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Cinema of Russia
Cinema of the Russian Empire
Russian Empire films Pre 1917
Cinema of the Soviet Union
List of Soviet films 1917-1989
Cinema of Russia
Russian films 1990-

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The cinema of the Soviet Union, not to be confused with "Russian Cinema" despite Russian language films being predominant in both genres, includes several film contributions of the constituent republics of the Soviet Union reflecting elements of their pre-Soviet culture, language and history, although sometimes censored by the Central Government. Most notable for their republican cinema were Russian SSR, Armenian SSR, Georgian SSR, Ukrainian SSR, and, to a lesser degree, Lithuanian SSR, Byelorussian SSR and Moldavian SSR. At the same time, the nation's film industry, which was fully nationalized throughout most of the country's history, was guided by philosophies and laws propounded by the monopoly Soviet Communist Party which introduced a new view on the cinema, socialist realism, which was different from the one before or after the existence of the Soviet Union.

Contents 1 Historical outline 2 Censorship 3 1950s 4 1960s-70s 5 Soviet films 6 Genres 6.1 Action 6.2 Comedy 6.3 Drama 7 See also 8 Notable filmmakers 9 Soviet Studios 10 See also 11 External links

The new state, the Union of Soviet Socialist Republics, officially came into existence on December 30, 1917. From the outset, it was held that film would be the most ideal propaganda tool for the Soviet Union because of its mass popularity among the established citizenry of the new land; V. I. Lenin, in fact, declared it the most important medium for educating the masses in the ways, means and successes of Communism, a position which was later echoed by Joseph Stalin. Meanwhile, between World War I and the Russian Revolution, most of the film industry, and the general infrastructure needed to support it (e.g. electrical power), was in a shambles. The majority of cinemas had been in the corridor between Moscow and St. Petersburg in Russia, and most were out of commission. Additionally, many of the performers, producers, directors and other artists of pre-Soviet Russia, had fled the country or were moving ahead of the Red Army forces as they pushed further and further south into the remainder of the Russian Empire. Furthermore, the new government did not have the funds to spare for an extensive reworking of the system of filmmaking. Thus, they initially opted for project approval and censorship guidelines while leaving what of the industry remained in private hands. As this amounted mostly to cinema houses, the first Soviet films consisted of recycled films of the Russian Empire and its imports, to the extent that these were not determined to be offensive to the new Soviet ideology. Ironically, the first new film released in the Soviet Union did not exactly fit this mold: this was "Otets Sergii", in English "Father Sergius", a religious film completed during the last weeks of the Russian Empire but not yet exhibited. It appeared on Soviet screens in 1918 .

Beyond this, the government was principally able to fund only short, educational films, the most notorious of which were the agitki - propaganda films intended to "agitate", or energize and enthuze, the masses to participate fully in approved Soviet activities, and deal effectively with those who remained in opposition to the new order. These short (often one small reel) films were often as not visual aids and accompaniments to live lectures and speeches, and were carried from city to city, town to town, village to village (along with the lecturers) to indoctrinate the entire countryside, even reaching areas where film had not been previously seen.

Newsreels, as documentaries, were the other major form of earliest Soviet cinema. Dziga Vertov's newsreel series Kino-Pravda, the best known of these, lasted from 1922 to 1925 and had a propagandistic bent; Vertov used the series to promote Socialist realism but also to experiment with cinema.

Still, in 1921 , there was not one functioning cinema in Moscow until late in the year. Its rapid success, utilizing old Russian and imported feature films, jumpstarted the industry significantly, especially insofar as the government did not heavily or directly regulate what was shown, and by 1923 an additional 89 cinemas had opened. Despite extremely high taxation of ticket sales and film rentals, there was an incentive for individuals to begin making feature film product again - there were places to show the films - albeit they now had to conform their subject matter to a Soviet world view. In this context, the directors and writers who had remained in support of the objectives of Communism assumed quick dominance in the industry, as they were the ones who could most reliably and convincingly turn out films that would satisfy government censors. New talent joined the experienced remainder, and an artistic community assembled with the goal of defining "Soviet film" as something distinct and better from the output of "decadent capitalism". The leaders of this community viewed it essential to this goal to be free to experiment with the entire nature of film, a position which would result in several well-known creative efforts but would also result in an unforeseen counter-reaction by the increasingly solidifying administrators of the government-controlled society.

Eisenstein's Battleship Potemkin was released to wide acclaim in 1925; the film was heavily fictionalized and also propagandistic, preaching the party line about the virtues of the proletariat. The party leaders soon found it difficult to control directors' expression, partly because definitive understanding of a film's meaning was elusive.

One of the most popular films released in 1930s was Circus. Notable films from 1940s include Aleksandr Nevsky and Ivan Grozny.

In the late 1950s and early 1960s Soviet Cinema again flowered, beginning with films such as Ballada o Soldate Ballad of a Soldier that won the 1961 BAFTA Award for Best Film and The Cranes Are Flying.

Vysota (Height) is considered to be one of the best films of the 1950s (it also became the foundation of the Bard movement).

The 1980s saw a diversification of subject matter. Touchy issues could now be discussed openly. The results were films like Pokayanie (Repentance), which dealt with Stalinist repressions in Georgia, and the allegorical science fiction movie Kin-dza-dza!, which satirized the Soviet life in general.

After Stalin, Soviet filmmakers got a freer hand to film what they believed audiences wanted to see in their film's characters and stories. However, the industry remained a part of the government and if any material was found politically offensive or undesirable, it was either removed, edited or reshot; or it was shelved. In rare cases the filmmakers managed to convince the government of his innocence and the film was released. The definition of "socialist realism" was liberalized to allow development of more human characters, but communism still had to remain uncriticized in its fundamentals. Additionally, the degree of relative artistic liberality could be changed from administration to administration.

Oddities created by censorship include:

• The first chapter of the epic film Освобождение (Liberation) was filmed 20 years after the subsequent three parts. The director had refused to minimize the errors of the Soviet High Command during the first year of the war, and instead waited for a time when he could film this portion accurately.

• Eisenstein's "Alexandr Nevsky" was censored before the German invasion of the Soviet Union due to its depiction of a strong Russian leader defying an invading army of German Teutonic knights. After the invasion, the film was released for propaganda purposes to considerable critical acclaim.

In the beginning of the Cold War writers, still considered the primary auteurs, were all the more reluctant to take up script writing, and the early 50s saw only a handful of feature films completed during any year. The death of Stalin was a merciful relief to many, and all the more so was the official trashing of his public image as a benign and competent leader by Nikita Khruschev two years later. This latter event gave filmmakers the margin of comfort they needed to move away from the narrow formula stories of socialist realism, expand its boundaries, and begin work on a wider range of entertaining and artistic Soviet films.

The 1960s and 1970s saw the creation of many excellent films, many of which moulded Soviet and post-Soviet culture. They include:

• Seventeen Instants of Spring (Semnadtsat mgnoveniy vesny), which created the immortal character of Standartenführer Stirlitz, and whose compelling and unbiased look at the life of a spy in wartorn Germany made the film popular in both German states as well.
  

  Aleksey Batalov as Gosha in Moscow Does Not Believe In Tears.
• White Sun of the Desert (Beloe Solntze Pustyni) (1970), a classic 'Eastern', although with dubious stereotyping of central Asians. It is ritually watched by cosmonauts before launches, and has contributed many quotes to the Russian language such as 'The East is a delicate matter'. Its theme tune became a huge hit.
• Solaris (1972)
• Moscow Does Not Believe In Tears (Moskva Slezam ne Verit)
• I am striding Through Moscow (Ya Shagayu po Moskve)
• Irony of Fate (Original title: Ирония судьбы, или С лёгким паром!)
• Pokrovsky Gates (Pokrovskiye Vorota)
• Gentlemen of Fortune (Gentelmeny Udachi) starring Yevgeny Leonov
• Operation "Y" and other Shurik's adventures (Operatzyya "Y" i drugie priklucheniya Shurika) and its sequel, Kidnapping, Caucasian Style (Kavkazskaya Plennitsa)
• The Diamond Arm (Brilliantovaya Ruka). The last four comedies, especially Diamond Arm, have contributed a lot of humorous quotes.

Soviet directors were more concerned with artistic success than with economical success (They were paid by the academy, and so money was not a critical issue). This contributed to the creation of a large number of more philosophical films. In keeping with Russian character, tragi-comedies were very popular. Soviet films tend to be rather culture-specific and are difficult for many foreigners to understand without having been exposed to the culture first.

Animation was a respected genre, with many directors experimenting with technique.

These decades were prominent in the production of the Ostern or Red Western.

In the year of the 60th anniversary of the Soviet cinema (1979), on April 25, by the Decision of the Presidium of the Supreme Soviet of the USSR, the commemorative Day of the Soviet cinema was established. It was then celebrated in the USSR each year on August 27, the day, on which V. I. Lenin signed a decree on the nationalisation of the cinema and photo industries of the country.

Main article: List of Soviet films

There are many movies which are well-remembered and looked upon fondly in the former Soviet republics; famous lines or jokes from these movies are often quoted and some have even become a part of the Russian language as sayings and idioms. Most of these classic Soviet movies were produced by Mosfilm and other state-owned film studios.

• Белое солнце пустыни ("Beloe solntse pustyni", "White Sun of the Desert") - one of the most loved Soviet films of all time. For more information on this type of movie, see Red Western.

• Джентльмены Удачи ("Dzhentl'meny Udachi", "Gentlemen of Luck") - a schoolteacher played by Evgeni Leonov pretends to be crime boss Dotsent (who looks exactly like him) in order to gain information about a stolen artifact from Dotsent's two lackeys.
• Кавказская пленница, или Новые приключения Шурика ("Kavkazskaya plennitsa, ili Novie priklucheniya Shurika", "Prisoner of the Caucasus, or Shurik's New Adventures")
• Иван Васильевич меняет профессию ("Ivan Vasilievich menyaet professiyu", "Ivan Vasilievich changes his profession") - a scientist's time travel machine ends up teleporting his landlord into 16th century Russia and bringing Ivan the Terrible into the present.
• Двенадцать стульев ("Dvenadtsat" "12 stulev", "Twelve chairs") - based on the famous novel of the same name by Ilf and Petrov.
• Бриллиантовая рука ("Brilliantovaya ruka", "Diamond Arm") - starring Yuri Nikulin, Anatoli Papanov, and Andrei Mironov.

• Ирония судьбы или с легким паром ("Ironia sudby ili s legkim parom", "Irony of Fate, or Enjoy Your Bath") - a comedy-drama so beloved in Russia that it is broadcasted on television every New Year Eve, similarly to the American movie A Christmas Story being broadcasted every Christmas.
• Обыкновенное чудо ("Obyknovennoe chudo", "Ordinary wonder") - a fairy-tale love story about a bear who has been transformed into a man by a wizard, and must be kissed by a princess to return to his original form.
• Семнадцать мгновений весны ("Semnadtsat mgnovenii vesny", "Seventeen Moments of Spring") - a multi-episode film about an undercover Soviet spy, "Stirlitz", in Germany during World War II. An entire type of joke, usually based on a play on words, has arisen from these movies.
• Тихий Дон (1957) ("And Quiet Flows the Don" (1957)) by Sergei Gerasimov. It's an adaptation of a Nobel prize winning novel And Quiet Flows the Don.
• Война и мир (Voina i mir) a version of Tolstoy's novel as giant as the original.

• List of Soviet movies of the year by ticket sales
• Cinema of the Soviet Union

Early personalities in the development of the Russian cinema: Grigori Aleksandrov Yevgeni Bauer Alexander Dovzhenko Sergei Eisenstein Lev Kuleshov Yakov Protazanov Vsevolod Pudovkin Ivan Pyryev Dziga Vertov

Later personalities: Andrei Konchalovsky Nikita Mikhalkov Aleksandr Sokurov Andrei Tarkovsky Eldar Ryazanov Leonid Gaidai Georgi Daneliya Kira Muratova Sergei Parajanov Andrey Zvyagintsev

Armenfilm Azerbaijanfilm Belarusfilm Georgiafilm Gorky Film Studio Gruziya-film Kazahfilm

Kievnauchfilm Kirgizfilm Lenfilm Lithuanian Film Studio Moldova-Film Mosfilm Dovzhenko Film Studios

Odessa Cinema Studio Pilot Soyuzmultfilm Sverdlovsk Film Studio Tadjikfilm Tallinnfilm Turkmenfilm Uzbekfilm

• List of Soviet movies of the year by ticket sales
• History of Russian animation
• History of cinema
• World cinema

• Russian Movies database (dvd & vhs catalogs, actors & directors pages)
• Russian Film Database, University of Innsbruck, Austria
• Russian Movie Club in USA (movie & actor directories, trailers, screenshots, reviews)
• Russian Films store (RussianDVD.com)
• The Return (Возвращение) Review at FilmDailies.com - a filmmaker's blog

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