Biography of the Vasilyev brothers

The pseudonym arose after they ironically affiliated in one of the articles by V. Vasilyevs themselves first performed a personal file under this pseudonym in the film. Tymoshenko, who is praised for exemplary installation, was shifted by them when the original version was rejected. The film was perfectly mounted by the Vasilyevs of fragments of the chronicle in the ice, dedicated to the salvation of the Italian expedition by the Nobile with Soviet icebreakers.

The primary sources - the book of D. Furmanov and the scenario developments of his wife A. Furmanova - although they were mentioned by the directors and everyone who wrote about the film, in reality, did not mean little, and the real hero of the civil war V. Vasiliev created a new artistic type and made it the central hero of the film review, carried out by all possible means of sound kinematographer: accurately: accurate Installation, thinly constructed scales, complex psychology of characters, the dynamics of the story, the tragic ending, which gave the film a semantic completion.

The booth, almost popular atmosphere of many scenes as a reasoning about where the commander should be located, and building the disposition on the table about the help of potatoes is balanced by the drama of the other episode of the mental attack of the Kappelevites. The organicity of the images of Chapaeva B. Babobochkin, Petka L. Kmit, Anki V. Myasnikov and even B. B. Furmanova allowed them to subsequently exist independently, outside the picture, becoming heroes of folklore.

The properties of the material and the properties of time happily coincided, but on the example of the work of the Vasilyev brothers, you can see the insoluble problem that the Soviet cinema of those years faced. Set before the inability to continue the formal searches of the years, the directors were forced to go along the extensive path - to expand the theme, but this was prevented by the fact that the cinema itself was constantly poor - the number of directors who were given the production decreased, the number of films themselves decreased.

The painting by Volochaev days dedicated to the struggle with the Japanese in the Far East, with the exception of several bright eccentric scenes, for example, washing in a huge colonel’s caulchil, excellently played by L. Sverdlin, is generally inexpressive.

The next film, the fate of which is quite indicative, is brave and created according to an indirectly formulated social order: he was conceived in two episodes, the first was to be called Voroshilov’s campaign, the second - the defense of Tsaritsyn, both episodes were shot at the same time. The first series, already under the name Tsaritsyn’s defense, was released, having received the USSR State Prize for, the second did not be released.

The film was not the discovery and the Front based on the play A. It is believed that this is the last film made by the Vasiliev brothers, but rather that the last film was to be a ribbon of a peak lady according to the story of A. Pushkin and the opera P. Tchaikovsky, who has a long and confusing background. The script of the same name was written by the Vasiliev brothers along with the director P.

Weisbrem back in, and in the same year the director began to film adaptation, but the work was interrupted. The Brothers Vasilyevs themselves finalized the script, but the death of G. Vasiliev prevented the implementation of the plan this time. The film, according to the newly converted scenario, was set by director R. Tikhomirov, when the Vasilyevs were no longer alive. After the film, the Chapaev Vasilyevs did not have large creative successes set by S.

Vasiliev paintings by the heroes of Shipka; The prize for directing at the IFF in Cannes, and in the days of October became the embodiment of the same extensive direction in the cinema. Evgeny Peremyshlev.