopping 20 canisters of [[film reel]]s already made transportation a sizable hassle.<ref>{{cite web | url=https://www.vox.com/culture/2019/2/15/18223285/war-and-peace-sergei-bondarchuk-adaptation-1966 | title=One of film's greatest epics is a 7-hour adaptation of War and Peace. Really. | date=15 February 2019 }}</ref>

''Andrei Bolkonsky'' was screened in two consecutive parts, released in a total of 2,805 copies in March 1966.<ref name = "K"/> In the fifteen months afterwards, the first part sold 58.3 million tickets in the USSR, and 58 million of the viewers remained through the intermission. Thus, ''Bolkonsky'' became the most successful film of the year.<ref name="ZS"/> Respectively, its two parts are also the 26th and 27th most watched from among all pictures ever made in the Soviet Union.<ref>Kudryavtsev. ''Svoe Kino''. p. 374.</ref> ''Natasha Rostova'', which opened in July with 1,405 copies disseminated, performed less well and attracted 36.2 million viewers in the same time period, reaching the third place in the 1966 box office,<ref>Razzakov. ''Tajnoe stanovitsja javnym''. p. 278.</ref> although it would have been ninth if counted in 1967.<ref name="ZS"/> Admission for the two final parts declined further: ''1812'', with 1,407 copies released, had 21 million admissions and ''Pierre Bezukhov'' sold only 19.8 million tickets;<ref name="ZS">Zemlianukhin, Segida. p. 72.</ref> they made it to the 13th and 14th place at the 1967 box office.<ref>Razzakov. ''Gibelʹ sovetskogo kino''. p. 190.</ref>

Russian film critic Sergei Kudryavtsev assessed that the series' domestic returns were "probably in the range" of 58 million Rbls,<ref name = "K">Kudryavtsev. ''3500''. p. 185.</ref> while Razzakov assumed that each ticket cost an average price of 25 [[kopeck]]s.<ref name = "SL">Razzakov. ''Tajnoe stanovitsja javnym''. p. 249.</ref> With a total of some 135 million tickets sold, ''War and Peace'' was considered a resounding commercial success at the time.<ref name = "MY"/><ref name="RV"/><ref name = "K"/>

The series was screened in 117 countries around the world,<ref>Tendora, p. 92.</ref> including Spain, Japan, West Germany, Denmark, Belgium, Egypt, and Argentina.<ref>{{cite journal |journal=The Contemporary |year=1971 |volume=15 |page=56 |author=Society for Contemporary Studies |issn=0573-7958}}</ref> In [[German Democratic Republic|East Germany]], the state-owned [[DEFA]] studio produced a slightly shorter edition of the series, dubbed into German, which ran for 409 minutes and maintained the four-part arrangement of the original. It featured among others [[Angelica Domröse]], who voiced Lisa Bolkonskaya, and attracted 2,225,649 viewers.<ref>{{cite journal|journal=Freie Welt|date=October 1970|volume=169|issue=27|page=8|issn=0427-5217}}</ref> In [[Federal Republic of Germany|West Germany]], a much shorter version was released, totaling 337 minutes.<ref name="WM"/> In [[People's Republic of Poland|Poland]], it sold over 5,000,000 tickets in 1967.<ref>Leyko, p. 84.</ref> In France, ''War and Peace'' had 1,236,327 admissions.<ref>{{cite web|url=http://www.allocine.fr/film/fichefilm_gen_cfilm=2606.html|title=Guerre et Paix|access-date=4 October 2013|work=allocine.fr.}}</ref>

[[Walter Reade|Walter Reade Jr.]]'s company Continental Distributors purchased the U.S. rights of ''War and Peace'' for $1.5 million.<ref>Balio. p. 220.</ref> Reade's associates shortened the American version of the film by an hour, and added English-language dubbing. This edition was directed by Lee Kresel of [[Titra Studios|Titan Productions]] and narrated by [[Norman Rose]].<ref>{{cite news |title=Labials and Fricatives |author=Jonas, Gerald |url=http://www.newyorker.com/archive/1968/03/09/1968_03_09_032_TNY_CARDS_000289054 |newspaper=[[The New Yorker]] |date=9 March 1968|access-date=11 September 2012}}</ref> Its premiere was held in the DeMille Theater, New York, on 28 April 1968, and attended by actresses Ludmila Savelyeva and Irina Skobtseva, as well as Soviet ambassadors [[Anatoly Dobrynin]] and [[Yakov Malik]].<ref>{{cite news |title=War and Peace Opens |author=Curtis, Charlotte|author-link=Charlotte Curtis |url=https://movies.nytimes.com/movie/review?res=9401EEDE1538EF3BBC4151DFB2668383679EDE |newspaper=[[The New York Times]]|date=29 April 1968 |access-date=11 September 2012}}</ref><ref>{{cite news |title=Soviet Film Version of War and Peace is Given a Gala New York Premiere |author=Lanken, Dane |url=https://news.google.com/newspapers?nid=1946&dat=19680502&id=0eUiAAAAIBAJ&pg=977,459516 |newspaper= [[Montreal Gazette]] |date=2 May 1968 |access-date=11 September 2012}}</ref> Tickets for the picture were later sold for $5.50–$7.50{{mdash}}the highest admission rate ever, breaking the previous $6 record of ''[[Funny Girl (film)|Funny Girl]]''.<ref>Balio. p. 221.</ref> On 23 January 1969, Kresel's edition opened in [[London]]'s Curzon cinema.<ref>{{cite news|newspaper=[[New Society]]|issn=0028-6729|page=136|date=23 January 1969}}</ref>

The US television network [[American Broadcasting Company|ABC]] broadcast ''War and Peace'' over four days, 12–15 August 1972.<ref name="gelmis19720812">{{cite news|url=https://dontparade.blogspot.com/2016/08/newsday-tv-book-august-6-12-1972.html|title='War and Peace' Colossal 4-Night Run|work=Newsday TV Book|date=6–12 August 1972|access-date=20 August 2016|author=Gelmis, Joseph}}</ref> The series was broadcast on [[BBC2]] on Christmas Day 1976, split into two 4-hour sections with a 30-minute intermission.<ref>Radio Times- December 1976, Christmas edition</ref>

===Awards===
In July 1965, ''War and Peace'' was awarded the Grand Prix at the [[4th Moscow International Film Festival]] together with the Hungarian entry ''[[Twenty Hours]]''. Ludmila Savelyeva was presented with an honorary diploma.<ref>{{cite web|url=http://www.moscowfilmfestival.ru/miff34/archives/?|title=1965 1965 MIFF Awards|work=moscowfilmfestival.ru.|archive-url=https://web.archive.org/web/20120920025512/http://moscowfilmfestival.ru/miff34/archives/|archive-date=20 September 2012}}</ref> The readers of ''Sovetskii Ekran'', the official publication of the State Committee for Cinematography, chose Savelyeva and Vyacheslav Tikhonov for the best actress and actor of 1966, in recognition of their appearance in the picture.<ref>{{cite web |url=http://akter.kulichki.com/se/10_1983| trans-title=''Sovetskii Ekran'' Competition Winners| script-title=ru:Победители конкурса журнала "Советский экран"| language = ru |date=October 1983 |publisher=akter.kulichki.com|access-date=1 March 2011}}</ref> In the same year, ''War and Peace'' also received the Million Pearl Award of the Roei Association of Film Viewers in [[Japan]].<ref>Tendora. p. 287.</ref>

In 1967, the film was entered into the [[1967 Cannes Film Festival]], out of competition.<ref>{{cite web|url=http://www.festival-cannes.com/en/archives/1967/outOfCompetition.html |title=1967 Cannes Festival Out Of Competition |access-date=2012-09-11|work=festival-cannes.com}}</ref> It was sent there instead of [[Andrei Tarkovsky]]'s ''[[Andrei Rublev (film)|Andrei Rublev]]'', which had been invited by the festival's organizers but was deemed inappropriate by the Soviet government.<ref>Beumers. p. 145.</ref>

In the United States, it won the [[Golden Globe Award for Best Foreign Language Film]] in the [[26th Golden Globe Awards]].<ref>{{cite web |url=http://www.goldenglobes.org/browse/year/1968 |title=The 26th Annual Golden Globe Awards |access-date=2012-09-11 |work=goldenglobes.org |archive-url=https://web.archive.org/web/20101124174348/http://www.goldenglobes.org/browse/year/1968 |archive-date=24 November 2010 }}</ref> The picture was the Soviet entry to the [[41st Academy Awards]], held on 14 April 1969. It received the [[Academy Award for Best Foreign Language Film]] and was nominated for [[Academy Award for Best Production Design|Best Art Direction]].<ref name="Oscars1969">{{cite web|url=http://www.oscars.org/oscars/ceremonies/1969 |title=The 41st Academy Awards (1969) Nominees and Winners |access-date=2011-11-15|work=oscars.org}}</ref>

''War and Peace'' was the first Soviet picture to win the [[Academy Award for Best Foreign Language Film]], and was the longest film ever to receive an Academy Award<ref>Osborne. p. 206.</ref> until ''[[O.J.: Made in America]]'' won the [[Academy Award for Best Documentary Feature]] in [[89th Academy Awards|2017]].<ref>{{Cite web |last=Blyth |first=Antonia |date=2016-12-20 |title=Ezra Edelman On 'O.J.: Made In America:' "I Never Really Thought He Was Going To Say Yes" |url=https://deadline.com/2016/12/ezra-edelman-o-j-made-in-america-interview-1201868154/ |access-date=2023-08-29 |website=Deadline |language=en-US}}</ref>

It also won the [[National Board of Review Award for Best Foreign Language Film]]<ref>{{cite web |url=http://www.nbrmp.org/awards/awards.cfm?award=Best+Foreign+Language+Film |title=NBRMP Awards for Best Foreign Language Film |access-date=2012-09-11 |work=nbrmp.org |archive-url=https://web.archive.org/web/20121010223826/http://www.nbrmp.org/awards/awards.cfm?award=Best%20Foreign%20Language%20Film |archive-date=10 October 2012 }}</ref> and the [[New York Film Critics Circle Award for Best Foreign Language Film]] for 1968.<ref>{{cite web|url=http://www.nyfcc.com/awards/?awardyear=1968|title=New York Film Critics Circle Awards 1968|access-date=11 September 2012|website=nyfcc.com}}</ref>

In 1970, it was nominated for the [[BAFTA Award for Best Production Design]] in the [[23rd British Academy Film Awards]].<ref>{{cite web|url=http://www.bafta.org/awards-database.html?award=false&category=Film&pageNo=2&year=1969|title=23rd BAFTA Awards|access-date=11 September 2012|website=bafta.org}}</ref>

===Critical response===
Soviet film critic Rostislav Yurenev wrote that ''War and Peace'' was "the most ambitious and monumental adaptation of the greatest work of Russian literature […] set out to convey in tremendous scope the historical conception of Leo Tolstoy, his extraordinarily vivid and profound depiction of humanity".<ref>Yurenev, p. 96.</ref> In a second review, he added: "the desire for ever greater depth of penetration into the human character, of every aspect of it […] led to Sergei Bondarchuk's adaptation of Tolstoy. The outcome is truly marvelous."<ref>Tendora. p. 93.</ref>

''[[Frankfurter Allgemeine Zeitung]]'' reviewer Brigitte Jeremias stated the film presented history "with great meticulousness and choreographic quality […]. This is a conservative, romantic or perhaps even classical historical film […]. But it strives for authenticity, and is therefore incomparably better than Vidor's adaptation."<ref name="WM">{{cite web|url=http://osiris22.pi-consult.de/userdata/l_7/p_72/library/data/woina_i_mir.pdf|title=Woina i Mir|access-date=11 September 2012|work=berlinale.de}}{{dead link|date=January 2018|bot=InternetArchiveBot|fix-attempted=yes}}</ref>

French critic [[Georges Sadoul]] commented: "more than in the sheer scale of the battle scenes", the film's "merit lies in its sense of the Russian landscape", to continue: "Though perhaps an impressive example of film-making on large scale", it was "ponderous by any standard" and "tediously faithful" to the novel, with "none of its narrative flair or spirit […]. Occasional bravura or touching episodes are not adequate for the dogged pedantry."<ref>Sadoul, p. 407.</ref> [[Claude Mauriac]] wrote in ''[[Le Figaro|Le Figaro littéraire]]'' that "we have already seen many Soviet films […]. But this is the most beautiful I have seen since, well, since when?"<ref>{{cite journal |journal=Le Figaro littéraire|date=5 May 1966|issue=1046|page = 16|title=Guerre et paix de Serge Bondartchouk, d'après Tolstoï |author=Mauriac, Claude}}</ref> [[Peter Cowie]] noted that Bondarchuk brought to his adaptation "the epic sweep that had eluded King Vidor".<ref>Cowie, p. 40.</ref> Joseph Gelmis of ''[[Newsday]]'' agreed that the film was "superior [to Vidor's] as drama and spectacle. Bondartchouk isn't an innovator. Instead he uses virtually every movie technique extant ... an antiwar film that celebrates life, love, renewal".{{r|gelmis19720812}}

[[Renata Adler]] of the ''[[New York Times]]'' wrote that "the characters{{mdash}}including Savelyeva […] who looks a little queasy, and Bondarchuk, too old to play Pierre{{mdash}}are dowdy automata".<ref name="RAA">{{cite news |title=6 1/4-Hour Movie Is Shown in 2 Parts at the DeMille |author= Adler, Renata |url=https://www.nytimes.com/1968/04/29/archives/6-14hour-movie-is-shown-in-2-parts-at-the-demille.html |newspaper=[[The New York Times]] |date=29 April 1968 |access-date=11 September 2012}}</ref> She added the film was "vulgar in the sense that it takes something great and makes it both pretentious and devoid of life […]. A failure in the sense that it is not even as enjoyable as any number of lesser films."<ref name = "RAB"/> Adler also disapproved of the English dubbing, opining that "although it is remarkable{{mdash}}an outer limit of what can be done{{mdash}}it was a mistake"<ref name = "RAA"/> and "proves once and for all the futility of dubbing".<ref name="RAB">{{cite news |title=War and Peace – and Godard |author= Adler, Renata |url=https://select.nytimes.com/gst/abstract.html?res=FA0B16FA3F5E1A7B93C7A9178ED85F4C8685F9 |newspaper=[[The New York Times]] |date=5 May 1968 |access-date=11 September 2012}}</ref> ''[[The New Yorker]]'' critic [[Penelope Gilliatt]] lambasted the process as well: "the decision to tack on alien voices seems madness".<ref>{{cite news |title=The Russians' Monument |author=Gilliatt, Penelope |url=http://www.newyorker.com/archive/1968/05/04/1968_05_04_163_TNY_CARDS_000089411 |newspaper= [[The New Yorker]] |date= 4 May 1968|access-date=11 September 2012}}</ref> [[Judith Crist]] wrote in ''[[New York Magazine]]'': "Those Russians…! And now, I bet they'll beat us to the moon! Chauvinism be damned{{mdash}}I'm putting ''[[Gone with the Wind (film)|Gone with the Wind]]'' into historic perspective and second place, for certainly ''War and Peace'' is not only […] the finest epic of our time, but also a great and noble translation of a literary masterpiece, surpassing our expectation and imagination."<ref>{{Cite news |last=Crist|first=Judith|url=https://books.google.com/books?id=l-ECAAAAMBAJ&q=Those+Russians+.+.+.%21+bet+moon&pg=PA48|date=13 May 1968|title=War and Peace – The Greatest|work=[[New York (magazine)|New York]]}}</ref>

The [[Time (magazine)|''Time'' magazine]] reviewer wrote that the film "escapes greatness, except in cost and length […] the movie is awesome in war and pusillanimous in peace". In the novel, unlike in the picture, "the war is only the background […]. Pierre and Andrei are only shallow, literal representations of Tolstoy's characters […]. Moreover, the dubbing is disastrous."<ref name="Time">{{cite news |title=New Movies: War & Peace |url=http://www.time.com/time/magazine/article/0,9171,841288,00.html |archive-url=https://web.archive.org/web/20100328085525/http://www.time.com/time/magazine/article/0,9171,841288,00.html |archive-date=28 March 2010 |newspaper=[[Time magazine]] |date=3 May 1968 |access-date=11 September 2012}}</ref> [[Richard Schickel]] of ''[[Life (magazine)|Life]]'' noted that the film's American distributors "have cut and dubbed it, ruining any merit it may have had" but the original "had its own deficiencies […]. Missing is Tolstoy's theory of history as well as his Christian message (neither fits Marxist theory very well), and without this underpinning the film lacks power and purpose."<ref name="RS">{{cite news |title=It Shouldn't Be Happening to Tolstoy |author=Schickel, Richard|newspaper=[[Life (magazine)|Life]] |date=14 June 1968}}</ref> [[Roger Ebert]] commented that it was "a magnificently unique film […]. Bondarchuk, however, is able to balance the spectacular, the human, and the intellectual. Even in the longest, bloodiest, battle scenes there are vignettes that stand out […]. It is as spectacular as a movie can possibly be and yet it has a human fullness."<ref name="RO">{{cite news |url=http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/19690622/REVIEWS/906220301/1023 |title=War and Peace :: rogerebert.com :: Reviews |publisher=Rogerebert.suntimes.com |access-date=2012-02-03 |date=22 June 1969 |archive-date=7 October 2012 |archive-url=https://web.archive.org/web/20121007060826/http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=%2F19690622%2FREVIEWS%2F906220301%2F1023 }}</ref>

[[Review aggregator]] website [[Rotten Tomatoes]] reports that 100% of 19 reviews were positive, with an average rating of 8.97/10.<ref>{{cite web | url=http://www.rottentomatoes.com/m/war-and-peace1967/ | title=War and Peace (1967) | publisher=[[Rotten Tomatoes]] | access-date=2 July 2019}}</ref>

===Analysis===
[[Ian Aitken (journalist)|Ian Aitken]] regarded ''War and Peace'' as "one of the most important" films produced during the 1964–68 transition from the [[Khrushchev Thaw]] to the [[Brezhnev Stagnation]]. In that period, the liberal atmosphere of the Thaw was still felt, although it was being marginalized as Soviet cinema became more restrained. The picture "departed from the officially sanctioned forms of [[Socialist realism]]" and rather, conformed to [[György Lukács]]' model of intensive totality in several aspects: it was based on a classic [[literary realism|realist novel]] which itself influenced Lukács; had a complex plot structure, and portrayed the relations of individuals in a social context. Aitken added that at the same time, the picture employed several "overtly modernist" techniques: "symbolic, anti-realist use of color […] disembodied speech, rapid editing […] reflexive, hand-held camera". He believed the film's "chief importance" to lie in its demonstration of how "the Lukácsian model of intensive totality can be given a successful modernist inflection". He also noted that, while it was an example of [[Social realism|critical realism]] rather than socialist realism and had modernist characteristics, ''War and Peace'' was "politically innocuous enough" to be celebrated by the Brezhnev government as a great achievement.<ref>Aitken, p. 223.</ref>

[[Lev Anninsky]], on the contrary, viewed Bondarchuk's picture as a symbol of state-approved cinema, writing it was the "antithesis" of and a "total contrast" to ''[[Andrei Rublev (film)|Andrei Rublev]]'', which he saw as representing the nonconformist approach in the field. Anninsky commented that ''War and Peace'' was imbued with patriotic motifs and "warm Russian tradition, which engulfs the viewer" while [[Andrei Tarkovsky|Tarkovsky]] had no such sense of "history as if it is a mother's womb".<ref>Anninsky, p. 200.</ref>

[[Mira Liehm|Mira]] and [[Antonin Liehm]] considered it "foremost" among the early Brezhnevite films which received "official support" in order to bring "Russian classics […] and history to the screen in a manner in line with the official standards of taste". However, they added that "if measured by models and ambitions" it could "stand on its own merits".<ref>Liehm, p. 313.</ref>

[[David C. Gillespie]] noted orthodox Soviet messages in the film: "There are ideological touches […]. Russian and Austrian soldiers (but not their officers) show proletarian-like solidarity […]. There is no mention in the film of Pierre's early dalliance with [[freemasonry]], as if contact with a foreign creed might erode some of his Russianness." He wrote that it "remains a paean to Russian military might and the strength of the Russian 'soul{{'"}}.<ref>Gillespie, p. 18.</ref>

===Restoration===
In 1986, Bondarchuk was requested to prepare ''War and Peace'' for a television broadcast. A 35-mm. copy of the series, which was filmed in parallel to the main version and had a 4:3 [[aspect ratio (image)|aspect ratio]], rather than the 70-mm. 2.20:1, was submitted, after being adapted by a team headed by Petritsky.<ref name = "Master"/>

In 1999, as part of an initiative to restore its old classics, Mosfilm resolved to restore ''War and Peace''. As the original 70-mm. reels were damaged beyond repair, the studio used the 1988 4:3 version and the original soundtrack to make a [[DVD]] edition, in a process that cost $80,000.

In 2006 Karen Shakhnazarov, director of Mosfilm, announced that a new "frame by frame" restoration was being made. Which elements were being used is unclear, but the restoration would, claimed Shakhnazarov, probably be finished by the end of 2016.<ref>{{cite web |url=http://www.rg.ru/2006/07/25/shahnazarov.html|script-title=ru:От фабрики грез к фабрике смыслов |trans-title=From the Factory of Dreams to that of Senses| language = ru|author=Yakovleva, Elene |date=25 July 2006|publisher=[[Rossiyskaya Gazeta]]|access-date=11 September 2012}}</ref><ref>{{cite web |url=http://kommersant.ru/doc/152331/|script-title=ru:"Мосфильм" перепечатал "Войну и мир" |trans-title=Mosfilm Restored "War and Peace"| language = ru|author=Maslova, Lidya|date=5 July 2000|publisher=[[Kommersant]]|access-date=18 September 2012}}</ref>

The completed restoration was first shown at the [[Film Society of Lincoln Center]] in New York City, then in Los Angeles and other major cities. The Criterion Collection released the restoration onto 3-disc DVD and 2-disc Blu-ray sets on 25 June 2019.<ref>{{cite news |last1=Bramesco |first1=Charles |title=One of film's greatest epics is a 7-hour adaptation of War and Peace. Really. |url=https://www.vox.com/culture/2019/2/15/18223285/war-and-peace-sergei-bondarchuk-adaptation-1966 |access-date=20 February 2019 |publisher=Vox |date=15 February 2019}}</ref>

==See also==
{{commons category|War and Peace (1967 film)}}
*[[Ah Vy, Seni, Moi Seni]], Russian folk song
*''[[Waterloo (1970 film)|Waterloo]]'', a film about the [[Battle of Waterloo]], also directed by Bondarchuk
*[[List of highest-grossing films in the Soviet Union]]
*[[List of Soviet submissions for the Academy Award for Best Foreign Language Film]].
*[[List of submissions to the 41st Academy Awards for Best Foreign Language Film]].

==Annotations==
<references group="nb"/>

==References==
{{Reflist}}

===Bibliography===
*{{cite book|author=Aitken, Ian|title=European Film Theory and Cinema: A Critical Introduction|year=2001|publisher=Edinburgh University Press|isbn=0-253-21505-6}}
*{{cite book|author=Anninsky, Lev |title=Shestidesiatniki i my: Kinematograf, stavshii i ne stavshii Istoriei|year=1991|publisher=Soyuz Kinematografov SSSR|oclc=26810585}}
*{{cite book|author=Balio, Tino|title=The Foreign Film Renaissance on American Screens, 1946–1973|year=2010|publisher=University of Wisconsin Press|isbn=978-0-299-24794-2}}
*{{cite book|author=Beumers, Birgit |title=A History of Russian Cinema|year=2009|publisher=Berg Publishers|isbn=978-1-84520-215-6}}
*{{cite book|author=Bondarchuk, Natalya |title=Edinstvennye dni|year=2009|publisher=Astrel|isbn=978-5-17-062587-1}}
*{{cite book|author=Cowie, Peter|title=50 Major Film-Makers|year=1975|publisher=A.S. Barnes|isbn=978-0-498-01255-6|url=https://archive.org/details/50majorfilmmaker00cowi}}
*{{cite book|author=Deryabin, Alexander|title=Letopisʹ rossiiskogo kino, 1946–1965|year=2010|publisher=Kanon Plus|isbn=978-5-88373-152-4}}
*{{cite book|author=Gillespie, David C.|title=Russian Cinema|year=2003|publisher=Longman|isbn=978-0-582-43790-6}}
*{{cite book|author=Kudryavtsev, Sergei|title=3500 avtorskuiu knigu kinoretsenzii|year=2008|publisher=Pechatny Dvor|isbn=978-5-9901318-3-5}}
*{{cite book|author=Kudryavtsev, Sergei|title=Svoe Kino|year=1998|publisher=Dubl-D |oclc=42657018}}
*{{cite book|author1=Leyko, Małgorzata|author2=Sugiera, Małgorzata|author3=Bayerdörfer, Hans-Peter|title=Polnisch-deutsche Theaterbeziehungen seit dem Zweiten Weltkrieg|year=1998|publisher=Niemeyer|isbn=978-3-484-66026-7}}
*{{cite book|author1=Liehm, Miera|author2=Antonin J.|name-list-style=amp|title=The Most Important Art: Soviet and Eastern European Film After 1945|year=1977|publisher=University of California Press|isbn=0-520-04128-3}}
*{{cite book|author=McWhirter, Norris and Ross|title=Guinness Book of World Records 1971|year=1972|publisher=Sterling|isbn=978-0-8069-0004-9|url=https://archive.org/details/guinnessbookofwo00ster}}
*{{cite book|author=McWhirter, Ross|title=Guinness Book of World Records 1979|year=1980|publisher=Sterling|isbn=978-0-8069-0130-5|url=https://archive.org/details/guinnessbookofwo0000mcwh}}
*{{cite book|author=Muskyi, Igor |title=Sto velikikh otechestvennykh kinofilmov|year=2007|publisher=Veche|isbn=978-5-9533-2343-7}}
*{{cite book|author=Osborne, Robert|title=70 Years of the Oscar: The Official History of the Academy Awards|year=1999|publisher=Abbeville Press|isbn=978-0-7892-0484-4|url=https://archive.org/details/70yearsofoscarof00osbo}}
*{{cite book|author=Palatnikova, Olga|title=Neizvestnyi Bondarchuk: Planeta Geniya |year=2010|publisher=Exmo|isbn=978-5-699-44957-6}}
*{{cite book|author=Razzakov, Fedor|title=Gibelʹ sovetskogo kino|year=2008|publisher=Exmo|isbn=978-5-699-26846-7}}
*{{cite book|author=Razzakov, Fedor|title=Naše Ljubimoe Kino... o Vojne|year=2005|publisher=Algoritm|isbn=978-5-699-12882-2|url-access=registration|url=https://archive.org/details/nasheliubimoekin0000razz_g5e3}}
*{{cite book|author=Razzakov, Fedor|title=Naše Ljubimoe Kino – Tajnoe stanovitsja javnym|year=2004|publisher=Algoritm|isbn=978-5-9265-0142-8}}
*{{cite book|author=Sadoul, Georges|title=Dictionary of Films|url=https://archive.org/details/bub_gb_PvsZikRu-hAC|year=1972|publisher=University of California Press|isbn=978-0-520-02152-5}}
*{{cite book|author=Tendora, Natalya|title=Vyacheslav Tikhonov kniazʹ iz Pavlovskogo Posada|year=2008|publisher=Algoritm|isbn=978-5-699-38719-9}}
*{{cite book|author=Yurenev, Rostislav |title=Iskusstvo roždennoe oktjabrem|year=1968|publisher=BP sovetskogo kinoiskusstva|oclc=247736059}}
*{{cite book|last=Zemlianukhin|first=Sergei|author2=Segida, Miroslava |title=Domashniaia Sinemateka 1918–1996|publisher=Duble-D|year=1996|isbn=978-5-900902-05-0}}

==External links==
*{{IMDb title|0063794}}
*{{Rotten Tomatoes|war-and-peace1967}}
*Watch [https://web.archive.org/web/20131214100402/http://cinema.mosfilm.ru/films/film/Vojna-i-mir/voyna-i-mir-1/ ''War and Peace''] online at official [[Mosfilm]] site (with English subtitles)
*''[http://www.kino-teatr.ru/kino/movie/sov/1065/annot/ War and Peace]'' on kino-teatr.ru.
*[https://www.youtube.com/watch?v=bIij-KQ0jYU ''War and Peace'', episode 1 of 4], restored HD, [[Mosfilm]] 1966, in Russian language with English subtitles
*[https://www.youtube.com/watch?v=uJjqSfdFuUI ''War and Peace'', episode 2 of 4], restored HD, [[Mosfilm]] 1966, in Russian language with English subtitles
*[https://www.youtube.com/watch?v=wpKA1meiJzs ''War and Peace'', episode 3 of 4], restored HD, [[Mosfilm]] 1967, in Russian language with English subtitles
*[https://www.youtube.com/watch?v=nvDMu5e4xzw ''War and Peace'', episode 4 of 4], restored HD, [[Mosfilm]] 1967, in Russian language with English subtitles
*[https://www.criterion.com/current/posts/6463-war-and-peace-saint-petersburg-fiddles-moscow-burns ''War and Peace: Saint Petersburg Fiddles, Moscow Burns''] an essay by [[Ella Taylor]] at the [[Criterion Collection]]

{{Sergei Bondarchuk}}
{{War and Peace}}
{{Navboxes
|title = Awards for ''War and Peace''
|list=
{{AcademyAwardBestForeignLanguageFilm 1961–1980}}
{{Golden Globe Award for Best Foreign Language Film 1965–1989}}
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{{National Board of Review Award for Best Foreign Language Film}}
{{New York Film Critics Circle Award for Best Foreign Language Film}}
{{Soviet submission for Academy Awards}}
}}
{{Portal bar|Soviet Union|Film}}
{{Authority control}}

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Siberiade

2025-06-12T12:24:00Z

80.95.45.52: /* External links */

{{Use dmy dates|date=July 2022}}
{{Infobox film
| name = Siberiade
| image = Siberiade.jpg

| caption = Russian DVD cover
| director = [[Andrei Konchalovsky]]
| producer = Erik Waisberg
| writer = {{plainlist|
* Andrei Konchalovsky
* [[Valentin Yezhov]]}}
| starring = {{plainlist|
* [[Vladimir Samoilov (actor)|Vladimir Samoilov]]
* [[Natalya Andrejchenko]]
* [[Vitaly Solomin]]
* [[Nikita Mikhalkov]]}}
| music = [[Eduard Artemyev]]
| cinematography = Levan Paatashvili
| editing = [[Valentina Kulagina]]
| studio = [[Mosfilm]]
| distributor = [[Roskino|Sovexportfilm]]
| released = {{Film date|1979|05|10|[[Cannes Film Festival|Cannes]]|1980|01|10|df=y}}
| runtime = 275 minutes
| country = Soviet Union
| language = {{plainlist|
* Russian
* German}}
}}
'''''Siberiade''''' ({{langx|ru|Сибириада}}, [[Transliteration|translit.]] ''Sibiriada'') is a 1979 [[Soviet Union|Soviet]] [[historical drama film]] directed by [[Andrei Konchalovsky]] and produced by [[Mosfilm]]. The four-part [[epic film|epic]] spans much of the 20th century.

==Themes ==
The film combines narrative elements from different traditions. Its first part tells of wondrous [[Archetype|archetypical]] elements within the Russian culture, as connected to the pre-electrified epoch that is being narrated. Similarly, elements of the [[Epic poetry|heroic epic]] are included within the part narrating the protagonist's involvement in [[World War II]].<ref>{{cite web|url=http://kinoart.ru/archive/2006/07/n7-article12|title=Вывозу не подлежит. Отечественное кино и мировой контекст|date=July 2006|publisher=[[Iskusstvo Kino|Искусство кино]]|author=[[Kirill Razlogov|Кирилл Разлогов]]|accessdate=2015-08-23|archive-date=2015-09-29|archive-url=https://web.archive.org/web/20150929003427/http://kinoart.ru/archive/2006/07/n7-article12}}</ref>

==Synopsis==
The story revolves around two feuding families, the Solomins and the Ustyuzhanins, who live in [[Yelan]]. The Solomins were relatively wealthy and the Ustyuzhanins poor.

The film begins in 1904. Afanasy "Afonya" Ustyuzhanin is an aging man who spends all of his waking hours chopping a [[corduroy road]] "anywhere away from Yelan". His seven-year-old son Nikolai "Kolya" Ustyuzhanin must fend for himself by stealing from the Solomins. He meets Rodion Klimentov, a revolutionary fugitive who inspires him, but is soon found by the police and taken away.

In 1917, Kolya continues to help his father build the road, which has become an epic project stretching many miles. He is in a romantic relationship with a hoyden, Anastasia "Nastya" Solomina, but a quarrel about the [[Russian Revolution|revolution]] infuriates Nastya, who immediately seeks out Philip Solomin, kisses him, and demands marriage. (It is implied that Philip had previously had a non-reciprocated interest in her, and believes at first he is being mocked.) As the wedding preparations begin, Kolya begs for forgiveness, but Nastya savors the revenge. Kolya fights with the Solomins and is beaten and cast adrift down the river. At the end of the ceremony, Nastya makes a defiant gesture to Philip, apparently making clear that she will not be his either, despite having married him. He later finds her hiding in a barn; he fights and partially strips her, and then lets her go. She leaves to join an unconscious Kolya. Meanwhile Afonya (still chopping) has a problem with his heart, lies down on an ant nest, and dies alone.

In 1932, Kolya returns to Yelan as a charismatic [[Communist Party of the Soviet Union|party]] official with his loyal, revolutionary-minded son Aleksei. He informs the Solomins that Nastya, who had left with him, died heroically. In a town hall meeting he gets the village to agree on a plan for tapping the area's natural resources. A dispute leads to Kolya arresting Spiridon Solomin, who soon escapes and kills Kolya. Aleksei flees.

In June 1941, Aleksei, a teenager, returns to Yelan and meets Taya, at that point still a naïve girl; she becomes infatuated with him. A recruiting barge visits the town, announcing the beginning of the [[Eastern Front (World War II)|Great Patriotic War]], and Aleksei enlists. The boat pulls away and Taya yells to Aleksei that she will wait for him all her life. In the war, Aleksei saves an injured officer (Philip, whom he does not know, or at least recognize) and becomes a decorated war hero. The war [[German Instrument of Surrender|ends]], and Taya continues to wait for Aleksei's return day after day, which never occurs.

Around 1964, Aleksei returns to Yelan with an oil drilling crew. His uncle, Spiridon, has returned from prison a bitter and frail man, and Aleksei feels only pity. He meets Taya and has a casual affair, but she is also courted by Aleksei's boss Tofik, causing a rift. Meanwhile, Philip, who is in Moscow, has risen high into the ranks of Soviet leadership, but wrestles with his conscience over the plan for a massive [[hydroelectric dam]] project that would flood Yelan. Aleksei resigns from the oil drilling operation to leave town, stopping at Taya's house to take her with him to the resort city of [[Sochi]], but it becomes clear that they have grown apart; she refuses to say whether the child she expects is Aleksei's or Tofik's. Aleksei storms off, and the oil well [[Blowout (well drilling)|blows out]] as he leaves town. The blowout turns into an inferno and Aleksei rushes in to save a former coworker, and dies in the process. Spiridon gloats over the demise of the last Ustyuzhanin, but Taya reveals to him that she bears Aleksei's child.

At a party conference in Moscow, a telegram arrives with the news of the oil strike, which vindicates Siberia as a mining center. The officials react with pleasure but give a moment of silence for the passing of Aleksei. Philip flies to Yelan to supervise the containment operation, but it becomes clear that the graveyard must be razed to save the town. As the film closes, the ghosts of the Solomins and Ustyuzhanins seemingly appear in the graveyard expressing gratitude and unity.

==Cast==
*[[Vladimir Samoilov (actor)|Vladimir Samoilov]] as Afanasy Ustyuzhanin
*[[Natalya Andrejchenko]] as Nastya Solomina
*[[Vitaly Solomin]] as Nikolai Ustyuzhanin
*[[Nikita Mikhalkov]] as Aleksei Ustyuzhanin
** [[Yevgeny Leonov-Gladyshev]] as Aleksei in 1940s
*[[Lyudmila Gurchenko]] as Taya Solomina
** [[Yelena Koreneva]] as Taya in 1940s
*[[Sergey Shakurov]] as Spiridon Solomin
*[[Natalya Andreychenko]] as Anastasia
* Igor Okhlupin as Philip Solomin
*[[Pavel Kadochnikov]] as prophetic old man

==Awards==
The film won the [[Grand Prix (Cannes Film Festival)|Grand Prix]] at the [[1979 Cannes Film Festival]].<ref name="festival-cannes.com">{{cite web|last=|first=|date=|title=Siberiada|url=http://www.festival-cannes.com/en/archives/ficheFilm/id/1921/year/1979.html|accessdate=2009-05-24|work=Festival de Cannes}}</ref>

==In popular culture==
[[Eduard Artemyev]]'s theme from the movie, ''Crusade'', was covered by the Russian trance act [[PPK (duo)|PPK]] and issued under the title "[[ResuRection]]" in August 2001. It reached #3 in the [[UK Singles Chart]].<ref>{{Cite web|url=https://www.officialcharts.com/artist/8633/ppk/|title = PPK. Full Official Chart History. Official Charts Company| website=[[Official Charts Company|Official Charts]] }}</ref> Equilibrio Chimpunpan's cover, ''Eduard Artemyev: Siberiade Theme'', and [[Peter Theremin]]'s cover, ''Sibiriada'', were released in 2018. In 2020, it was used again by European music producers VIZE and [[Alan Walker (music producer)|Alan Walker]] for their song ''Space Melody (Edward Artemyev)'', a dance record which featured German singer Leony on vocals.<ref>{{Cite web|url=https://outnowmagazine.com/vize-alan-walker-space-melody/|title=VIZE Links up with Alan Walker on New Track ''Space Melody'' Featuring Leony and Edward Artemyev|date=15 December 2020}}</ref> Two further covers were released in the same year; the single ''Sibiriada'' by CS-Jay (Christian Steen Jensen) and the album track ''Siberiade'' by [[Messer Chups]].

The movie's theme was also used during the [[2014 Winter Olympics opening ceremony|opening ceremony]] of the [[2014 Winter Olympics]] in Sochi, when Lyubov, the little girl, climbs in the air.<ref>{{Citation|title=2014 Sochi Olympic Opening Ceremony|url=https://www.youtube.com/watch?v=ygluZ0tB8S4|language=en|access-date=2022-02-05}}</ref>

==References==
{{Reflist}}

==External links==
*{{IMDb title|0079907}}
*{{Rotten Tomatoes|siberiade}}
*{{usurped|[https://web.archive.org/web/20100304124820/http://www.vernonjohns.org/snuffy1186/siberiade.html ''Siberiade'' detailed plot summary]}}
* {{cite book| author = [[Andrei Konchalovsky|Андрей Кончаловский]] | chapter = | chapter-url = | format = | url = https://archive.org/details/vozvyshaiushchii0000mikh | title = Возвышающий обман | orig-year = | agency = | edition = {{nowrap|30000 экз}} |location= М. |date = 1999 |publisher= Совершенно секретно |at= |volume= |issue = | pages = | page = | series = | isbn = 5-89048-033-2| ref = Возвышающий обман}}
{{Andrei Konchalovsky}}
{{Cannes Film Festival Grand Prix}}
{{Authority control}}

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Moonzund

2025-06-12T12:17:56Z

80.95.45.52: /* External links */

{{About|film|naval operation|Battle of Moon Sound}}
{{Infobox film
| name = Moonzund
| image = Moonzund_(film).jpg
| caption =
| director = [[Aleksandr Muratov]]
| producer =
| screenplay = {{Plainlist|
* [[Galina Muratova]]
* [[Eduard Volodarsky]]
}}
| based_on = {{Based on|''Moonzund''|[[Valentin Pikul]]}}
| narrator =
| starring = [[Oleg Menshikov]] [[Vladimir Gostyukhin]] Lyudmila Nilskaya [[Nikolai Karachentsov]] [[Yury Belyayev]] [[Boris Klyuyev]]
| music =Aleksandr Mikhailov
| cinematography =Konstantin Ryzhov
| editing =
| studio = [[Lenfilm]]
| distributor =
| released = {{Film date|1988|6|27|df=yes}}
| runtime = 142 minutes
| country = Soviet Union
| language = Russian
| budget =
| gross =
}}

'''''Moonzund''''' ({{langx|ru|Моонзунд}}) is a 1988 Soviet [[war film]] based on [[Valentin Pikul|Valentin Pikul's]] 1970 novel of the same name.<ref>{{Cite web|url=https://20vek.net/index.php?func=4&id_type=3501&id_cat=77|title=Двадцатый век. Хроники. Факты. Комментарии|website=20vek.net|access-date=2022-07-25|archive-date=2022-07-25|archive-url=https://web.archive.org/web/20220725070619/https://20vek.net/index.php?func=4&id_type=3501&id_cat=77}}</ref> "Moonzund" refers to the [[West Estonian archipelago]], where the [[Battle of Moon Sound]] took place during [[World War I]].

== Plot ==
Epic film set during the First World War brightly illustrates the struggles of Russian Empire in the years 1915–1917. The hardships of war cause major social and political unrest in the Tsarist Russia. Communist propaganda provokes conflicts between classes causing clashes and un-subordination aboard battleships of Russian Imperial Navy and on locations in [[Tallinn]], [[Kronstadt]] and [[Saint Petersburg]]. Torn by internal class struggle, Russian Navy is weakened and loses major battles in the [[Baltic Fleet|Baltic]] theater of war. Against this background, the commanding admirals of the Russian Navy are powerless witnesses of the tragic collapse of the fleet in terms of nascent [[October Revolution|revolutionary events of 1917]]. Most film characters are officers and sailors of the Baltic Fleet.

== Cast ==
* [[Oleg Menshikov]] as ''Captain Sergey Arten'ev''
* [[Vladimir Gostyukhin]] as ''Semenchuk''
* [[Lyudmila Nilskaya]] as ''spy Anna "Klara Georgievna" Revelskaya''<ref>{{Cite web|url=http://greatoperation.narod.ru/2/baltika.htm|title=Великие операции спецслужб|publisher=greatoperation.narod.ru|accessdate=2018-05-05|archive-date=2018-05-06|archive-url=https://web.archive.org/web/20180506112345/http://greatoperation.narod.ru/2/baltika.htm}}</ref>
* [[Nikolai Karachentsov]] as officer ''Von Knupfer''
* [[Yury Belyayev]] as ''Admiral [[Aleksandr Kolchak|Kolchak]]''
* [[Boris Klyuyev]] as ''[[Von Grapf]]''
* [[Vija Artmane]] as ''Frau Milch''
* [[Aleksei Buldakov]] as ''Portnyagin, sailor''
* Vladimir Baranov as ''orderly Platov''
* [[Yevgenia Dobrovolskaya]] as ''Irina Artenyeva''
* [[Yevgeniy Yevstigneyev]] as ''Admiral [[Nikolai Essen]]''
* [[Sergei Garmash]] as ''[[Pavel Dybenko]]''
* [[Vladimir Yeryomin (actor)|Vladimir Yeryomin]] as ''Leonid Deichman, Mechanical Engineer''
* [[Vladimir Golovin]] as ''von Den''
* [[Petr Shelokhonov]] as ''Captain Andreev''
* [[Victor Kostetskiy]] as ''commander of the [[Russian cruiser Rurik (1906)|cruiser "Rurik"]]''
==References==
{{reflist}}
==External links==
*{{IMDb title|0093566}}
* [http://allperestroika.ru/Moonzund%20doc.html Тексты телеграмм периода Моонзундского сражения]

{{DEFAULTSORT:Moonzund (Film)}}
[[Category:1988 films]]
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[[Category:1980s Soviet films]]
[[Category:Biographical films about military leaders]]
[[Category:Cultural depictions of Alexander Kolchak]]
[[Category:Films set in 20th-century Russian Empire]]
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[[Category:Lenfilm films]]
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[[Category:Russian-language historical drama films]]
[[Category:Russian-language romantic drama films]]
[[Category:Russian-language war drama films]]
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[[Category:Soviet romantic drama films]]
[[Category:Soviet war drama films]]
[[Category:Soviet World War I films]]
[[Category:War romance films]]
[[Category:World War I films set on the Eastern Front]]

{{1980s-USSR-film-stub}}
{{WWI-drama-film-stub}}

Dauria (film)

2025-06-12T10:03:19Z

80.95.45.52: /* External links */

{{Short description|1971 film directed by Viktor Tregubovich}}
{{Infobox film
| name = Dauria
| image = Dauria_(film).jpg
| director = [[Viktor Tregubovich]]
| writer = Konstantin Sedykh
| starring = [[Vitali Solomin]] [[Petr Shelokhonov]] [[Yefim Kopelyan]] [[Vasily Shukshin]] [[Yury Solomin]]
| music = Gennady Portnov
| cinematography = Yevgeny Mezentsev
| editing =
| studio = [[Lenfilm]]
| distributor = RUSCICO
| released = {{Film date|1971}}
| runtime = 182 minutes
| country = Soviet Union
| language = Russian
}}

'''''Dauria''''' ({{langx|ru|Даурия}}) is a 1971 [[USSR|Soviet]] historical adventure drama set in [[Siberia]], [[Russia]]. Adapted from the [[novel]] of the same name by Konstantin Sedykh<ref>[http://militera.lib.ru/prose/russian/sedyh_kf/index.html Роман «Даурия» на сайте «Милитера»]</ref> and [[Film director|directed]] by [[Viktor Tregubovich]].

While the movie was criticized by some Soviet critics for its historical inaccuracies, its epic scope and intense battle scenes won wide praise and has been credited with affecting the political landscape of Siberian Russia.

== Plot ==
Epic film about traditional life of [[Cossacks]] in the Siberian province of [[Transbaikal|Dauria]] at the time of the [[October Revolution|communist revolution]]. Focused on a Cossack village that is living like one big family under the guidance of a strong leader - Ataman ([[Yefim Kopelyan|Kopelyan]]).

Young Cossack Roman Ulybin ([[Vitali Solomin|Solomin]]) is in love with beautiful Dashutka (Golovina). Roman is asking his father, Severian Ulybin ([[Petr Shelokhonov|Shelokhonov]]), to send a [[Matchmaking|Matchmaker]] ([[Lidiya Fedoseyeva-Shukshina|Shukshina]]) before it's too late. But father Severian has no money, while wealthy crook has already hired the Matchmaker, and his son gets married at the lavish traditional wedding with singing, dancing and drinking in the Russian style.

So, frustrated Roman Ulybin leaves his father's home to follow his big brother [[Vasily Shukshin|Vasili]], a Communist leader who promises happiness after the revolution. But, after the revolution, people suffer a cascade of troubles. Good old traditional life is destroyed by chaos, lawlessness and crime. Greed and envy blinds many people, and they forget their good traditions and life as good neighbors. Cossack leader Ataman is brutally beaten and humiliated by [[Aleksandr Demyanenko|executioner]]. Roman's father, Severian, is murdered in a wrongful dispute, and Roman is too late to reconcile with his father.

==Cast==
* [[Vitali Solomin]] as Roman Ulybin. The son of Severian
* [[Petr Shelokhonov]] as Severian Ulybin. The father of Roman
* [[Yefim Kopelyan]] as Ataman Kargin, the leader of Cossacks
* [[Vasily Shukshin]] as Vasili Ulybin, the leader of Communists
* [[Yury Solomin]] as Semen, a Communist agent
* [[Mikhail Kokshenov]] as Fedot, the neighbor of Ulybins
* Arkadi Trusov as Grandfather Ulybin
* Vera Kuznetsova as Ulybina. The wife of Severian
* [[Viktor Pavlov]] as Nikifor, a hard core Cossack
* Svetlana Golovina as Dashutka, the love interest of Roman Ulybin
* Zhenya Malyantsev as Roman's little brother
* [[Fyodor Odinokov]] as Dashutka's father
* [[Lyubov Malinovskaya]] as Dashutka's mother
* [[Yuriy Nazarov (actor)|Yuri Nazarov]] as a runaway prisoner
* Vsevolod Kuznetsov as Cossack Platon Volokitin
* [[Lidiya Fedoseyeva-Shukshina]] as Matchmaker
* [[Zinovi Gerdt]] as Tsarist General Semenov
* [[Georgy Shtil]] as Anarchist Revolutionary
* Igor Yefimov as Cossack
* Dmitri Masanov as Cossack
* Vladimir Losev as Cossack
* Sergei Polezhaev as White Russian officer
* [[Aleksandr Demyanenko]] as Executioner
* [[Igor Dmitriev]] as Executioner

==Crew==
*Director: Viktor Tregubovich
*Writers: Konstantin Sedykh, [[Yuri Klepikov]], Viktor Tregubovich
*Cinematographer: Yevgeny Mezentsev
*Composer: Gennady Portnov
*Production Designer: Grachya Mekinyan

== Production ==
* Produced by Lenfilm studios.
* Filming dates 1969–1971.
* Filming locations: Siberia, Trans-Baikal region, Narva, Estonia, Lenfilm studios, Leningrad, Russia.
* Over 5 hundred extras took part in filming.
* Leading actors took horseback riding classes for several months before and during filming.
* A unique stunt was performed for the character of Severian Ulybin: live horse with a mannequin in a Cossack costume jumped down from 70-meters-high cliff into the cold river.
<ref>{{Cite web |url=http://obozrenie-chita.ru/news/film-dauriya |title=Рождение легенды: «Даурия» |access-date=2021-11-01 |archive-date=2018-09-14 |archive-url=https://web.archive.org/web/20180914211035/http://obozrenie-chita.ru/news/film-dauriya |url-status=dead }}</ref>

== Release ==
* 1971 theatrical release, Soviet Union
* 1975 theatrical release in Finland and other European nations
* 1985 VHS release, Soviet Union
* 2002 DVD release, worldwide

==Reception==
* Attendance: 47 million, theatrical, in the Soviet Union.

==DVD release==
* 2002 DVD released by RUSCICO. It is based on the shorter 182 minute version, which was edited for European release in 1975. Dubbing for DVD in three languages was made by professional actors in English, French, and Russian. Subtitles in [[Arabic language|Arabic]], Chinese, [[Dutch language|Dutch]], French, English, German, [[Hebrew]], [[Italian language|Italian]], Japanese, [[Portuguese language|Portuguese]], Russian, [[Spanish language|Spanish]], and [[Swedish language|Swedish]].
* Defects on DVD include errors in sequence of scenes and wrong listing of scenes in the DVD cover booklet. There are some mistakes and discrepancies between English and Russian versions of the DVD.

== References ==
{{reflist|1}}

== External links ==
* {{IMDb title|0066969|Dauria}}
* Filming Dauria scenes in [[Siberia]] [http://www.petr-shelokhonov-en.narod.ru/HTML/Dauria/fotodauria.html]

[[Category:1971 films]]
[[Category:1970s Soviet films]]
[[Category:1970s Russian-language films]]
[[Category:Lenfilm films]]
[[Category:Russian Civil War films]]
[[Category:1970s historical adventure films]]
[[Category:1970s historical romance films]]
[[Category:1970s historical drama films]]
[[Category:1970s adventure drama films]]
[[Category:1971 romantic drama films]]
[[Category:Soviet adventure drama films]]
[[Category:Soviet historical drama films]]
[[Category:Soviet romantic drama films]]
[[Category:Soviet epic films]]
[[Category:Films set in Siberia]]
[[Category:Films shot in Estonia]]
[[Category:Films shot in Siberia]]
[[Category:Films based on Russian novels]]
[[Category:Films about weddings]]
[[Category:Dauriya]]
[[Category:Russian-language adventure drama films]]
[[Category:Russian-language historical romance films]]
[[Category:Russian-language historical drama films]]
[[Category:Russian-language romantic drama films]]
{{1970s-USSR-film-stub}}