An aristocratic nest

from Wikipedia, the free encyclopedia
Movie
German title An aristocratic nest
Original title Дворянское гнездо
Country of production USSR
original language Russian
Publishing year 1969
length 111 minutes
Rod
Director Andrei Michalkow-Konchalowski
script Valentin Jeschow
Andrei Michalkow-Konschalowski
production Mosfilm
music Vyacheslav Ovchinnikov
camera Georgi Rerberg
occupation

Ein Adelsnest , also Das Adelsnest (original title: Дворянское гнездо , Dworjanskoje gnesdo ) is a Soviet feature film directed by Andrei Michalkow-Konschalowski from 1969 based on the novel of the same name by Ivan Turgenev from 1859.

action

Fyodor Ivanovich Lavrezkij is a Russian nobleman who left his Lavriky estate in Russia with his wife to spend the rest of his life in Paris . That was eleven years ago, and they became recognized members of society there until Varvara Pavlovna betrayed her husband with someone else. That was the reason that four years ago he left the woman he once married out of love and moved to Italy . But now he got homesick and it drove him back to his former spacious property in Russia, which is about to decay. He is received by his former servant Anton, who was also in the service of his father and grandfather. Together they walk through the house, where Fedor Ivanovich discovers many memorabilia from his childhood and youth. He is particularly interested in the portraits of his ancestors, but he misses a painting by his mother. Therefore, Anton explains to him that such a thing does not exist, since she did not belong to the nobility herself, but was a member of the servants .

One of his first visits is to the Kalitins in the neighborhood, his aunt Marfa Timofejewna and his cousin Maria Dmitrijewna with their three daughters. Here is the first warm encounter with Kristofor Fjodorowitsch Lemm, his former music teacher. Even before he meets his cousin, he runs into their 19-year-old daughter Elisabeth Michailnowa, called Lisa, whom he last saw as a child. But shortly thereafter, Maria Dmitrijewna Kalitina also arrives and there is a friendly greeting until a young man arrives on horseback. It is Vladimir Nikolayevich Panschin, a former officer and current official of a ministry in the capital Saint Petersburg , who is in love with Lisa, which Maria Dmitrievna agrees with. Only the music teacher Lemm has his doubts, since Lisa is a serious young woman and Panschin is a person without principles and ideals. One should, however, invite the Kalitin family once, but without Panschin, which then also happens in connection with a garden party. Here, Lisa tells her companion Fyodor during a walk that her parents had taken little care of her, but she got a nanny, who also taught her to pray and who secretly went to early mass with her, which strongly influenced her. She only explains all of this to him because he is such a good person and then wants to know why he separated from his wife, although she was guilty of the separation, he must be able to forgive. After the Kalitin family said goodbye, Lavrezki reads in the newspaper that his wife died in Paris.

During a next meeting between Lisa and Fyodor, he tells her that his wife has died and that he is at least free now. But he gets the answer that he must not think of freedom now, but of forgiveness. However, they both discover that they have got used to not hiding anything from each other and so she says that she had received a letter from Panschin asking for her hand. He then advises her not to marry without love, whereupon she falls on his neck and weeps heartily. For one of the next few days Lisa orders an evening mass in the church, which is also the reason for Fyodor to speak to God again after a long time, he only exchanges a few words with Lisa. On a later visit he learns from his aunt that Panschin is also at the house to get a definitive answer to his letter. Lisa is also harassed by her mother because she would like to move to St. Petersburg herself, but Lisa postpones her decision again. When she wanted to wish Marfa Timofejewna good night in the evening, she got a thunderstorm from her because she was seen kissing Fyodor, for which he is now insulted with the wildest expressions. But Lisa confirms that she has fallen in love with him and that she wants to love him forever. The next day, Fyodor stands in the pouring rain under her balcony and confesses his love to her and that he is ready to give his life for it. Without a word, she goes back to her room and tells him that he should be silent.

When he got home, Lawrezki suddenly stands in front of his wife. She tells him that she was seriously ill and used the rumor of her death to return to Russia and thus to him without being noticed. But he doesn't believe her remorse, even if it were true, he couldn't live with her again. The following day he learns from his valet that his wife has taken the carriage to the Kalitins, which prompts him to ride after them immediately. The matter is clear to Lisa, because Fyodor now has to make up with his wife again, even if he doesn't want to live with her again. Their own relationship ends before she even really started, so she decided to go to a monastery and won't let herself be talked out of it, even though she still loves Fyodor. After a week's absence, which he spends at a horse market, Fyodor comes back to Lavriky and Varvara Pavlovna reveals to him that she has realized that she disgusts him and is just an unwanted guest, which is why they make their way back to Paris becomes.

Production and publication

The film, shot in color by the production group Towarisch , premiered on August 25, 1969 under the title Дворянское гнездо in Moscow and reached over 16.7 million viewers in the Soviet Union .

In the GDR it was shown for the first time on November 9, 1970 on the occasion of the days of Soviet film in the Berlin Kino International . The film was broadcast on the second program on March 11, 1973 on East German television. The film was broadcast on ARD on October 6, 1974.

criticism

Helmut Ullrich draws the following conclusion in the Neue Zeit :

“A wonderful film. Of painful melancholy, but anything but a search for a lost time that could be of any longing. "

The Berliner Zeitung wrote:

“The term literary adaptation opens up to the viewer in an unusual and idiosyncratic way. Michalkow-Konschalowski was not concerned with a literal cinematic representation of the novel, which can often be observed out of a misunderstood reverence for literary originals. He used details of the novel's plot to rearrange and implement them according to the artistic laws of film. It is a film that first and foremost makes the description of people, milieu and landscape effective through the image. The mood and atmosphere of the novel have been preserved. "

The lexicon of international film writes that the beautiful images distract from the ambivalence of the staging. Depending on how it is viewed, the film is an artistic, non-political impression, a tribute to the complexity of Russian literature, a nostalgic touching piece or a socialist lesson.

Web links

Individual evidence

  1. ↑ Berliner Zeitung of November 1, 1970, p. 12
  2. ↑ Neue Zeit of November 8, 1970, p. 4
  3. ↑ Berliner Zeitung of November 2, 1982, p. 7
  4. ↑ A noble nest. In: Lexicon of International Films . Film service , accessed November 19, 2018 .Template: LdiF / Maintenance / Access used