Alexei G. HERMAN

1938) - Russia's director. Born July 20, 1938 in Leningrad, the son of writer Yuri Herman. In 1960 he graduated from the Leningrad State Institute of Theater, Music and Cinema (workshop Grigori Kozintsev), worked at the Bolshoi Drama Theater with George Tovstonogov. He made his debut in the film removed, together with Grigory Aronov film "The Seventh Satellite" (1968).

Herman's first independent film - "Check on the roads" (1971, car 1985) - was banned and was released only in times of restructuring. Hero of the picture was the policeman who defected to the partisans, that in itself did not fit in the accepted canon of war films. However, . likely, . greatest wrath of the communist authorities provoked not so much the story of trying to atone for the traitor, . as a new approach to display 'trench truth', . director's desire to create an image of the war through a lot of the most authentic details - from the hisses were heated gun, . fallen in the snow, . to the emaciated prisoners, . which played a real prisoners,


. In a similar style and made the following picture of Herman "Twenty Days Without War" (1976), . in which the story is already beginning to yield a significance of mundane details: if the first film director attended a thrilling affair, . a second hero - frontline journalist, . arrived at the twenty days in the rear, . - Acts mostly as an observer, . before the eyes of which the unfolding circumstances of the evacuation of life and war experiences,


. The tendency to blur the narrative basis of the film even more intensified in the movie "My Friend Ivan Lapshin" (1984), . where the plot is formally still exists (the capture of the gang in the provincial town of the mid-1930), . but has almost completely lost in the busy urban environment and the details of communal life,
. This feature film highlights its sound system, in which many important replica plot skips almost unnoticed among the non-significant extraneous chatter and radio sounding. Very moving, living an independent life camera picks out the individual as if the random objects, and just grabs the microphone like some random remarks, all together creating a general atmosphere of the time

. Finally, . film Khrustalev, . car! "(1998) is constructed in such a way, . that even knowing the circumstances of Soviet history the first months of 1953 (the Doctors, . echoes of which are the basis for the first half of the film, . and the death of Stalin, . is the culmination of the second half), . understand its plot is extremely difficult (which, . probably, . and the reason for lukewarm, . who met the film at the 50 th anniversary festival in Cannes and in the European criticism),
. In this picture, the concentration of material and the environment (including the terrible) household details have reached such a force that could shape the image of the era and country, without the need for story props

. This property underlines the picture and its name, . repeating minor, . thrown casually remark, . value of which is associated not with the narrative aspect of the film, . and, . more, . sounding with an undercurrent of conflict there everyday items - crystal and mechanical assembly,


. Focusing on the problems of the director of history and time manifested in the two most conspicuous features of his films: they are all black and white, . a newsreel 1930-50-x, . and in all of them occur rarely used in film reception - think character directly into the camera, . that establishes a direct contact between the audience and the screen world,
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Alex Herman - co-writer of most of his films, was filmed as an actor (for example, in the movie "Sergei Ivanovich retire," TV film "Rafferty" and others).