Yevgeni Franzevich 's "The Dying Swan" (1917) Russian: Умирающий лебедь скачать в хорошем качестве

Yevgeni Franzevich 's "The Dying Swan" (1917) Russian: Умирающий лебедь

Gizella (Vera Karalli) is a young mute dancer and lives with her father (Aleksandr Kheruvimov). One day beside the lake, Viktor Krasovsky (Vitold Polonsky) takes an interest in Gizella and begins to call on her regularly. She falls in love with Viktor, and believes that love is mutual, but then sees Victor's dalliance with another girl after he cancels a date with her. The great passion of her life is dancing so she resolves to leave home and become a ballerina. Gizella moves away and begins her career. Later, as she is on tour performing, the eccentric, increasingly unhinged artist, Valeriy Glinskiy (Andrej Gromov), attends her performance, and sees Gizella dancing "The Dying Swan". She is sad and her enchanting solo ballet dance sequence is meant to imitate the death of a swan, and is in fact, very beautiful. Gizella becomes an object of love and obsession for Glinskiy, whose own obsession is to depict death in his art. He becomes fascinated by Gizella, and is determined to use her as a model for a special project, a picture on the theme of death. A 1917 silent black & white Russian psychological melodrama short ballet film directed by Yevgeni Bauer, written by Zoya Barantsevich, starring Vera Karalli, Aleksandr Kheruvimov, Vitold Polonsky, Andrej Gromov, and Ivane Perestiani. It evokes an atmosphere of Poe, a tragic, romantic exaltation of woe. Vera Alexeyevna Karalli (Russian: Вера Алексеевна Каралли; 27 July 1889 – 16 November 1972) was a Russian ballet dancer, choreographer and silent film actress during the early years of the 20th century. Karalli was a mistress of Grand Duke Dmitri Pavlovich of Russia and was reportedly also a co-conspirator in the December 1916 murder of Grigori Rasputin. She was allegedly one of two women present in the palace of Felix Yussupov on the night of Rasputin's murder. The other was Marianne Pistohlkors. Their alleged male co-conspirators never publicly identified the two women. After fleeing to the West following the October Revolution, Karalli made her final film appearance in Robert Wiene's German silent drama "Die Rache einer Frau" (1921) opposite Olga Engl and Franz Egenieff, credited as "Vera Caroly". Her first role was in Pyotr Chardynin's "Ty pomnish' li?" (1914), English title: "Do You Remember? ", opposite Ivan Mozzhukhin. From 1914 to 1919, Karalli appeared in sixteen Russian silent films, including the adaptation of Leo Tolstoy's "War and Peace", titled "Voyna I mir" (1915). Her last film appearance was in a German dramatic release "Die Rache einer Frau" (1921) English title: A Woman's Revenge. Often chosen as a leading lady by the notable director Yevgeni Bauer. Russian film director Yevgeni Franzevich Bauer (Russian: Евгений Францевич Бауэр) was a theatre artist and a screenwriter, and made more than seventy silent films between 1913 and 1917 of which 26 survived. Bauer is considered a leading stylist of Russian silent cinematography and placed particular emphasis on the pictorial aspect of film-making. His work had a great influence on the aesthetics of Russian cinematography at the beginning of the 20th century. Considered a master of psychological drama, and one of the first Russian directors who developed the artistic side of cinema including montage, mise-en-scene and the composition of the frame. Bauer used the relatively long sequence shots and displacements that came to be associated with camera virtuosos. Whereas with Eisenstein or Pudovkin, the heroic focus shifts on the disenchanted individual - the faces tired but resolute, the living hard but rigorously driven - who is transformed, subsumed into a mass of collective struggle redolent with immediate purpose, Bauer's films shows a life distraught with aimlessness, women as fragile, ethereal beings. Bauer's artistic experiments and outstanding expertise gave him a reputation as the leading director in Russian cinema. He made great use of his theatrical experience, the outcomes of which prefigured future achievements in cinema. Bauer was the first to start to consider the placing of lights on the film-set and changed the lighting during the filming, used unusual filming angles, made frequent use of wide spaces, and filmed through "gaseous" material to produce the effect of fog. Los Angeles Times film critic Kenneth Turan called Bauer "The greatest director you've never heard of." Georges Sadoul called him "the first true artist in the history of cinema". The Dying Swan (originally The Swan) is a solo dance choreographed by Mikhail Fokine to Camille Saint-Saëns's Le Cygne from Le Carnaval des animaux as a pièce d'occasion for the ballerina Anna Pavlova, who performed it about 4,000 times. The short ballet (4 minutes) follows the last moments in the life of a swan, and was first presented in St. Petersburg, Russia in 1905. The ballet has since influenced modern interpretations of Odette in Tchaikovsky's Swan Lake and has inspired non-traditional interpretations as well as various adaptations.