By Julian Graffy
Chapaev is the most well-liked movie of the Soviet period. Directed by way of Georgi and Sergei Vasilev, it tells of the mythical exploits of the pink military Commander Vasili Ivanovich Chapaev through the Russian Civil struggle. Its maximum fan was once Joseph Stalin, who observed it 38 occasions at late-night showings within the Kremlin. It used to be either praised by means of occasion ideologues for its faithfulness to the Bolshevik reason and enjoyed via 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 renowned mind's eye. This inspirational advisor to the movie tells the tale of the real-life Chapaev, of the radical by means of Dmitri Furmanov, and of the struggles to make the movie. Julian Graffy bargains an in depth research of the movie itself after which considers Chapaev’s striking after-life. He demonstrates that to appreciate Chapaev’s allure is to appreciate whatever approximately what it skill to be Russian.
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Extra resources for Chapaev: Kinofile Filmmakers' Companion, 11 (The Kinofiles Filmmaker's Companions)
He asks which of the men is Chapaev and, initially unsure that a man who looks so scruffy can be the Divisional Commander, he thanks him for the return of all the peasants’ property. Thus ironically it is Chapaev, not Furmanov, who is ‘painted in someone else’s glory’. Repeating his fears about a merry-go-round of Reds and Whites, the peasant thanks Chapaev ‘in the name of society’ and leaves the hut. Once again, after a volcanic outburst, Chapaev calms down. Once again he has learned a lesson from Furmanov.
Eventually they persuaded Mikhail Pavlovich Shneider, the studio director, to read the sound version. Though he too became convinced that it should be made as a sound film, he explained that Boris Shumiatsky, the head of the Soviet film industry in the 1930s, had categorically forbidden them to make a sound film. So they took the script to Moscow and got it read at the State Cinema Directorate [GUK], but when they returned to Leningrad they were once again told that it must be made as a silent film, probably because all the Lenfilm facilities for making sound films were already in use.
32 For Gedali there was no difference between the Poles, who abused him, and the Reds, who beat the Poles and then requisitioned his gramophone under threat of shooting. Liutov, Babel’s hero, tries to explain to Gedali the moral difference between shots fired by Revolution and Counter-Revolution, but Furmanov, in the Vasilev Brothers’ film, prefers actions to words. Now dressed in full uniform, he cross-examines Zhikharev. Initially the platoon commander is disdainful. Waving his whip, he smirks and says he knows nothing about any looting.
Chapaev: Kinofile Filmmakers' Companion, 11 (The Kinofiles Filmmaker's Companions) by Julian Graffy