The silent don (part 3)
| Movie | |
|---|---|
| German title | The silent Don |
| Original title | Russian Тихий Дон , Tichi Don , English transcription Tikhiy Don |
| Country of production | Soviet Union |
| original language | Russian |
| Publishing year | 1958 |
| length | Part III: 115 minutes |
| Rod | |
| Director | Sergei Gerasimov |
| script | Sergei Gerasimov |
| production | Gorky Film Studio Moscow |
| music | Yuri Levitin |
| camera | Vladimir Rapoport |
| cut | Nina Vasilyeva |
| occupation | |
| |
The silent Don (original title: Тихий Дон, Tichi Don ) is a three-part Soviet feature film by Sergei Gerasimow from 1957 to 1958. The director also wrote the script. It is based on the novel of the same name by Mikhail Scholokhov . This article deals with the third part from 1958, which premiered in the Federal Republic of Germany on October 10, 1968 in the program of the First German Television ( ARD ).
action
The Don Cossack fratricidal war is at its height. Death also has a rich harvest in the village of Tatarsk. Grischa Melechow's wife Natalja dies of an abortion - she did not want to carry Grischa's child to term because Grischa has found his love again, Axinja. Pyotr's wife Darja kills herself while bathing in the river. Stockmann, the commissioner, is shot by a mutinous Cossack. And Grisha's mother, old Ilyinichna Melechov, is preparing to die, out of grief over Grischa's absence and because her daughter Dunjascha still loves Misha Koschewoi, her brother Pyotr's murderer.
Grischa Melechow himself hangs around the battlefields of Russia, sees the foreign occupiers fleeing in Novorissiysk in March 1920 and joins Semyon Mikhailovich Budyonny's cavalry army. He finally returns home to Tatarsk and finds Misha Koschewoi there as brother-in-law and village chairman. He also meets Axinja, whom he had to leave behind sick, in the village on the Don. But again Grischa does not last long at home. He has to flee again, gets caught in a bunch of rebellious Cossacks, sits down to fetch Axinja, and finally sits next to her corpse - a patrol rider's shot fatally hit the woman he loved more than anything. Grisha goes back over the ice of the Don; his arms and medals sink into the river. At the entrance to the village he meets Michatka, his son: Finally for Grischa Melechow the war and with it his last fight is over.
Reviews
The lexicon of international film draws the following conclusion on all three parts: "Far from all black and white painting, the film avoids almost as much as the novel" the idealization of the victorious Bolsheviks through the unvarnished exposure of the moral and character weaknesses also and especially of the communists "(Kindler's literature Dictionary). The six-hour film, which was staged with tremendous effort, is most convincing in the excellently designed exterior shots without dialogue. ”The Evangelical Film Watcher also praised himself :“ Except for the music […], the third part of Gerassimov's film epic is more sober, clearer in its statement than the previous two films. The human predominates. […] All too romantic or symbolic image effects […] are absorbed by the short sequences that drive the overflowing action, which are the rule. The actors [...] will not be forgotten so quickly. "
“In 1955-57 Sergei Gerassimow realized the monumental Cossack novel 'The Silent Don' by Scholokhov, an epic one - in the GDR the film was shown as a three-part series with a total duration of 336 minutes, in the Federal Republic only the first part was released brought, parts 2 and 3 found their performance a decade later on the ARD - and extremely ambitious work. Gerassimov's trilogy depicts the fate of a Cossack during the late phase of the declining tsarist empire up to the final victory of Bolshevism in powerful images and fascinating attention to detail. In doing so, the director avoided bold, pro-communist pandering, instead portraying his protagonist as a wanderer between two worlds and their systems forced upon him by history. The new system is not glorified either, in Gerassimov's epic weakness of character and amorality, as in the novel, is not eliminated by the 'new socialist man'. "
Web links
- Quiet Flows the Don in the Internet Movie Database (English)
Individual evidence
- ^ A b Evangelischer Filmbeobachter , Evangelischer Presseverband München, Review No. 487/1968, pp. 490–491.
- ↑ Lexicon of international films , rororo-Taschenbuch No. 6322 (1988), p. 3606
- ↑ Kay Less : The film's great personal dictionary . The actors, directors, cameramen, producers, composers, screenwriters, film architects, outfitters, costume designers, editors, sound engineers, make-up artists and special effects designers of the 20th century. Volume 3: F - H. Barry Fitzgerald - Ernst Hofbauer. Schwarzkopf & Schwarzkopf, Berlin 2001, ISBN 3-89602-340-3 , p. 232.