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A majority of film critics and viewers tend to dismiss Andrei Mikhalkov-Konchalovsky’s films in their initial assessments, especially in recent decades. Why is that? To answer that question, one needs to know some key facts about Konchalovsky and the three phases of his career. Who is Konchalovsky? F ew know or recall that Konchalovsky was partly responsible for the early masterpieces of Andrei Tarkovsky— The Steamroller and The Violin; Ivan’s Childhood ; and Andrei Rublyev . As a screenplay-writer, Konchalovsky collaborated with Tarkovsky (his film school classmate) as a co-scriptwriter on these films as well as for other directors’ films: Shaken Ajmanov’s The End of the Ataman (1971) and Tolomush Okeev’s The Fierce One (1974). He also contributed, as a screenplay-writer, to his half-brother Nikita Mikhalkov’s film A Slave of Love (1976). Many of these films dealt with children and childhood. This was the specifically highlighted in his own debut film as a director and co-scriptwr...

“Exhausted by hunger, he ate in secret. He thought he was stealing food; but that was better than stealing from strangers”    -- Narrator of a TV program on dogs, viewed by Oleg in the film 4 T he film 4 was made in 2004 and won 11 major film awards across Europe, the Americas and Asia. Khrzhanovskiy’s   debut film 4 is no ordinary feature film. Four stray dogs on a Moscow street at night open the film. Four persons (3 customers and a bartender) accidentally meet at a bar late night. The three drinkers (Marina, a female prostitute; Vladimir, a male piano tuner/musician; and Oleg, a male wholesale-meat supplier) construct their alternate fictional professions as they consume alcohol and attempt connecting with each other.  Bar scene: (left to right) Vladimir, Marina and Oleg A s the film progresses, we realize Marina is one of 4 sisters. Marina (played by actress Marina Vovchenko) meets up with two of her other sisters (possibly played by her real life sisters, if ...

T hree very interesting and complex films on women with screenplays written by the film’s own directors are those made by male directors. One of those three would be Kantemir Balagov’s Beanpole .   Balagov has admitted that his main source of inspiration was Nobel Prize for Literature winner Svetlana Alexandrovna Alexeivich’s 1983 book War doesn’t have a woman’s face . The other two films of similar artistic strengths and flavour about unmarried women are the American films: Joseph L. Manckiewicz’ The Barefoot Contessa (1954) with Ava Gardner (in arguably her best role) and Paul Mazursky’s An Unmarried Woman (1978) with Jill Clayburgh (in one of her best roles). Balagov, unlike the two US director-cum-screenplay writers, co-scripted his film with another male scriptwriter, Aleksandr Terekhov. Both Balagov and Mazursky present a quixotic emancipation for their lead characters, while in Manckiewicz’ case the liberation, unfortunately, leads to tragedy. Iya (Victoria Miroshnichenko) ...

“Dovlatov was a sex symbol, an Elvis Presley, a legend (in Russia)” – director Aleksei German, Jr., on the writer Dovlatov,   in an interview published in Sight and Sound “I saw Brezhnev in my dream. We drank pina coladas and discussed socialism. He promised to help (me get published).” Dovlatov to his mother, waking up in the morning on the first of the “6 days of 1971” shown in the film D ovlatov is an exceptional film and one of the most mature cinematic works made in 2018. Why is it exceptional?   It encapsulates the world and travails of Russian writer Sergei   Dovlatov (1941-90), friend and contemporary of eventual Nobel Prize winner Joseph Brodsky   and their interactions in Leningrad (now St Petersberg) preceding the decision of Brodsky to emigrate to the United States within a part-realistic, part-fictional representative 6 days of 1971. The year 1971 is typical of a particular Soviet mindset within former USSR (now primarily Russia, having subsequently div...

Background note on Russian filmmakers Sokurov and Kozintsev R ussian film director Aleksandr Sokurov (66) is famous for diverse reasons. Some recall his experimental feature film Russian Ark (2002) filmed in a single, unedited 90-minute shot with over 2000 actors in elaborate costumes and 3 live orchestras exploring several sections of the Hermitage museum in Saint Petersburg (Leningrad). Some recall his more recent feature film Faust (2011), honoured with the Golden Lion at the Venice Film Festival. The late film critic Susan Sontag, while including two Sokurov feature films among her 10 favorite films of the 1990s, stated “ There is no director active today whose films I admire so much .” Musician Nick Cave, in an interview published in the British newspaper “ The Independent, ” revealed “ I wept and wept from start to finish ” on viewing Sokurov’s Mother and Son (1997), a poetic experimental feature film with minimal spoken lines. In 1998, Sokurov made a documentary called Saint P...

O n the very obvious level, Loveless is a modern tale of a middle-class family living in Moscow. Boris and Zhenya, the parents of a 12 year old schoolboy Aloysha, are on the verge of a divorce.  This might appear to be a tale of the disappearance of the anguished kid deprived of parental love—but the film is much more.  What is not so obvious in Loveless , is precisely what makes the film outstanding—as is the case of any Zvyagintsev feature film. The key to appreciating Zvyagintsev is to “suspend your belief” in the obvious and re-evaluate what was presented. And every shot of his films is loaded with silent commentary for any astute viewer to pick up and relish. There is a special flavour that exudes from original screenplays conceived by directors in contrast to adapted screenplays based on novels, plays and historical events. That  flavour will make an erudite viewer sit up. Barring the exception of Andrey Zvyagintsev’s Banishment (built on the framework of the US no...