Chapaev: Kinofile Filmmakers' Companion, 11 (The Kinofiles by Julian Graffy

By Julian Graffy

Chapaev is the most well-liked movie of the Soviet period. Directed through Georgi and Sergei Vasilev, it tells of the mythical exploits of the pink military Commander Vasili Ivanovich Chapaev throughout the Russian Civil warfare. Its maximum fan was once Joseph Stalin, who observed it 38 instances at late-night showings within the Kremlin. It used to be either praised by means of social gathering ideologues for its faithfulness to the Bolshevik reason and enjoyed through mass audiences for its event sequences and its tragic love tale. For over seventy years, Chapaev, Furmanov the Commissar, Petka and Anka have remained heroes of the Russian well known mind's eye. This inspirational consultant to the movie tells the tale of the real-life Chapaev, of the unconventional through Dmitri Furmanov, and of the struggles to make the movie. Julian Graffy bargains a close research of the movie itself after which considers Chapaev’s impressive after-life. He demonstrates that to appreciate Chapaev’s charm is to appreciate anything approximately what it capability to be Russian.

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Additional resources for Chapaev: Kinofile Filmmakers' Companion, 11 (The Kinofiles Filmmaker's Companions)

Sample text

Nu, na to, chto vy seichas govorili, naplevat´ i zabyt´’], before announcing how the battle will in fact be fought. The skirmish, though unseen, was clearly successful, since the conversation is followed by an intertitle transferring the action to ‘The captured village’. There is a poster of a Red Army soldier, rifle in hand, on the back wall of the room in which Chapaev is lounging on a sofa, noisily munching an apple. In the foreground, by contrast, Furmanov sits at a table peeling potatoes.

18 Versions of the gun were made in a number of European countries, including Russia. ’ Petka names the parts of the gun, beginning with the ‘back plate’ [‘zatylnik’], only to be interrupted by the lanky partisan, sitting watching on the homestead fence. Winking at him to go away, and not to cramp his style, Petka names the second part, the ‘cheeks’ [‘shchechki’]. 20 Anna pushes Chapaev:Layout 1 8/11/09 12:28 Page 35 Chapaev the film 35 him away and mockingly calls him a ‘hero’. She refers with irritation to the self-importance she has encountered among Chapaev’s men, and suggests that their ‘heroism’ is confined to their exploits with women.

Chapaev’s partisans are making friends with the weavers, distinguishable by the red stars on their budenovki, the pointed cloth helmets named after the Red Cavalry Commander Semen Budennyi that identified them as members of the Red Army. Petka emerges from a hut and fires his revolver to get their attention. ‘Quiet, citizens’, he says, ‘Chapaev is going to think’ [‘Tikho, grazhdane! Chapai dumat´ budet’]. 13 Impressed by the power of his words, Petka sits down on the steps of the hut. Inside the hut the commanders are poring over maps.

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