The Brothers Karamazov 1969 Download __LINK_

Based on the novel of the same name by Fyodor Dostoevsky. The tragic story of the Karamazov family takes place in a Russian province in the late 19th century. The relations of their father and three brothers are very complicated and contradictory. One of the brothers is accused of killing his father, whom he did not commit. The brothers are unable to help him, and only a loving girl follows him to hard labour.

Three brothers and their father, the Karamazovs, live separately in a region of Russia. The eldest, Dmitry, has a fiance, but he is infatuated with the bewitching Grushenka and has an ugly dispute with his father, Fyodor, who is also obsessed with Grushenka. Ivan, the second son, watches from the sidelines with a thought in his mind, while Alyosha, the third son, struggles to resolve the situation.Love and hatred intersect, and soon the wheels of fate begin to quietly turn...

The Brothers Karamazov 1969 Download

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Perhaps the only discordant note in a very successful book, was the boring article of D. Pisarevsky (1912-1990), the chief editor of Soviet Screen magazine, who wrote that Vasilyev brothers' Chapaev "is one of pictures-titans, in which each new generation of viewers and artists draws spiritual riches and opens its consonant with time. He became part of the lives of the people, a true companion generations" [Pisarevsky, 1965, p. 219].

A secret resolution of the Soviet Communist Party Central Committee "On increasing the responsibility of the heads of the press, radio and television, film, culture and art institutions for the ideological and political level of the published materials and repertoire" [Resolution ..., 1969] was adopted in response to the liberal events of the "Prague Spring": "Print workers, writers and artists must have more acute class and party positions to oppose all manifestations of bourgeois

Some managers of publishing houses, press agencies, radio, television, institutions of culture and art do not take appropriate measures to prevent the publication of a false ideological works, do not work well with the authors, show flexibility and political unscrupulousness in matters of publication ideologically perverse material. ... The soviet Communist Party Central Committee considers it necessary to stress the special responsibility of the heads of organizations and departments and editorial teams for the ideological orientation" [Resolution., 1969].

Yearbook Screen 1968-1969 was put into set in February 1969, a month after this decision, and six months after the Soviet invasion in Czechoslovakia. Therefore, the books' compilers just had to take into account the current political situation. However, they still managed broad panorama the most striking phenomena of the national film industry.

The tighter censorship on the pages of the yearbook, of course, remained. For example, in the section Close-up [Screen 1968-1969, pp. 91-93] were initially placed reflections A. Konchalovsky about his film Asya's Happiness. But then, apparently due to pressure from "above" and shelf destiny of this movie, this text have been replaced by an article about actress A. Demidova. The film Asya's Happiness initially [Screen 1968-1969, pp. 110-115] was in the discussion chapter Controversy, but later this material was sealed the black stars in the table of contents [Screen 1968-1969, p. 317] and replaced by the discussion about the film Running on Waves by P. Lyubimov (1938-2010).

It is clear there was no way to avoid ideological pathos in the yearbook. The book once again reminded to readers that Mother by V. Pudovkin "brought to the cinema powerful influence of socialist realism, merged the power of images Gorky's prose with the realistic performance of the actors, the highest achievements of film culture" [Pisarevsky 1969, p. 19], and The Sixth of July is a major new step in the development of the Leninist theme. ... This victory is all the more important that the last time there were many films and performances, where most topics in the result only untalented performance compromise. The Sixth of July is not just a historical picture. It is living our present time. And today's struggle for communism requires reflection attacks rr-revolutionary demagogues, for the sake of playing phrases left the fate of nations" [Freilich, 1969, p. 63].

But the Screen 1968-1969 supported not only The Sixth of July, but also a much more daring movie No Path Through Fire by G. Panfilov unvarnished spoke about civil war ruthlessly divided the nation into "red" and "white". This film "is a strong, very strong, and most importantly - this film is very impressive" [Rakhmanov, 1969, p. 64].

The analysis of films on "historical and revolutionary themes" (Mysterious Monk, Emergency Order, The First Courier, Nikolay Bauman, The Seventh Companion, There Were Two Comrades, The Sixth of July) in the article by A. Vartanov [Vartanov, 1969, pp. 134-138] was given in traditional for this time style.

Screen 1968-1969 was able to afford to support again the Ukrainian poetic cinema, this time - Evening on the eve Midsummer by Y. Ilienko (1936-2010): "This is the scope of the director's fancy - fancy, inventive in each frame. ... large, generous, sophisticated. ... The strong temperament of the master, even involuntary and unavoidable mistakes he has in many cases can be converted into victory, turned into discoveries" [Drach, 1969, p. 88].

After seeing Women Power, K. Shcherbakov come to the harsh conclusion: "Given an order to tell about the hard fate of the female, to portray life as it is, without fear of its cruel side, the authors, it seems to me, not imagined what outcome they want to extract. And artistically unselected, unsought conglomeration of naturalistic, difficult-to-eye episodes begins to avenge himself, turns the moral unscrupulousness and deafness, leads to a distortion of what we are accustomed to understand by the words "popular character" [Shcherbakov, 1969, p. 99].

N. Ilyina argued with K. Shcherbakov, insisting that the artistic quality of this film is quite high: "Naturalism? Some people say this about the film. ... But if you hold the primordial meaning of the word, referring to "naturalism" rough and mechanical copying from nature, the work that is touching and shocking, can not be called naturalistic. ... The film Women Power has advantages and disadvantages. But one thing it is not - the indifference and lethargy" [Ilyina, 1969, pp. 103-104].

B. Galanov (1914-2000), of course, could not yet assume that the sad comedy of M. Schweitzer The Golden Calf deservedly become a kind of Russian "cult film" of our day, and, I think, did not understand the depth of this brilliant movie. Therefore B. Galanov complained that (unlike the eponymous book of I. Ilf and E. Petrov) "the laughter, if not completely disappeared, but turned slightly to drama on the screen. And Ostap Bender himself as the face of a dramatic, gained some importance. ... Whether or not whether to submit the rogue as a "great strategist" intellectual, a man with the eternal sad eyes?" [Galanov 1969, p. 105].

In this context, M. Dolinsky & S. Chertok gave clear and reasoned response to B. Galanov: The Golden Calf presented "Bender outstanding, talented person who is at odds with the times and have chosen this path, can be as just because of this disorder. ... Crashing superior man. Is this funny? And M. Schweitzer rights, which, by sacrificing some fun stakes, giving up many winning situations, created the film, not only equipped with wit, but also imbued with sadness" [Dolinsky, Chertok, 1969, p. 109].

Literary critic V. Turbin (1927-1993) was unhappy with the adaptation of A. Green's novel Running on Waves. He insisted that "Green's novel is easy, laid-back, and the film is heavy, full of massive suggestiveness" [Turbin, 1969, pp.110111]. However Y. Khanyutin (1929-1978) was on the side of the authors of this film: "Much of the script and the film was not so, as in Green's novel, but, I think, more interesting ... In short, a tragedy has already unfulfilled in the film has turned out sharper than the happiness of searches that can still happen" [Khanyutin, 1969, pp. 113-115].

M. Bleyman's article also was dedicated to film adaptations. The film critic thought that the "creative challenge for adaptation is to find stylistic originality means to realize other art on the screen" [Bleyman, 1969, p. 147].

And A. Macheret (1996-1979), basically agreeing with M. Bleyman, came to the conclusion that I. Pyrev managed to adequately approach to the novel The Brothers Karamazov: "Pyrev's personal creative features properties of artistic talent found in the film adaptation of the great Dostoyevsky's most fertile, mate them to the basis for its higher manifestations" [Macheret, 1969, p. 150].

Specialist in the analysis of science fiction and adventure, V. Revich this time published an article about the spy cinema: "The main complaint, which is usually presented "detective" movies, is that the frantic pace of the action, the rapid twists, in which captures the spirit of the audience, press down psychology, characters, images. And if the hero can do to show individuality in such conditions? I must admit that, perhaps, no other kind of film genre not put his character in such a rigid framework. Most of the time he is in exceptional psychological situation - on a knife edge. Of course, the story sharpness about the man who all the time is under threat of death is very essential aspect of the film, but the sharpness is worth nothing if we can not see the interesting character. ... The human image creation on such a narrow space surround is always difficult artistic task, and the list of failures is much higher than the premium sheet" [Revich, 1969, p. 140]. 006ab0faaa