[b]serdar002 en cine-clásico[/b] escribió:transferred from the "largos clasicos" sub-forum
This is the original silent version (no audio, found in rutracker). There's a 802 MB lower qual. version available with a soundtrack which was recorded in 1955 (music and voice-over narration) and a few more intertitles. But I prefer this version. For the background of the production, check the Russian links below (translate them in google).
custom subtitles.
Pyshka - Пышка
Boule de suif (Suet Dumpling or Butterball)
Director: Mikhail Romm
Writers: Mikhail Romm and Guy de Maupassant (story)
Cinematographer: Boris Volchek
Designers: I. Shpinel & P. Beitner
Cast:
Galina Sergeyeva ... Mlle Elizabeth Rousset (Boule-de-suif)
Pyotr Repnin ... Lamadon, miller
Tatyana Okunevskaya ... Mme Carré-Lamadon
Mikhail Mukhin ... Count de Bréville
Evgenia Mezentseva ... Countess de Bréville
Anatoli Goryunov ... Louiseau, wine merchant
Faina Ranevskaya ... Mme Loiseau
Sofya Levitina ... Elderly Nun
Nina Sukhotskaya ... Young Nun
V. Lavrinovich ... Cornudet, democrat
Valentina Kuznetsova ... Maid
Andrei Fajt ... Prussian Officer
Vladimir Osenev ... German soldier
Karl Gurniak ... German soldier
Andrei Pavlov from Archangelsk, quote:
My comment concerns the restored version (with additional narrator's voice behind the screen and instrumental music). What can I say about this black-and-white feature? It shows human nature in all its unstable depth. Who is the heroic character in this trivial saga? According to the film it is Pyshka quite definitely. I believe it is simply impossible to take the side of any other character. I've never read the original book but I suppose the film is a very well made screening. The evil deeds of the characters surrounding Pyshka are underlined by the way they eat (devouring chicken, eggs, cucumbers, etc.), the way they cast their glances (narrow eyes, mischievous grimaces, scornful impressions), the way they generally behave (hysteria when they cannot reach their goal - i.e. cannot leave the damned hut; absolute selfishness during their long talks and gestures - they don't care about Pyshka and even about each other while everyone has his/her own fish to fry; cruelty at its usual humane worst - when they are saved, they spit onto their saviour; emptiness and lack of soul - aimless drinking and playing cards)...
What is the meaning of all this? Well, our world can be this small wagon. Everybody is fighting for oneself and humiliating a weaker person. It also reminds me of Maksim Gorkiy "Starukha Izergil" (hope, I don't mix up things here): there was a story about a young man who ripped out his own heart in order to lead people out of the woods and when he died while rescuing men and women, the people just walked away merrily while one of them even stepped upon the heart of the dead young man.
A very sombre and even tragic film it is. It should be black and white only. The music, though quite light, contributes to the whole dirty atmosphere. The close-ups of the faces are professionally done and are truly repulsive.
The film squeezes maximum sense and style out of the concept.
English transl. of the Maupassant story
http://www.gutenberg.org/files/3090/309 ... #2H_4_0003
story in French (pp. 1-61)
http://commons.wikimedia.org/wiki/File: ... uselang=fr
more interesting links in Russian (excerpts auto-translated and partly corrected)
- Spoiler: mostrar
- http://www.russiancinema.ru/template.ph ... ie_id=5439
SHKLOVSKY Krylov / B. Shklovskii for 60 years. M., 1985.
[...] When I spoke with Eisenstein about the production of "Pyshka", he asked me: "Well, what is your directorial concept? "I began to mumble something - about the coach, then another third. And I Eisenstein answered: "Well what is the directorial concept? You don't have a director's intention yet. " [...]
Making the picture, I still had no idea [...] and I still remember the feeling of burning shame that I felt every time, entering the set. I just do not know where to start and how to act. [...]
I tried to select the most expressive of actors outside, who, when they go into a single action, are angry, devouring, hungry - and would have attached these characteristics.
I also worked with the costumes, everything. Thanks to this, the picture immediately went into print this text. ??? I do not fear, though its sometimes grotesque style was probably excessive.
I remember, the first Michael Schneider, a friend of mine, is a very good man, he gave a very strong, acrid definition of "Pyshka", saying: "wooden expression" Pyshka " ???. That was true.
Golovniya Anatoly cursed the camera work saying that make-up, powder and other rod ??? with terrible force of this artificial product. In general, there was much trouble.
When I was in the middle of work and had finished the first episode, I turned to one or two directors who were very respected at the time (not Eisenstein). They were horrified by what I was doing and said "Misha, let us fix it, let's sit down with you two or three days, try to remove one piece. You're just shooting something impossible, God knows that nothing is glued ???. And besides, this is not the Soviet cinema, this is something completely different. "
Well, I'm still a stubborn man, but not very militant, but still stubborn, I continued. In all of my first pictures, in "Boule de suif" in particular, I found one peculiar phenomenon. I could never make a separate piece, such as personnel ???, especially in the first scene, as it was conceived. Everything turned out wrong, vice versa. And in "Boule de suif" this was not so.
Actors were not such, what I saw and wanted. Shots were undoubtedly not as I intended them. [...]
In general, all I did, and the staging and everything, every frame as it appeared on screen, makes me just frightened, very real. I saw that it ??? did not like my own intentions. And I was convinced that I was waiting for the inevitable failure.
[...] So, first, that each time a feeling of failure.
Only one actor laughed gleefully at the sight of each shot on the screen, Mukhin. That made me feel really comforted, because at least one person was happy. But it turned out that the actor just enjoyed himself: how good his suit was fitting, what a nice hat. He is very fond of himself. And he could not get used to the fact that he is so beautiful, how it looks on screen. The rest of his little ??? excited. [...]
Romm, M. ["Doughnut"] / / Romm M. Selected works. In 3 Vols T. 2. , 1981.
http://www.kino-teatr.ru/kino/history/9-15/344/
Mikhail Romm "Conversations on Film":
"In April 1933 I was summoned by the director and said that if I take two weeks to write the script for a silent picture, which would not need more than a dozen cheap actors, no more than five simple sets, no extras, and with an estimate, not exceeding one hundred and fifty thousand (the average estimate of silent pictures had tripled, and of sound films ten times higher), then he'd give me a separate statement.
I was particularly disappointed that the picture must be silent. For my main advantage lies in the fact that I knew about sound. With the same silent picture, I really had no case. But the director was adamant, he explained the requirement that the silent pictures are needed for the village, where there are few sound installations. I agreed.
The same evening I was puzzled over what would be a "silent" to write for the village in two weeks without massovok (masses of extras ???), ten actors, and almost without sets. I was rescued by a friend, a novice screenwriter. By chance we were getting drunk together, he learned about my difficulties and thought it out with ease, startling even for his twenty years, he advised to film something of the classics, say, Maupassant. Despite the fact that Maupassant is clearly not in tune with the task of enriching the rural screen, we quickly settled on "Doughnut." In the morning I brought to the Directorate a detailed treatment with a deep theoretical justification why it is necessary to put it on, "Doughnut." My prompt action beat the director. I became a director.
"Doughnut" is a cinematic expression that has been well studied, known as something familiar. All of me here was useful, even translations from French, even my own petty-bourgeois origin, for the petty bourgeoisie in its essence is the same at all times and everywhere, and my aunt was like a Madame Loiseau, and probably the same way she would have been sitting on the the bench and responding to a prostitute. All of this was fresh, and because of this the work was easy. "
http://www.kino-teatr.ru/kino/art/kino/254/
http://kinozal.tv/details.php?id=786915
http://tv.akado.ru/programs/pyshka.html
Código: Seleccionar todo
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Pyshka.1934.XviD.IPTVRip-Kinozal.tv.avi 
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