The women of Riasan
| Movie | |
|---|---|
| German title | The women of Riasan |
| Original title | Бабы рязанские (Baby rjasanskije) |
| Country of production | Soviet Union |
| original language | Russian |
| Publishing year | 1927 |
| length | 1813 meters / 68 minutes |
| Rod | |
| Director | Olga Preobrazhenskaya , Ivan Pravow |
| script | Olga Vishnevskaya , Boris Altschuler |
| production | Sowkino |
| camera | Konstantin Kuznetsov |
| occupation | |
| |
The Women of Riasan is a 1927 Soviet film drama directed by Olga Preobrazhenskaya and Ivan Prawow and produced by the state-run film production company Sowkino .
The script was written by Olga Vishnevskaya and Boris Altschuler. The scenes created Dmitri Kolupajew . The cameraman was Konstantin Kuznetsov.
action
The film reports on the female striving for emancipation that was stimulated by the circumstances in the rear of the war. The starting point is the lack of rights of women in rural areas (in Ryazan ) in pre-revolutionary Russia.
Shortly before the outbreak of the First World War , the poor peasant girl Anna and the rich farmer's daughter Vasilissa choose their future husband. Wassilissa's father, the rich farmer Wassili, is displeased with his daughter's love affair with the poor blacksmith Nikolai. At the same time he allows his son Ivan to marry the destitute Anna. When Vasily finally threatens to throw Vasilissa out of the house if she continues to stick to Nikolai, she spontaneously leaves the house. From now on she and Nikolai are outcasts who live together like married couples without parental or church blessings. However, united with her lover, Vasilissa is almost as happy as Anna, her sister-in-law.
When the First World War breaks out, both men are drafted. In order to console herself for the progress of her husband, Wassilissa devotes herself to building an orphanage and thus finds a new life task. Anna, on the other hand, is inconsolable about the forced separation from Ivan - especially since there is no news from him. After two years, all family members finally lose hope of seeing him again. Only now is it understandable why his old father had allowed Ivan to marry poor Anna - in principle he had chosen this for himself. He rapes and impregnates Anna, who is then despised and harassed by all village members.
One day Ivan returns. Anna cannot explain to the returning husband that she became a mother against her will and flees the arbitrariness of the environment in suicide .
background
Olga Preobraženskaja was an actress and assistant to Vsevolod Pudovkin . She has made around 16 films in the course of her career.
The film “Baby Ryazanskije” premiered in the Soviet Union on December 13, 1927, in Germany on August 17, 1928 in the Dresden Capitol cinema and on August 30 in the Capitol cinema in Berlin .
Distributed by “German-Russian Film Alliance AG.” (Derussa) it ran as "The Women of Ryazan" with great success in Germany during the Weimar Republic and contributed to the fame of the "Russian film". Another, more speculative sounding title was “The Village of Sin”.
The film was also shown in France , Portugal and Finland . In the USA it ran under titles such as Peasant Women of Riazan , The Devil's Plaything and The Village of Sin . Likewise in Italy as Il villaggio del peccato .
The film was partially set to music in 1929 under the direction of the inventor of the Soviet sound system, Alexander Schorin .
reception
"The melodrama staged by a woman can undoubtedly be classified as a feminist work: in preparation for the film, the director Preobraženskaja dealt intensively with the role of women in pre-revolutionary Russian society."
“Here love, jealousy, violent human passions are shown. The main roles were embodied by young, not yet very experienced, but talented actresses. The works of Preobrazhenskaya appeared at a time when political and social films were being made that ignored questions of love, family and morals on principle, and that explains the long success of a film like THE WOMEN OF RJASAN. "
“Olga Preobrazhenskaya […] has created a light-soaked masterpiece with her melodrama. It transports the audience into a scene from a bygone era before the Russian Revolution, characterized by rural work, in which it situates the male-determined fate of two women. "
“The film captivates with a detailed description of the milieu, interspersed with lyrical elements and atmospheric density. The arc of suspense leads to a dramatic finale in which surreal elements penetrate the epic narrative style. A groundbreaking film about the position of women in society. "
“It's incredible how these Russians do it. This surprising description of the milieu, this comprehensive, concise type drawing, these extremely thinly painted characters. We are convinced right away. "
“THE WOMEN OF RJASAN tries to depict the great change from the tsarist empire to the new Russia in a few briefly drawn, typical human fates. The news of war breaks into this open, sunny world of fields, grazing animals, rustling treetops. The sons move in, hungry birds in their nest become the poetic symbol of a hard, horrible time. While the young farmers stand in the field, the old ones chase after the women. When the son returns home, he finds a child who is not his. In desperation, his wife goes into the water; Father and son clash - the film hides the end of this fight. But more important than today's generation, undermined by the war and the crimes of tsarism, is the coming generation, the child. In him the community does well what the parents owed. The palace near the village was converted into a children's home in the days of the revolution. A new humanity is being raised in a new spirit.
There are no images of war or revolution in this beautiful film directed by a woman; and yet war and revolution play an important part in his fable. There are no particularly ugly people here, and yet all of the characters in the film are lifelike, believable Russian farmers. There are no tattered costumes, and yet the film seems unsteady, unsophisticated, without make-up. The reality of a film character does not lie in the fact that he is unshaven and ragged, but in the way in which it is laid out as a figure by the film creator, as it is played by the actor. The beautiful human faces of this film are full of character, full of life, are not sweet and licked, like the beautiful faces from Hollywood and Neubabelsberg. Olga Preobrazenskaya managed to make the necessary concessions, but not to be unfaithful to the revolutionary task. "
THE WOMEN OF RJASAN was broadcast for the first time on television by the ARTE cultural channel on October 27, 2008 in the original Russian version with German subtitles; The Russian composer and pianist Sergei Dreznin had composed a new piece of music for this, which also used contemporary Russian chants from the Ryazan area. On July 27, 2009 the broadcast was repeated.
literature
Berlin, 27th international film festival; 7th international forum for young film Berlin 26.6. Until July 3, 1977, in their publication on THE WOMEN OF RJASAN (PDF), reviews from:
- Hans Wollenberg, in: Lichtbild-Bühne Berlin, Volume 21, No. 210 of August 31, 1928.
- Heinz Pol in: Vossische Zeitung Berlin No. 415, from September 2, 1928.
- Leon Hirsch in: Berliner Tageblatt and Handelszeitung, Volume 57, No. 415 of Sept. 2, 1928.
- Fritz Walter in: Berliner Börsen-Courier 60th vol. 411 of September 2, 1928.
- Conrad Frigi in: Reichsfilmblatt Berlin Year 1928 No. 35 from September 1st, 1928.
- Emil Rabold in: Die Welt am Abend, Berlin Vol. 6, No. 204 of August 31, 1928.
- Hélène Bernatchez: Shostakovich and the factory of the eccentric actor (= Volume 2 of Forum Musikwissenschaft.) M-Press, Munich 2006. ISBN 3-89975-589-8 .
- Nina Borissova: Mit Film und Sichel , in: Magical Sound Machines - Portable Shorinophone ( Memento from January 8, 2014 in the web archive archive.today ).
- Yann Esvan: Ol'ga Preobraženskaja e Ivan Pravov at cinefiliaritrovata ( online ; Italian)
- Sabine Fries: The laughter of the pictures. Atheteses of the 'feminine' in the cinematographic narrative room , Diss. University of Hannover 1999.
- Trude Herrmann: The woman in the Russian film industry , In: Vossische Zeitung No. 567 of December 1, 1928.
- O. Jakubowitsch: Olga Ivanovna Preobreshenskaja, biofilmography , in: Kinoslowar w dwuch tomach, Tom. 2 m_yes. Moscow 1970, p. 359 f.
- IA Lebedew, Otscherk istorii kino SSSR. I. Nemoje kino (1918–1934) / Outline of the history of cinema in the USSR , I. The silent film (1918–1934), Moscow 1965
- Gerlinde Schwarz: Mute and invisible? Gender & Discourse in Soviet Silent Filmmaking by Women, Using the Example of Ol'ga Preobraženskajas Baby Rjazanskie / The Women of Rjazan aka The Village of Sin online
- Andrei Smirnov: In search of the lost sound ( Memento from January 8, 2014 in the Internet Archive )
- Jerzy Toeplitz: History of Film , Vol. 1, 1895-1928, Berlin, Henschel Verlag 1972, p. 362 f.
Web links
- The Women of Ryazan oblast in the Internet Movie Database (English)
- The women of Riasan ( memento from January 8, 2017 in the web archive archive.today ) at arte.tv
- The women of Riasan at kino-teatr.ru (Russian)
- Short biography Preobraženskaja, Olga Ivanovna at sapere.it (Italian)
Individual evidence
- ↑ z. B. Последний аттракцион; Posledniy attraktsion; The Last Show 1929, Тихий Дон; Tikhiy Don, The silent Don 1931, Вражьи тропы; Vrazhyi tropy; Cursed Way 1935, Степан Разин; Stepan Razin 1939, Stenka Rasin 1947, Pareň iz tajgi; Prairie Station, prospector in the Taigá 1950
- ↑ Dresden's largest cinema with 2250 seats, built in 1925 by Carl Richard Martin Pietsch (1866–1961), cf. Pietzsch, Carl Richard Martin In: Saxon Biography and Photo In: Kinowiki .
- ↑ built in 1925 by Hans Poelzig , destroyed by a bomb attack in 1943, cf. Capitol Berlin In: allekinos.com .
- ↑ cf. Reviews from contemporary reviewers at the 27th Berlin International Film Festival; 7th international forum for young film Berlin 1977
- ↑ This term, which was initially recognized by the film enthusiast, arose under the impression of the new technical film practices in montage and editing in the wake of Ejzenstejns Bronenosez Potjomkin , which were revolutionary at the time; later it was subject to a historical change in meaning, because after the Second World War the "Russian film" in the GDR "... was a patriotic war film from the Mosfilm studios, the plot of which, like in a" Spiegel "article, was so hair-raising for the sake of its propaganda effect was that it gave rise to the expression "There is no such thing in any Russian film", with which a completely absurd incident was commented on. "So that does not exist in any Russian film In: politplatschquatsch.com , December 29, 2011.
- ↑ cf. Bernatchez p. 191; Andrei Smirnov: In search of the lost sound ( Memento from January 8, 2014 in the Internet Archive ): “In 1926–1927, the scientist and inventor Pavel Tager in Moscow and the engineer and inventor Alexander Shorin in Leningrad developed the first at the same time Soviet sound film systems. "
- ↑ a b quot. according to Fries 1999, pp. 57-58
- ↑ cf. leokino.at ( Memento from January 8, 2014 in the web archive archive.today ).
- ↑ cf. Gerhard Gruber, Filmmusik stummfilm.at ( Memento from January 8, 2014 in the web archive archive.today )
- ↑ cf. film.at Proletarian Cinema: Program 15 - Fritz Rosenfeld 4
- ↑ cf. The women of Riasan ( memento from January 8, 2017 in the web archive archive.today ) at arte.tv
