Alexander Dovzhenko [04/04/2007] (Director)

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Alexander Dovzhenko [04/04/2007] (Director)

Mensaje por bluegardenia » Mié 04 Abr, 2007 15:57

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Alexander Dovzhenko
Alexander Dovzhenko is one of the greatest filmmakers, though you’d never know it if all you had to go on was what you can read about him in English. The best things published about him in English are the out-of-print edition of his selected writings (edited by Marco Carynnyk) and a chapter of Gilberto Perez’s superb The Material Ghost. Otherwise, anyone who wants to explore the Ukrainian director’s work practically has to start from scratch. This you can do yourself now that a retrospective that’s been touring the US and Canada is about to reach the MFA.

Dovzhenko is, to be sure, the subject of two books by American academics. Vance Kepley Jr.’s In the Service of the State (University of Wisconsin Press, 1986) reads the director’s films as the expression and the result of impersonal political forces and social contradictions — an analysis to which, as Kepley states, cinematic style is irrelevant. Just off the press is George O. Liber’s Alexander Dovzhenko: A Life in Soviet Film (British Film Institute). This biography brings to light much information about Dovzhenko’s political activities and his rocky relationships with Stalin, Khrushchev, and the Soviet filmmaking hierarchies. But Liber, a history professor, has little to say about Dovzhenko’s films.

Such silence is symptomatic. American film criticism of the past quarter-century has witnessed two main trends. The prevalence of historicist or postmodernist approaches born and bred in university film-studies departments has yielded tepid analyses that avoid asking what it’s actually like to watch a film and why one film might provide a more complex experience than another. The second trend is the degeneracy of journalistic film reviewing, which has become almost without exception an unofficial branch of the publicity departments of film distributors or a naively and pointlessly subjectivist chronicle of individual reviewers’ likes and dislikes (actually, for reasons that would take too long to go into here, it’s both these things at once). If English-language writing on Dovzhenko gives almost no indication of why he’s worth attending to at all, he isn’t alone among film artists to suffer such neglect, though he’s one of the most notable cases of it. (Another is Kenji Mizoguchi.)

Dovzhenko’s films present a challenge to viewers and writers, a challenge that won’t be brushed off in the historicist manner by discounting their æsthetic qualities, or in the journalistic manner by paying empty tribute to their beauty. Beauty might not, however, be a bad place to start with Dovzhenko. As Barthélemy Amengual writes in his excellent (French) book on Dovzhenko: "The great films of Soviet cinema attest, for the most part, to the justice of socialism. Dovzhenko’s persuade us first of its beauty."

This beauty is always grounded in the complexity of reality. Dovzhenko opens Earth (1930; December 8 at 2:30 p.m.) with the tranquil death of an old farmer as he’s surrounded by his friends and family in his apple orchard. The main motifs of this sequence are all efforts to protect this death from time: the long shots of wheat fields, which frame the passage and recur within it; the sunlight shimmering on the old man’s white shirt and white-bearded face; his contented smile; shots of sunflowers, apples, a baby. The mood is of wonder, ripeness, completeness. The scene can be read as showing a symbolic sacrifice: the old man must die so that time, the Communist time, can start moving. But Dovzhenko prolongs, unforgettably, the timelessness of the moment.

There’s another sequence in Earth that’s as marvelous as any in cinema. It shows a young man, Vasil, walking home alone in the moonlight after an assignation with his girlfriend. We first see him walking with his eyes closed, the camera tracking back before him. Then, unexpectedly, he starts to dance. The sequence is extended in a series of jump cuts, as Vasil dances toward the camera, over and over again: each new shot is a risk, a fantasy, asserting an inexhaustible energy.

Each Dovzhenko work contains more different trains of thought, more image patterns, more ideas than we’re used to finding in a single film. His art lies in embracing so much energy, so many vital parts, in an organic whole. A historical epic unlike any other, Arsenal (1929; December 12 at 6 p.m.) moves with compulsive speed and gathering certainty from desolation through chaos to revolution. The construction of the film is exhilarating in the authority of its ellipses, the freedom with which it handles durations, the range and brilliance of its atmospheres.
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Arsenal celebrates a battle in which striking workers and pro-Bolshevik Ukrainians defended a Kyiv munitions plant against Ukrainian nationalist forces. But the film is notable for Dovzhenko’s refusal to reject national identity as a source of courage. Although his films, like all Soviet films of their period, were made officially "in the service of the state," they’re deeply subversive. The hero of Zvenigora (1928; December 4 at 6 p.m.), which retells Ukrainian history, is the old grandfather who zealously guards the fabled treasures of the mountain of Zvenigora, not the Communist grandson who builds a future in which these treasures will become meaningless. In Earth, which is ostensibly a paean to Stalin’s forced collectivization of farmland, the only character granted a tragic status is the enemy of progress, a murderous "kulak" (rich farmer) named Khoma. (Which doesn’t make Khoma the film’s hero. Earth transcends tragedy.)

Ivan (1932; December 6 at 6 p.m.) is about a massive construction project on the Dnipro River in Ukraine. A brilliant and erratic film, anticipating the most radical endeavors of left-wing moviemakers of the late ’60s, Ivan is perhaps the most ambivalent of Dovzhenko’s works. Its "unheroic hero" (Dovzhenko’s words), the zealous transplanted farmer Ivan, is balanced by the Falstaffian shirker Stepan, whose misadventures with loudspeakers and with an unseen paymaster introduce crazy comedy into the film’s already volatile mix of river lyricism, political speeches, panegyrics for industry, and pregnant or enigmatic encounters among mismatched members of the proletariat.

Shchors (1939; December 14 at 10:30 a.m.) ought to be the most Stalinist of Dovzhenko’s films, both because of its reverential focus on a leader figure — a Ukrainian revolutionary commander — and because Stalin not only proposed the subject but intervened at several points in the preparation of the film, not least decisively by executing several of its real-life characters. But Dovzhenko makes it a personal film not just in its imagery but in its characterizations. While portraying Shchors as a trim, brainy leader never completely at ease among his men, Dovzhenko builds Shchors’s boisterous, brutal, and outlandish second-in-command, the aging Bozhenko, into an equal figure in his design. The two make a marvelous, mysterious pair: the one too human, the other not human enough.

Like all Dovzhenko’s films, Shchors lives in its detail, in wild gestures and extreme transformations, in rapid shifts of attention and multi-layered shots (in one scene, women riding to a wedding in a sleigh pass soldiers fighting from house to house). The cliché about film — that it’s a visual medium — is true of Dovzhenko. Sound could add nothing to Zvenigora, Arsenal, or Earth. The experimental, materialist soundtrack of Ivan is remarkable, but as late as Shchors (Dovzhenko’s third sound film), sound is largely redundant and irrelevant. Shchors is a film in flight, never lingering over its beautiful images, aware that glory exists in moments that swiftly pass.

Dovzhenko was part of the Soviet cinema’s heroic period, which saw montage as the highest potential of film, and his montage sequences are stunning (foremost among them is the harvest sequence in Earth). They push to a paroxysm Dovzhenko’s habitual style, which gives each shot an intensity, an inner movement, and an independence from context that invariably set it in contrast with its neighbors. No director has less regard for "continuity editing" or less use for standard formulas of editing. (A Dovzhenko reverse shot is never merely a convention but part of an individual visual pattern that demands, at a given moment, that two people facing each other be shown frontally.) With every shot and cut he made, Dovzhenko insisted passionately on the miraculousness of the cinema’s freedom to join fragments of time and space.

Both Earth and Ivan became the targets of violent attacks from doctrinaire Soviet critics. Dovzhenko managed to rehabilitate himself, but his position in Soviet filmmaking was chronically insecure. Between 1932 and his death in 1956, he managed to complete only three narrative films (including a masterpiece, 1935’s Aerograd, that isn’t part of the MFA series; Dovzhenko also supervised or partially directed several documentaries). His artistic legacy is small in quantity. But no film director, under any political system, left a richer body of work.n
Texto de CHRIS FUJIWARA en esta web


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bluegardenia
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Mensaje por bluegardenia » Mié 04 Abr, 2007 15:57

Yagodka lyubviLove's Berries1926'

Director: Aleksandr Dovzhenko
Reparto: Margarita Barskaya, Dmitri Kapka, Maryan Krushchelnitsky

Comentario:
Dovzhenko's debut film is a farce that combines hyperkinetic proceedings _ la Harold Lloyd with satirical sketches of NEP generation, the beneficiaries of an early Soviet attempt at mixing capitalist elements with socialism that resulted in a short-lived Soviet bourgeoisie.


IMDb

Vasya reformatorVasya, the Reformer1926'

Director: Aleksandr Dovzhenko
Reparto:

Comentario:
A satire on the New Economic Policy.


IMDb

Sumka dipkuryeraThe Diplomatic Pouch 192772'

Director: Aleksandr Dovzhenko
Reparto:

Comentario:
the director's sophomore feature is, in fact, an international spy thriller complete with mustache-twirling British villains. In a touching display of proletarian unity, English country folk - Communist sympathizers all - race against time to deliver the pouch to Leningrad.


IMDb

ZvenigoraLa Montaña del Tesoro192890'

Dirigida por: Aleksandr Dovzhenko

Reparto: Georgi Astafyev (Leader of Skyths (G. Astafyev)), Nikolai Nademsky (Grandpa/General), Les Podorozhnij (Pavlo)

Comentario:
Zvenigora is, in terms of narrative and content, one of the most remarkable avant-garde films of an exuberantly experimental period. The film uses the central construct of a legend regarding treasure buried in Mount Zvenigora to build a montage of scenes praising Ukrainian industrialisation, attacking the European bourgeoisie, celebrating the beauty of the Ukrainian steppe and re-telling ancient myths.



IMDb | DXC
ed2k linkZvenigora (Alexander Dovzhenko, 1927)-fitz VHSrip.avi ed2k link stats

ArsenalArsenal192870'

Dirigida por: Aleksandr Dovzhenko
Reparto: Semyon Svashenko (Timosh, the Ukrainian), Amvrosi Buchma (Laughing-Gassed Soldier), Georgi Khorkov (A Red Army Soldier (G. Khorkov)

Comentario:
En 1918 la clase obrera ucraniana se rebeló en el arsenal de Kiev contra la policía reaccionaria de RAda Central. La reacción de esta no se hizo esperar con una fuerte represión.
La obra preferida por su propio director.



IMDb | DXC
ed2k linkAlexander Dovzhenko - Arsenal (1928) (eng.sub.).avi ed2k link stats
Subtítulos por Peter Love
Subtítulos por Oski
Russian

ZemlyaTierra193075'

Dirigida por: Aleksandr Dovzhenko
Reparto: Stepan Shkurat (Opanas (S. Shkurat)), Semyon Svashenko (Vasili Opanas (S. Svashenko), Yuliya Solntseva (Vasili's Sister)

Comentario:
Canto a la Naturaleza, alos que la trabajan con esfuerzo y una obra capital de la historia del cine soviético.
Un campesino ucraniano se dispone a morir sobre la tierra que él mismo ha trabajado y fertilizado durante años. En en el trance se encuentra rodeado por sus hijos y una pandilla de chiquillos.



IMDb | DXC
ed2k linkAlexander Dovzhenko - Zemlya (1930) (eng.sub.).avi ed2k link stats
Subtítulos

IvanIvan1932102'

Director: Aleksandr Dovzhenko
Reparto: Dmitri Golubinsky, Elena Golki, Maksim Gornatko

Comentario:
Driven to near-suicidal depression by the rather cool acceptance of earth, Dovzhenko followed up his masterwork with Ivan, his first experience with sound cinema, which Dovzhenko seemed to accept and master more readily than some of his Soviet contemporaries. Like Earth, Ivan concerns itself with the natural rhythms of country life disrupted by the beat of the looming industrialization.


IMDb
Ukrainian

AerogradLa Ciudad del Aire1935'

Director: Aleksandr Dovzhenko
Reparto: Stepan Shagaida, Sergei Stolyarov, Yevgeniya Melnikova, Stepan Shkurat

Comentario:
Another tale of epic construction (this time, of an entire modern city) sprouting up against a majestic natural backdrop, Aerograd takes full advantage of these stock types, but adds a note of state-sanctioned paranoia by introducing Japanese infiltrators and vile old believers into the fray.


IMDb
ed2k linkAlexander Dovzhenko - Aerograd (Tvrip - Rus) By Esu Forum Xvid Ru.avi ed2k link stats
ed2k link1935 - Aerograd (Dovzhenko).srt ed2k link stats (Inglés)
Russian

Bukovina, zemlya UkrainskayaBukovina, Tierra de Ucrania193982'

Director: Aleksandr Dovzhenko
Reparto:

Comentario:



IMDb
Russian

ShchorsShchors193992'

Director: Aleksandr Dovzhenko
Reparto: Ivan Skuratovi, D. Barbinskiy, Valentin Dukler

Comentario:
Clearly made under the sign of "socialist realism," Dovzhenko portrays the film as a model of clear-headed political vision, although obviously much more of a sophisticate than the homespun Chapayev; he quotes Shevchenko to his troops and even keeps a portrait of Pushkin at his HQ.


IMDb
Russian

OsvobozhdeniyeLiberation1940'

Director: Aleksandr Dovzhenko
Reparto: Olev Eskola

Comentario:



IMDb
Russian

Bitva za nashu Sovetskuyu UkrainuUcrania en Llamas194380'

Director: Aleksandr Dovzhenko
Reparto: Documental

Comentario:
"A feature documentary continuing the tradition of Dziga Vertov." - Neya Zorkaya, The Illustrated History of Soviet Cinema Like many other Soviet filmmakers and artists, Dovzhenko threw his talents behind the total mobilization for the war effort against Germany.


IMDb
Russian

Strana rodnayaSoviet Earth1945'

Director: Aleksandr Dovzhenko
Reparto:

Comentario:



IMDb
Russian

Pobeda na Pravoberezhnoi Ukraine...Victory on the Right Bank Ukraine194573'

Director: Aleksandr Dovzhenko
Reparto:

Comentario:
This feature-length documentary focuses on the western advancement of the Soviet Army after the Germans and their allies had been driven out of the Ukraine. Despite the triumphant tone of the film, it also captures the terrible swath of destruction caused by the enemy.


IMDb
Russian

MichurinLife in Bloom1948'

Director: Aleksandr Dovzhenko
Reparto: Grigori Belov, Sergei Bondarchuk, Fyodor Grigorye, Vladimir Isayev

Comentario:
"Dovzhenko's first treatment for his idea of Ivan Michurin's life was as a play - and he agreed reluctantly to turn it into a scenario and a film. One argument finally convinced him: that all the physical beauties that were an essential part of the naturalist's long, ripe life - orchards, blossoms, fruit - could never be conveyed as satisfactorily as in a Dovzhenko film.


IMDb
ed2k linkmichurin.avi ed2k link stats (Por confirmar)Russian

Farewell, AmericaAdiós, América1949'

Director: Aleksandr Dovzhenko
Reparto: Liliya Gritsenko, Nikolai Gritsenko, Ianis Osis, Lyudmila Shagalova

Comentario:
The last eight years of Dovzhenko's life proved frustrating. Weakened by his conflicts with the state, and especially those over _Michurin_ which had led to a nervous breakdown and a heart attack, he wrote several unfilmed screenplays, and in late 1950 started making Goodbye America_, a cold-war project set, like his third film, in the world of diplomacy.


IMDb | DXC
ed2k linkFarewell, America (Aleksandr Dovzhenko, 1949) (Bioz TvRip).mpg ed2k link statsRussian

Poema o morePoema del Mar1959'

Director: Aleksandr Dovzhenko
Reparto: Boris Andreyev, Yevgeni Bondarenko, Yevgeni Gurov, Zinaida Kiriyenko

Comentario:
In 1956 his script for _Poem of an Inland Sea_ was approved only to see him die just before shooting commenced. It was completed by his second wife Julia Solntseva, who not only went on to make several of the films that Dovzhenko had only scripted but in 1970 completed her devotion with The Golden Gates, a documentary about him.


IMDb
Russian

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bluegardenia
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Mensaje por bluegardenia » Mié 04 Abr, 2007 16:00

Falta algún retoque, ya lo puliré cuando pueda.
Acabo de encontrar (o eso creo) unos subtítulos en inglés para Aerograd, no prometo nada, pero estaría bien una traducción.
Buen provecho y hasta otra :)
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Jacob
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Mensaje por Jacob » Mié 04 Abr, 2007 19:14

Muchas gracias por el esfuerzo, Blue.

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pickpocket
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Mensaje por pickpocket » Mié 04 Abr, 2007 19:21

Dovzhenko era un genio.

Se te echaba de menos, blue :mrgreen:

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locutus
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Mensaje por locutus » Vie 06 Abr, 2007 14:02

Gracias por esta nueva filmo, BG.

tom_doniphon
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Mensaje por tom_doniphon » Mié 23 May, 2007 01:21

muchas gracias por la filmo.
bajando aerograd y michurin.

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spione
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Mensaje por spione » Mié 23 May, 2007 02:18

era un delito no tener la estupenda filmografia de Dovzhenko en DXC, muchas gracias

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Mensaje por spione » Jue 07 Jun, 2007 18:21


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bluegardenia
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Mensaje por bluegardenia » Jue 07 Jun, 2007 21:38

Muchas gracias spione :wink:
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erda
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Mensaje por erda » Vie 08 Jun, 2007 10:05

gracias por la filmo
_______________________________________
¡Cede, Wotan, cede!
¡Escapa a la maldición del anillo!

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ronalrigan
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Mensaje por ronalrigan » Sab 08 Sep, 2007 18:50

Pinxo panxo punxo

Gracias Blue y Spione
mi teclado no tiene acentos ni enye y me da palo usar el word

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locutus
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Mensaje por locutus » Dom 09 Sep, 2007 13:25

Me llevo un par. Gracias.

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kilgore
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Mensaje por kilgore » Sab 02 Feb, 2008 18:58

¿¿¿alguien sabe de los subs en el idioma de cervantes para Aerograd???
saludos y buenona la filmo, ya tengo dos, voy la tercera...
f
...como me gusta el RUIDO del olor a napalm en las mañanas...

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