Ivan the Terrible: The Film Companion (KINOfile) by Joan Neuberger

By Joan Neuberger

Eisenstein's final, unfinished masterpiece is an odd, complicated and haunting movie. Commissioned for my part via Stalin in 1941, Ivan the bad positioned Eisenstein within the paradoxical state of affairs of getting to glorify Stalinist tyranny within the snapshot of Ivan with no sacrificing his personal inventive and political integrity--or his lifestyles. Drawing on assets that come with Eisenstein's own archive and the memoirs of these excited by the film's making, Joan Neuberger's bright account finds how, in virtually very unlikely situations, Eisenstein controlled to create a movie of cinematic innovation, highbrow intensity and political critique. She unearths the movie to be either a good murals and a made of the time and position during which it was once made.

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Ivan the Terrible: The Film Companion (KINOfile)

Eisenstein's final, unfinished masterpiece is an odd, advanced and haunting movie. Commissioned in my opinion through Stalin in 1941, Ivan the poor put Eisenstein within the paradoxical state of affairs of getting to glorify Stalinist tyranny within the photograph of Ivan with no sacrificing his personal inventive and political integrity--or his lifestyles.

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1923/1/554/62 [21 Jan. 41]. 1923/2/1167/15 [23 Aug. 1941]. 1923/2/1167/50 [23 Sept. 1941]. 1923/1/652/9–11 [5 Sept. 1942]. 1923/1/652/9 [5 Sept. 1942]. 24 Ivan the Terrible 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 1923/2/1749/3 [15 Sept. 1942]. ‘The Heirs and Builders of World Culture’, ESW 3, p. 182. G. Mar’iamov, Kremlevskii tsenzor: Stalin smotrit kino, Moscow, 1992, p. 70. KZ 38 (1998), pp. 173–246. Jay Leyda, Kino: A History of Russian and Soviet Film, Princeton, NJ, 1983, pp.

Or a failure of will? Holy innocence or the devil’s work? Either way his self-deception will kill his wife. At work here is a curious set of contradictions within Ivan. He is farsighted: visionary about his ultimate political goals but blind to the goingson around him. He displays faith in Kurbsky and Kolychev long after they have betrayed him, and he refuses to believe that his aunt Efrosinia could be working against him. His faith in his friends and loyalty to his kin seem naïve and a little dim-witted, perhaps childlike.

173–246. Jay Leyda, Kino: A History of Russian and Soviet Film, Princeton, NJ, 1983, pp. 365–82. Cited in Culture and Entertainment in Wartime Russia, ed. Richard Stites, Bloomington, IN, 1995, p. 5. Eisenstein’s casting and the atmosphere on the set are discussed in Eizenshtein v vospominaniiakh sovremennikov, R. N. ), Moscow, 1974, pp. 315– 413; M. Nazvanov, ‘Prokliataia kartina: Pis’ma k Ol’ge Viklandt so s’emok fil’ma “Ivan Groznyi”’, Iskusstvo kino, 1998, nos 1–2; L. M. Roshal’, ‘“Ia uzhe ne mal’chik i na avantiuru ne poidu”’ KZ 38 (1998), pp.

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