We bring to your attention a vivid example of cinematic Shevchenko and Ukrainian cinema of the “thaw period”, revealing one of the main figures of our literature - Taras Grigorievich Shevchenko. On the birthday of the architect and prophet of Ukrainian art - Kobzar - on the official channel of the Odessa Film Studio there was a premiere of the Ukrainian biographical color feature film of 1964, shot by director V. Denisenko at the film studio named after. Alexandra Dovzhenko. The premiere took place in Kyiv on November 3, 1964. It ranks 95th in the list of the 100 best films in the history of Ukrainian cinema.
Young Taras Shevchenko, the author of seditious poems, is summoned for questioning. Instead of explanations, the poet writes new poems, which he devotes to the bleak fate of Ukraine. For “inciting” thoughts, Shevchenko is forced into military service with a ban on writing and drawing. The film depicts the artist’s inner state in those days, his memories of the years lived in serfdom, thoughts about the fatherland, people and freedom.
The film reproduces one of the periods of T. G. Shevchenko’s life - from childhood to exile. Using the means of cinematic art, the authors of the film expose the “holy fathers” - the champions of darkness and obscurantism. Shevchenko in the film is a man who comes to the conclusion that religion is a deception. In fact, thanks to expressive cinematic metaphors, Shevchenko appears to the viewer not so much as a one-dimensional atheist, but as a real rebel and humanist. The film, according to the French researcher, historian of Ukrainian cinema Lyubomir Goseiko, is built on comparisons and indirect chronology, the modern is intertwined with the past, the dream with reality: “At the end of this innovative film, correcting previous versions towards national consciousness, Shevchenko passes through the corridor where the characters of his poem appear one after another. You can see the king emerging from his portrait, starting a casual conversation with the poet, whose personal tragedy is that he sees himself - and dismissed - among the serfs. ...Vladimir Denisenko is more concerned about the moral side of the heroes, their fate and their countries in the struggle for justice and goodness. He is one of the first in the post-Dolzhenko generation to chart new paths, make new breaks in the national consciousness, ahead of Sergei Parajanov, Yuri Ilyenko, Leonid Osyka, Ivan Mikolaichuk.”
Film crew:
Writers: Dmitry Pavlychko, Vladimir Denisenko;
Stage director: Vladimir Denisenko;
Chief cameraman: Mikhail Cherny;
Production designer: Nikolay Reznik;
Composer: Alexander Bilash.
Cast:
Ivan Mykolaichuk - Taras Shevchenko;
Yuri Leontyev - little Taras;
Dmitry Milyutenko - Uncle Ivan;
Natalya Naum - Jadwiga Gusikovskaya;
Konstantin Stepankov - Ivan Soshenko;
Mikhail Derzhavin - Karl Bryulov;
Vasily Dashenko - Venetsianov;
Dmitry Franko - Vasily Zhukovsky;
Vyacheslav Voronin - Mokritsky;
Ivan Kononenko - Grigorievich;
Vladimir Goncharov - Engelhardt;
Efim Kopelyan - Prechtel;
Vladislav Strzhelchik - Tsar Nicholas I;
Anatoly Ivanov - Tsar Alexander I;
Vladimir Belokurov - Dubelt;
Raisa Nedashkovskaya - Causal;
Nikolai Rushkovsky - Vilyegorsky;
Nikolai Grinko - clerk;
Lev Perfilov is a serf.
The main role, Taras Shevchenko, was initially supposed to be played by actor Nikolai Gubenko, but he quarreled with the director. So, 23-year-old Ivan Mikolaichuk, then still a student at the Karpenko-Kary Institute, appeared on the set, while at the same time starring in “Shadows of Forgotten Ancestors” (1964). The picture was mercilessly censored. But many scenes were not cut because they were textbook ones. And in general, then it was to some extent a declarative picture, because although the director showed Taras Grigorievich as he was, the picture was made up of well-known fragments of his biography. By that time, it helped get it into the box office. But they didn’t let the film into distribution at first because it was based on metaphors that were understandable to all Ukrainians. And at the beginning of 1964, the anniversary year of Shevchenko, there was a meeting of the Politburo of the Central Committee, where they decided what to do with the picture and its release was suspended. And the director managed to find Shelest by hook or by crook. He watched the film and didn’t say anything, but Denisenko came up and put his hand on his shoulder. And all the party clerks immediately reacted positively. After this, the film was released. But it was shown only in one or two cinemas in big cities and only in Russian. We wish you pleasant viewing.
Help to Ukraine - u24.gov.ua
Telegram channel of the Odesa Film Studio t.me/odesafilmstudio
Movie poster design - olegey.com/
#IvanMikolaichuk #NataliaNaum #KonstantinStepankov
Негізгі бет Фильм және анимация The Sleep (1964)
Пікірлер: 10