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Text # 000685


On a rainy September evening, I had one of the most significant meetings in my life. Then we met Romm and went for a walk in Moscow. It was after watching Pyshka, which struck me with the highest professionalism of his first directorial work, and with the wit of artistic decisions, and most importantly with how Romm managed to convey the atmosphere of Maupassant’s novel so truthfully. Romm's film was also a political pamphlet, and at the same time in something - socially and humanly - more than just a pamphlet. It is not for nothing that VGIK students to this day study this “debut” as an example of the highest skill and learn from this picture the ability to express their thoughts with cinematographic means, learn the sniper accuracy of style decisions, the ability to use plastic methods to reveal characters, build scenes, and find a film equivalent of a literary work.

Then, on that distant September evening, “Pyshka” impressed me as something undeniable, classical. But even more impressive than the film was Romm himself. This young man contained some inexhaustible explosive charge of vital energy. Everything in him was talented, bright - and how he joked, how he told, how he was carried away, how he caught fire when he liked something in art. I fell in love with Romm - I can’t find another, more true word to convey what I experienced in relation to him then.

We lived in different cities - Romm in Moscow, I in Leningrad. Therefore, we did not meet often, but every visit of Romm to Leningrad and every meeting with him in Moscow was a holiday. Romm became the creatively closest person, I saw in him not only the brilliant director of “Pyshka”, “Thirteen” - the film that he started to put on the script of I. Prut, but also the artist “charged” to create completely new ones, unexpected works.

In 1936, when I started working on a screenplay about V.I. Lenin, I imagined only Romm as the director of the future film, although the films he set by that time neither in genre nor in material provided, it would seem, absolutely no basis for such an assumption .

The circumstances were such that, by the time the Leninist script ended, Romm was completely busy preparing for the production of Pushkin's Queen of Spades. But in those times that have gone to eternity, it also happened that the scriptwriter was asked - who, in his opinion, should put his script? I was invited to the authority in charge of cinematography, and after talking about the future film, I was asked exactly this question. I said: Romm and only Romm, but unfortunately he is busy with other work. To this I was told that another work might be postponed, and Romm would undoubtedly understand how important it was to create a film about Vladimir Ilyich Lenin on the occasion of the 20th anniversary of the Great October Revolution.

Of course, it is difficult for any real artist to abandon the plan with which he got accustomed, but even having rejected the previous plan, having taken up the production of "Lenin in October", Romm all, without a trace, left for a new work, which I can only call a feat.

It is known that, in addition to the enormous creative difficulties associated with the fact that the first attempt was made in art cinema to create the image of V.I. Lenin, Romm still had the task of putting a picture in three months - the deadline for our film production is fantastically miserable, because any serious the picture was then made in a year and a half.

Much has been written about the work of M. I. Romm on the film "Lenin in October", about his work with Schukin, Okhlopkov, Vanin and critics and Romm himself. I can add to this only my then feeling of absolute confidence that every solution to the scene, every detail found by Romm, was the only true one. Only the ingenious B.V. Shchukin possessed the same as Romm, an absolute sense of cinematic truth and cinematic untruth. I remember that when I read Rommu a new scene, I, without even hearing his feedback, immediately, while still reading, felt where I had the right, where the wrong. “Correction for Romm”, as well as “correction for Schukin” - has always been an unusually important self-test for me. Follow up. If you loved this short article and you would certainly like to receive additional information pertaining to exxonmobil rewards plus activation kindly see our own web page