Articles - FILMAR.ONLINЕ - ІСТОРІЯ КІНО В ОДЕСІ

The Night Coachman (Nichnyi Viznyk) is a tragic story of a father and a daughter in Odesa during the 1917–1921 Revolution. Gordiy Yaroshchuk (Amvrosiy Buchma) keeps being loyal to the ruling authorities even in the period of rebellions (as of the day of the events shown in the movie these were the White Guardsmen), Katya (Maria Dyusimeter) under the influence of her beloved Boris (Carl Tomskiy) cooperates with the underground. The girl arranges a shelter for pro-Bolshevik self-printed editions at the attic of her family house. Gordiy founds this out and informs the counter-intelligence service thereof (Yuriy Shumsky). Finally the White Guardsmen officer makes the night coachman personally see his daughter to her final way. And after that Gordiy, for a long while and agonistically, is driving the carriage with the convicted Katya through the wet night city …

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It is often overlooked today, but Dovzhenko wanted to be a comedy director when he started working in film, and later on he established himself as a master of adventure movies. He first worked on the hilarious film Vasya the Reformer, and he mostly be remembered for the conflict with the DoP Josif Rona, a very tough man with difficult character. Later on, Dovzhenko created the Love's Berries. Subsequently, Dovzhenko did not often mention these films among his legacy, but still planned to continue to shoot comedies. It was, on the one hand, a certain continuation of his passion for caricature and drawing that was his main work before he went for cinema. On the other, a fashion statement. Dovzhenko nurtured several ideas while working on new comedy scripts; he planned to make a film about Charlie Chaplin, but eventually received an invitation to create a film in a completely different genre – an adventure film The Diplomatic Pouch.

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The Night Coachman (Nichnyi Viznyk) is a tragic story of a father and a daughter in Odesa during the 1917–1921 Revolution. Gordiy Yaroshchuk (Amvrosiy Buchma) keeps being loyal to the ruling authorities even in the period of rebellions (as of the day of the events shown in the movie these were the White Guardsmen), Katya (Maria Dyusimeter) under the influence of her beloved Boris (Carl Tomskiy) cooperates with the underground. The girl arranges a shelter for pro-Bolshevik self-printed editions at the attic of her family house.

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‘I am accused of the fact that Battleship is too pathetic… But are we not humans, do we not have any temperament and passions, don’t we have tasks and goals?’ – pointed out Eisenstein in June 1926 in the columns of the Berlin newspaper, exactly half a year after the first December show of the movie in the Bolshoi Theatre. At that time a 27-year-old – film director-avant-garde representative creates an impressive myth about the mutiny on the ship near the Odesa port in 1905, which for decades later was on the lists of the best world films.

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"A Severe Young Man" is a projection into the nearest Communist future where Soviet people are idealized, Komsomol members are trying to develop the topical moral and ethical code and keep ongoing discussions about the dialectics of power.

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One of the most outstanding movies in the history of cinema, that keeps begin at the top of various lists of the best movies in the version of cinema critics and film directors. And along with that, one of the numerous examples in the history of the Soviet cinema, where open propaganda as well as ideological party order were transformed due to the effort of talented directors-enthusiasts into a real piece of art.

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‘The movie dedicated to the civil war events constitutes a noticeable achievement of silent Ukrainian cinematography. Acting of the main part is characterized by deep psychologism (...) The movie reveals with deep psychologism the hard fate of an individual who recovered sight in the days of revolutionary fight’ – that is the summary subtitle, added, though, already in the 1930s, describing the legendary movie of Odesa Film Factory Two Days directed by Georgiy Stabovyi.

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A resident of Kyiv Grigory Kozintsev and a resident of Odesa Leonid Trauberg, the founders of the FEX creative union (‘Eccentric Actor’s Factory’), have taken their rightful place in the pantheon of Soviet avant-gardists. The eccentricity constituting the basis of this abbreviation is one of the core characteristics of Kozintsev’s and Trauberg’s joint works, and that was manifested by the tandem in Petrograd back at the end of 1921 and embodied in the joint manifesto ‘Eccentricity’. As the result of experimental search of this film director duet, their movies keep astonishing with their universal expressiveness and non-trivial aesthetic solutions up till now.

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If only to think that before 1929 the audience has seen such avant-garde films as Arsenal by Dovzhenko, Battleship Potemkin by Eisenstein or Man with a Movie Camera by Vertov,  one can believe that the revolutionary epic New Babylon by Grigory Kozintsev and Leonid Trauberg is not revolutionary at all, and is, in general, a somewhat outdated movie that falls out of the general innovative trends of the time.

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In 1929, when Dziga Vertov completes his work on Man with a Movie Camera", the All-Ukrainian Photo Cinema Administration, the main producer of the film, is going through tough times. The conflict with Sovkino, numerous economic and ideological reorganizations undermine the considerable successes that have been achieved by VUFKU in just seven years of its existence. The following year, 1930, one of the most powerful European film institutions will be permanently destroyed, and its remnants will be buried under the newly created Soyuzkino. But so far, in 1929,  a non-fiction cinematic experiment by Vertov diversifies Ukrainian film production that already produces more than 30 features a year.

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They say that this film has four titles, except for the Severe Young Man, it is also was called the Household Commissioner, Fairytale Komsomolets and Diskobol. The philosophical and romantic drama of Abram Room based on a piece by Yuri Olesha could have really had any of the titles. After all, it represents a kind of sadness, an attempt to bring a new person of the Communist society - with all of the contradictory unity of human nature, carnal sin and desire for spiritual absolute and external perfection - to the screen.

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Love's Berry is, in fact, the first independent director and script-writing work by Oleksandr Dovzhenko created at VUFKU studio in 1926. We have a short comedy about a man called Jean Kovbasyuk, a hairdresser and a lover who falls into a trap one day – his mistress Lisa comes to see him with a baby. She tells nothing about the child to Kovbasyuk and he asks nothing, that is the reason for all of the upcoming misunderstandings in the film.

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