Maybe the golden age of soviet cinema was the one of the 50s and 60s?
Wonderfully written, balanced acting and it's clear that Romm is always looking for expressive angels, without overindulging in it. The first half hour exhibits such a freedom that one would think that Romm chose the topic himself, but extern powers mixes themselves with the integrity of the film at the end. The character development of the woman lead is regressive, there's no reason for her…
Spins out a network of causal chains, without letting the end be a consequence of it. The strained relationship of the parents, the feeling of rootlessness, the questioning of the father and the gang violence do not make up an explanation of its outcome. Rather, the chain is broken by it. An anti-sociological statement.
Bresson in Notes on the Cinematograph:
«Cinematography is writing with moving images and sound.»
Using the images to describe the creative process in words. Thereby reminding us of the primacy of filmic conception over literary or written conception. The written conception linked to commerciality, calculation of production cost. The filmic conception as genuine, cinematic expression.
Also ruminating on the relationship between image and sound, making us reflect on the most rudimentary aspects of cinema. The image and sound both evoke…
One of the most beautiful allegories there is
This film's beauty and complexity just revealed itself to me on this third viewing. The film obviously metaphorizes the position of the artist, who has to take «bloodmoney» to keep his crew of artisans alive and floating above the water. Though it is not simply a two-world contrasting of the filmdirector and nightclub owner's predicament. The signifyer and the signified both fight for primacy during the film - a battle over actuality.…
