Alexander Nevsky 1938 restored with the re-recorded musical score скачать в хорошем качестве

Alexander Nevsky 1938 restored with the re-recorded musical score

This is a restored and upscaled version with the re-recorded Profiev score by Yuri Temirkanov. Alexander Nevsky follows the historical narrative about the defeat of the Livonian invaders in 1242, and the account of Nevsky’s battle was written over 100 years later. He defeated them on Chudskoya Lake located between Estonia and the Republic of Novgorod. Nevsky is historical but other characters may not be. Vasily Buslai appears in folk stories about a great, but willful, hero. Gavrilo is mentioned in accounts of Nevsky's battles as being one of the great heroes. The invaders from Livonia (Estonia and Germany) were led by a historical Catholic bishop and the master of the Livonian order is misattributed to the founder, but other characters are fictional with all personalities conjectural. Nevsky was a great but cagy political hero canonized by the Russian church. He defeated both the Swedish and the Livonian invasions, but appeased the ruling Tatars with tributes. In addition to leading the Republic of Novgorod he also became the prince of Kiev and Vladimir. One relationship is not clear. Vasilisa, who later dons armor and fights, is the daughter of Pavsha. Pavsha is the “mayor” of Pskov who is strung up by the knights. Both would seem to be fictional. Vasilisa was the name of Nevsky’s second wife. Some of the characters are not identified. Savka is one of them. He may appear in the opening scenes and then appears prominently in other scenes. His death during the battle is important to Nevsky and he appears in the fallen warrior procession. He is not important to the story, but is clearly a prominent character. He makes the Russian losses more personal. According to the Wikipedia the troops were from Germany, but the knights from Estonia. The Livonian knights were incorporated into the Teutonic knights in 1237 as an autonomous Livonian order. Livonia was originally centered on Latvia but expanded to Estonia. There are many symbols which vilify the “Germans” such as the deep monk cowls and the swastikas on the bishop’s costume. The fancy invader costumes contrast with the simpler Russian garb and the invading knights’ faces are hidden inside cans. Eisenstein used this same symbolism in Ivan the Terrible where the Poles are portrayed as effete bewigged snobs. There are reams of commentaries you can read about the various symbols and the Criterion edition DVD has a monolog pointing them out. The director, Eisenstein, says that he picked the film from a list of stories that were to be filmed. His reason was that he could have a free hand because the event was long ago with few details. It was filmed quickly in the middle of summer, so they had to paint trees white and provide fake snow for the outdoor winter scenes. One wonders how hard it was for the actors in their heavy costumes. Even studio shots were likely hot with the hot lights and lack of AC. Eisenstein’s great visual direction with the film score by Prokifiev made this film a classic. Later directors took many ideas from it, especially the battle scene. The popular Prokofiev cantata with the same name uses extensive music from the film. It is probably one of the greatest films ever made. It is too bad there is no full restoration in full HD. The laser disk restoration with the Temirkanov re-recorded music track has wonderful sound but fair video and some cut scenes. The original sound track was badly cut up during editing. This “restoration” is only partial but it lets the viewer experience the film the way the director intended, and the way the 1940s audience would probably have experienced it. In that era people filtered out defects more readily. The scenes have been stabilized and most defects due to age have been removed. The music is the re-recorded stereo version by Temirkanov.