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Titles and names in bold print contain more complete information
Alexandre SOKUROV
Александр СОКУРОВ
Alexandre SOKOUROV
 
Russia, 1996, 26 mn 
Colour, documentary

Hubert Robert. A Fortunate Life

▪ ▪ ▪ ▪ ▪ ▪ ▪

Робер. Счастливая жизнь

 

 Hubert Robert. Une vie heureuse

 Rober. Schastlivaya zhizn


 
Directed by : Alexandre SOKUROV ( Александр СОКУРОВ)
Writing credits : Alexandre SOKUROV ( Александр СОКУРОВ)
Cinematography : Aleksey FEDOROV (Алексей ФЕДОРОВ)
Music : Sergey YEVTUSHENKO (Сергей ЕВТУШЕНКО)
Sound : Vladimir PERSOV (Владимир ПЕРСОВ)
Editing : Leda SEMENOVA (Ледa СЕМЕНОВА)
Produced by : Andrei DERYABIN (Андрей ДЕРЯБИН)
 
Format : Beta

Plot synopsis
This is the first film of, and as of yet the only film in, a series planned by Hermitage Bridge Studios dedicated to the most important masters of European painting, whose works are included in the collection of the Hermitage Museum, the most famous of Russian museums. It in envisaged that the films will be made by the most prestigious of St. Petersburg's film directors. Only Sokurov has already made his film.
From the enormous list of celebrated names, Sokurov has chosen one — and a very modest one indeed: Hubert Robert, a French painter who worked between the end of the eighteenth century and the beginning of the nineteenth. He painted ruins in landscapes.
The formal pretext — the museum's request, intended to popularise its treasures — coincided with the film–maker's deepest need: to create a “cultural context” for his own lyrical confession. Hence, Sokurov makes the film both about the canvasses and about the fate of an artist possessed by the idea of the search for harmony. In this respect, Hubert Robert was a man of his time, a time which found its classical ideals in the ways of life of an ancient city, an ancient personality and an ancient ruler. But the contented life of the artist, like his Age, finished with the collapse of the Napoleonic empire — it ended in disaster for his family and for himself. But he lives on in the majestic ruins in the nostalgic landscapes. These were particularly popular in nineteenth century Russia. Their vogue reflects the astonishment and delight of Russians in the face of a Western civilisation that had already followed the path from formation and development to death and destruction. Russia herself was in that very period of formation in the nineteenth century — the apocalyptic impulses were already present in the culture and social life of the Golden Age of Russia. For this reason, Sokurov places Dostoevsky and Gogol's reminiscences in his narrative, as well as images of traditional Japanese theatre — a firm bulwark to this harmonic cultural tradition, since lost by Europe.
Alexandra Tuchinskaya English translation by Tatiana Ussova with assistance from Benjamin Halligan. http://sokurov.spb.ru
 

Commentaries and bibliography
Entretien : Alexandre Sokourov et Antoine de Baecque, Interview, , 2010
 

Selected in the following festivals :
- Rétrospective Alexandre Sokourov Aix en Provence / Marseille, Aix en Provence (France), 2015
- Alexandre Sokourov : des pages cachées, Paris (France), 2010


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