Vladimir Ilyich Ryndsyun

Wladimir Iljitsch Ryndsjun ( Russian Владимир Ильич Рындзюн , scientific transliteration Vladimir Il'ič Ryndzjun ; pseudonyms: A. Wetlugin, Voldemar Vetluguin; * February 12th ^July / 24th February  1897 ^greg. In Rostov on Don ; † May 15, 1953 ; † May 15, 1953 in New York City ) was a Russian writer and journalist, later a film producer in Hollywood.

Life

Vladimir Ryndsyun was born into the family of a doctor and specialist in hydropathy and light medicine who ran his own sanatorium in Rostov-on-Don . His older sister was the sculptor Nina Niss-Goldman . Ryndsjun studied law at the Lomonosov University in Moscow . His first literary publications fall in the autumn of the revolutionary year 1917. During the Russian Civil War, Ryndsjun published in various magazines in southern Russia, using the pseudonym A. Wetlugin. In 1918 he wrote for an anarchist newspaper in Moscow called Schisn ( Das Leben , transl. Žiznʹ ) and from April 1919 to January 1920 he was the editor-in-chief of a magazine of the same name in Rostov, which, however, was close to the volunteer army and therefore had a completely different political orientation. In 1920 he fled first to Constantinople, from where he left for Paris with financial help from literary circles of the emigration, including Alexander Kuprin . Here he wrote for the magazine Obschtschee delo ( The common cause , transl. Obščee delo ), still under the pseudonym A. Wetlugin. In his review of Russian exile literature , Gleb mentions Struve A. Wetlugin as a "talented and cutting journalist" who caused a sensation with his revelations about the White Army and his cynical autobiographical confessions. He also names him as an author of the Berlin magazine Russkaja Kniga / Nowaja Russkaja Kniga ( The Russian Book / The New Russian Book , transl. Russkaja Kniga / Novaja Russkaja Kniga ), which was close to Smenowechowstwo .

On June 1, 1922, Ryndsjun appeared at a reading in Berlin's Blüthnersaal together with Sergei Jessenin , who had traveled from Moscow, and the Berlin-based poet Alexander Kussikow . The event was announced as the "First Moscow Evening" and was initiated by Alexej Tolstoy with a lecture entitled O trech katorschnikach ( About three convicts , transl. O trech katoržnikach ). Ryndsjun read from two works with the titles Golye ljudi ( Naked people ) and Sentimentalny ubitza ( The sentimental murderer , transl. Sentimental'nyj ubijca ). The reading led to a discussion within the Berlin émigré press, which in part believed it recognized an attempt to upgrade the Soviet Union in relation to emigration. In the same year Ryndsjun accompanied Sergei Jessenin and Isadora Duncan as secretary and interpreter on a trip to the USA.

Between 1933 and 1943 he worked, now under the pseudonym Voldemar Vetluguin, as editor of the women's magazine Redbook ; the industry paper Billboard wrote in an obituary in 1953 that he was a publisher and was credited with popularizing the cover girl photo. Ryndsjun worked for Metro-Goldwyn-Mayer from the late 1940s , initially as assistant to Louis B. Mayer and head of the script department, and finally as producer. In 1949 he married actress Beverly Michaels , who in the film produced by him Eastside, Westside , dt. Match lost in the same year had her first small role. In 1952 he was culpably divorced from her. After his death in 1953, she inherited his apparently considerable fortune.

Ryndsjun as a literary figure

In a review of a publication by Wetlugin, Iwan Bunin wrote that Wetlugin viewed the world with leaden eyes. The epithet of "leaden eyes" was picked up and applied to him several times. In Alexei Tolstoy's novel The Emigrants , Ryndsjun appears under the name of Vladimir Lisovsky. In his description it says: "In his blue eyes dreamed a leaden sadness." Tolstoy's granddaughter Jelena Tolstaja has tried to shed light on the complex relationship between her grandfather and Ryndsjun, pointing out that figures in Tolstoy's earlier works already bear Ryndsjun's traits, and that Tolstoy's characterization, in addition to his "Semitic" physiognomy, also at that time Epithet of "leaden eyes" used.

plant

Ryndsjun's literary and journalistic publications are partly lost or difficult to find. After the turn of the millennium, some of his books were reprinted in Russia. Under the name A. Wetlugin he published, among other things:

• Avantjuristy graždanskoj vojny (German adventurer of the civil war ). Izd. Sever, Paris 1921
• Tret'ja Rossija (German: The Third Russia ). Franko-Russkaja Pečat ', Paris 1922
• Zapiski merzavca: Momenty žizni Jurija Bystrickogo ( Eng . Notes of a villain: moments from the life of Juri Bystritzki ). Roman, Berlin 1922
• Geroi i voobražaemye portrety (German heroes and imaginary portraits ). Berlin 1922
• Posledyši. Očerki rasplavlennoj Moskvy ( Eng . The Descendants or The Epigones or The Remnants . Sketches of the melted Moscow ). Russkoe tvorčestvo, Berlin 1922

Ryndsjun produced two films for MGM under the name Voldemar Vetluguin:

• East Side, West Side , 1949
• A Life of Her Own , 1950

Individual evidence

1. ↑ Date and place of death according to a necrology in: The Billboard, May 30, 1953, p. 54 under the heading "The Final Curtain". Retrieved April 18, 2017 . 
2. ↑ In Russian-language literature the date of Ryndsjun's death is mostly vaguely given as "50s", so here: "A. Vetlugin", in: Kratkij biografičeskij slovar 'russkogo zarubež'ja, ed. v. RI Vil'danova ea, published as a biographical appendix to the new edition of Gleb Struves "Russkaja literatura v izgnanii", YMCA-Press / Russkij put ', Paris, Moscow 1996. "The Netherlands" is named here as the place of death.
3. ↑ On Ilya Ryndsjun's sananatorium and the family's houses in Rostov-on-Don see. the illustrated article "Pamjati Matil'dy Borisovny, eë muža i doma" on the rostovbereg.ru site. Retrieved February 4, 2017 . 
4. ↑ S. Irina Belobrovceva: "Lico ne v Fokuse. K probleme odnogo prototipa" (A blurred face. On the problem of a prototype, Russian). In: Toronto Slavic Quarterly No. 2, Fall 2002. Retrieved April 24, 2017 . 
5. ^ Gleb Struve: Russkaja literatura v izgnanii. Opyt istoričeskogo obzora zarubežnej literatury. Izdatel'stvo im. Čexova / Chekhov Publishing House, New York 1956, p. 78.
6. ^ Gleb Struve: Russkaja literatura v izgnanii. Opyt istoričeskogo obzora zarubežnej literatury. Izdatel'stvo im. Čexova / Chekhov Publishing House, New York 1956, p. 37.
7. ↑ Chronicle of Russian Life in Germany 1918 - 1941. Ed. By Karl Schlögel ea, Akademie Verlag, Berlin 1999, p. 110.
8. ↑ S. Elena Tolstaja: "Postscript k teme 'Vetlugin i Aleksej Tolstoj'" (Postscript on the subject "Wetlugin and Alexej Tolstoj", Russian). In: Toronto Slavic Quarterly No. 18, Fall 2006. Retrieved June 12, 2017 . 
9. ↑ Irina Belobrowzewa emphasizes that Ryndsjun interpreted between the spouses, neither of whom spoke the other's language. S. Irina Belobrovceva: "Lico ne v focuse. K probleme odnogo prototipa" (A blurred face. On the problem of a prototype, Russian). In: Toronto Slavic Quarterly No. 2, Fall 2002. Retrieved April 24, 2017 . 
10. ^ The Billboard. Retrieved April 18, 2017 . 
11. ^ East Side, West Side / Lost Game on IMDb. Retrieved April 7, 2017 . 
12. ^ "Beverly Michaels" on: www.glamourgirlsofthesilverscreen.com. Retrieved April 6, 2017 . 
13. ↑ S. Irina Belobrovceva: "Lico ne v Fokuse. K probleme odnogo prototipa" (A blurred face. On the problem of a prototype, Russian). In: Toronto Slavic Quarterly No. 2, Fall 2002. Retrieved April 24, 2017 . 
14. ↑ On the thesis that Ryndsjun / Wetlugin was the model for Wladimir Lissowski, s. Irina Belobrovceva: "Lico ne v Fokuse. K probleme odnogo prototipa" (A blurred face. On the problem of a prototype, Russian). In: Toronto Slavic Quarterly No. 2, Fall 2002. Retrieved April 24, 2017 . 
15. ↑ Elena Tolstaja: "Tolstoj i Vetlugin" ("Tolstoi and Wetlugin", Russian). In: Toronto Slavic Quarterly No. 4, Winter 2004. Retrieved July 8, 2017 .