Kira Muratova: The Filmmaker's Companion 4 (The Kinofiles by Jane Taubman

By Jane Taubman

Kira Muratova is a revered and unique modern movie director, but her earliest works weren't welcomed after they have been first proven first and foremost of Brezhnev's "period of stagnation." simply in 1987, in a single of the 1st breaths of perestroika, have been those video clips rereleased, sending Muratova from proficient pariah to star virtually in a single day. Drawing from interviews with Muratova herself and her acquaintances, unpublished scripts and interviews with audiences, Taubman lines the development of Muratova's occupation, having a look heavily at each one of her movies, together with the 1990 masterpiece Asthenic Syndrome. She additionally surveys severe response to her motion pictures, either in Russia and the West.

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Extra info for Kira Muratova: The Filmmaker's Companion 4 (The Kinofiles Filmmaker's Companions)

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He is particularly fond of Marusia. When the rainy autumn comes, her illness takes a turn for the worse. Vasia asks his younger sister to lend him her large porcelain doll, a gift from their late mother. To their surprise, Marusia lights up at the sight of the doll and even seems to improve. But its disappearance causes a scandal at home, and Vasia, despite intense pressure, refuses to tell his father where it is. In the midst of this interrogation, Tiburtsius comes to return the doll; Marusia has died.

Muratova added two episodes to deepen Evgeniia’s character and increase our sympathy for her by creating oblique, ‘poetic’ parallels. In the post office Evgeniia overhears Sasha’s phone call to his father, confirming her worst fears. An elderly man asks her to take down the text of a letter: ‘Dear Liusia and Gena! There in your far regions you are building your wonderful city. ’ As Evgeniia patiently takes his dictation, we and she realise the potential parallels between his situation and her lonely future.

She photographs Liuba from an extreme low angle as she stands radiant on the back of a truck, microphone in hand, trying to be heard over the din with her much-practised speech, a kind of working-class folk poetry. This is a great happiness! We are building such a big city, such a big factory! Houses can be big or they can be little, but that’s not the most important thing, but more than anything else on earth it’s important that the happiness be real! They don’t manufacture it in factories, even on the best production lines.

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