Яков ПРОТАЗАНОВ
Yakov PROTAZANOV
Yakov PROTAZANOV
СССР, 1919, 37мин 
Черно-Белый, немой, игровой
То надежда, то ревность слепая
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To nadezhda, to revnost slepaya

 

 To nadezhda, to revnost slepaya

 Tantôt l'espoir, tantôt la jalousie aveugle

Другие названия : The Child of Another
 
Режиссёр(ы) : Яков ПРОТАЗАНОВ (Yakov PROTAZANOV)
 
В ролях
 
Оператор(ы) : Федор БУРГАСОВ (Fyodor BURGASOV)
Художник(и) : Александр ЛОШАКОВ (Aleksandr LOSHAKOV)
Производство : Iosif Ermol’ev / Ermolieff-Film
Дата выхода в России : 05/12/1919
 
 

Комментарии и библиография
 
1918-1920 is the most confusing period of Russian film history, the interregnum between private productions made by those who have not yet emigrated and the state productions supported by the new Soviet government. Tere was prac-tically no film press at the time – so in most cases we hardly know the plots and casts of the films, let alone the informa-tion about their artistic quality. Even the surviving masterpieces, such as Ljudi gibnut za metall (People Die for Metal, directed either by Jakov Protazanov and Alexandre Volkoff) had no coverage and thus have no production or box-office re-cords whatsoever.Tis also refers to Ditja čužogo – a rath-er mysterious piece of film in spite of the big names in the credits. It is very like-ly that it was not released in its native country until 1924 – and by that time it was treated as a foreign picture, for almost the entire cast and crew had emi- grated soon after the film was made. Te shooting took place in Yalta, not only because of the comfortable climate and the magnificent Crimean landscapes, but also one could always catch a boat to Europe. Ditja čužogo must be the last film Pro-tazanov did in Russia, but it is neither a statement nor a swan song. Te cam-era is almost static, chiaroscuro is “on the level”, backlighting is applied now and then, there are a few beautiful lo-cation shots, the tinting is modest; long takes dominate, but cross-cutting is used in one of the scenes; the acting is rather restrained, particularly consid-ering the subject (betrayal, jealousy, an illegitimate child, a fatal duel and three suicides). In short, it is an average Rus-sian film of the late 1910s. Protazanov was good at this. But he would only go all-out if the subject was of particular interest to him. Tat rarely happened. When it did, he would make Pikovaja dama ( Te Queen of Spades ), Otec Sergij ( Father Sergius ) or Gorničnaja Dženni ( Chambermaid Jenny ), films that would change the face of Russian film. But directing an easy-paced melo-drama about a jealous archeologist and his unfaithful painter bride (by the way, neither painting nor archeology has any role in the plot), and doing that in a country stricken by the civil war was not something that would inspire him. Just a few months later he would start L’Angoissante aventure , the filming of which continued throughout his journey to Constantinople and Marseille and which, both in its subject and aesthetics, would become the beginning of a new fascinating chapter, ‘Russian cinema in exile’.
Peter Bagrov

Отобран во фестивалях :
- Международный кинофестиваль 'Il Cinema Ritrovato', Болонья (Италия), 2019