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Savchenko Igor Andreevich

( Director, screenwriter, actor)

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Biography Savchenko Igor Andreevich
Savchenko Igor Andreevich (11. 10. 1906 - 14. 12. 1950), director, screenwriter, actor.
He was born in Vinnitsa. Since 1919 - assistant costume, artist and actor in a traveling theater. In 1926-1929 he studied at the studio director of the Leningrad Institute for the Performing Arts. In 1929-1932 - actor and director of Baku, in 1932-1935 - chief director of the Moscow TRAM. Since 1933 - director of / st 'Mezhrabpomfilm', since 1938 - director of the Baku / st. In 1941-1945 - director of the Ashkhabad / Art, Artist. hands. c / cr 'Soyuzdetfilm', directed by / st 'Mosfilm'. In 1945-1950 - teacher fighting positions, the head of the director's workshop.
Honored Artist of the RSFSR (1944)
. In the history of Soviet cinema presence of Igor Savchenko affected more directly in the sense of his personality, . than the films they created - just as brilliant and temperamental, . as himself, . but mostly not within the official canon,
. Generous, Ukrainian baroque forms of redundancy savchenkovskih pictures looks like a kind of reflection of his personality that falls on them as if from outside, some of.
Because redundancy is often perceived as incomplete: it seems that film language Savchenko intended for other objects than those referred to in the movies, they set. This is what cinema Savchenko and attracts: it always exists some kind of dramatic taste of mystery.
Focusing mainly on the epic, and as a genre of folk, not knowing the internal human drama, the cinema shows their actual presence is intense form. Perhaps, . Only two paintings, . best in the creative heritage of the director - the first in fact (except for two early silent experiments, . did not see the screen and trace, . alas, . perished), 'Harmony' (1934) and the last - 'Taras Shevchenko' (1950) prefaced a kind of manifesto - article 'The right to sing', . where anathema traditional reflective hero, . opposing character he originally solid, . embodies the full - and thus, . optimism and cheerfulness - Brave New World,
. World in 'Harmony' is really beautiful - it is a film, filled with some kind of earnest, selfless beauty in every frame. Hero - rustic accordion-sang, - became secretary of the Komsomol cell, renounced his accordion, song sacrificed for the sake of speedy victory of a brighter future. But this heroic act of falling, turned out not more than a delusion: self-restraint was interpreted as a denial of reality, already here and now there is complete disposition. Peace is in fact originally beautiful, and it was only fully merge with him, trust him to gain this desired completeness and wholeness.
Meanwhile, the author brilliantly appeared here on the screen as a fist with the expressive nickname of Dull.
But bleak (read: reflective) in this brave new world was to do absolutely nothing. And plenty pokurazhivshis and most expressive singing in 'kinooperette' (so designated Savchenko genre 'Harmony'), an aria, he simply disappeared from the picture, literally - where he had just stood in the frame turned out ... empty space. So I do not own doubts cleared here in one fell swoop an artist, not a reflection on its own, is absolutely inconsistent with the fact momentuN wonderful new world already existed, and could only reflect it, singing. And as this baroque excess, ravishing beauty, it is assumed that it belongs entirely to the world itself, and not the author. So from the author - on techniques - removes the movie by himself.
Or, more accurately, trying to eliminate. The severity of the reception, carried to its limit in the next, in the same genre as 'harmony', made painting 'the month of May' (1936), condemned the tape, is very similar to the poetics of the famous 'strict boys' A. Rooma, an equally dramatic fate: the accusations of formalism, the tape was revised a year, make a copy and went out on the screen called 'Chance Meeting', soon permanently settled in the Film Archives. Henceforth reception at Savchenko introduced into the framework of the canon, . same characters are knights without fear, . reproach, and doubt - the epic battles of the characters from the fields of new and old stories, . merged together: "I think about the Cossack Golota ', . 'Riders', . "Bohdan Khmelnytsky", . 'Guerrillas in the steppes of Ukraine', . 'Ivan Nikulin - Russian sailor', . 'The third blow',
. And even the characters are charming elegance of comedy styling 'An old vaudeville' returning heroes with a victory in 1812, look like brothers of military character comedy, filmed at the same time - 'Heavenly slug', 'The uncertain economy'.
The tragedy of the war exposed the artificiality of this poetics, with all the brilliance of individual finds Savchenko felt her prisoner - a prisoner of the canon. He felt that trapped in its own canonized experience, suffocating in it. And one of the first went to the direct dialogue with the new director's generation who have just entered the fields of real, so unlike the rented them, war. He became the leader of the workshop VGIK and performed a miracle: 50 percent gave staff the following cinematic period. And what frames! Hutsiev and Paradjanov, Alov and Naumov, Gabay and Ozerov twin the perhaps one: graft Savchenko taste for cinematic form
. Eugene Margolit
. 1931 Nikita Ivanovich AND SOCIALISM ( 'Killed Russia', 'People on the ground') director, screenwriter
. 1932 TWENTY-SIX COMMISSARS actor
. 1932 PEOPLE WITHOUT HANDS director, screenwriter
. 1934 HARMONY actor, director, screenwriter
. 1936 Chance Meeting ( 'the month of May', 'Irinkin record') director, screenwriter
. 1937 DUMA about the Cossack Golota director, screenwriter
. 1939 RIDER director
. 1939 HIGH REWARD writer
. 1941 Bohdan Khmelnytsky director
. 1942 YOUNG Partizan (1-I story 'Levko', BCS) director
. 1944 IVAN NIKULIN RUSSIAN SEAMEN director
. 1948 Third Impact ( 'South node' n / ed.) Director
. 1951 TARAS SHEVCHENKO director, screenwriter


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