70 ext A LIFE’S WORK HERMIТАGE entrance

Te x t : D a r i a B e l o v a day P h o t o s : Rustam Zagidullin

Lorenzo Gennaro Cali Antonio Giovanni Pietro Tenerani Antonio Luigi Bartolini Psyche, Canova Antonio Duprè Antonio Giovanni Psyche, Canova Bienaimé Nymph with Abandoned Cupid and Canova Bacchus Canova Duprè Abandoned Dancer Zephyr a Scorpion Italy, Psyche Orpheus as a Child Amour Cain Italy, Italy, Italy, Italy, Early 19th Italy, Italy, Italy, Italy, Italy, early 19th century, 1757 1839 1852 century. 1796 1859 1856 1794–1797 1846 marble marble marble marble marble marble marble marble marble marble

Emil Wolf Nereid Germany, 1843 marble

71 72 Mikhail Tsekhanovsky(1889–1965) Mikhail e l t i t e l t i t e l t i t e l t i t t h g i n t a e t a L . m o o r g n i v i L . a k i o M e h t n o t a l f s ’ y k s v o n a h k e Ts — . t n I . 6 2 9 1 , d a r g n i n e L . 1 cartoon titled‘ThePostOffice’(1929),basedonhisownillustrationstothebookbyS.Marshak. ¶ 1928. in Lenfilm) — (later Leningrad of Works Film Sovkino Joined Zhitkov.¶ Boris and Marshak for youths and the to assistant an as Worked ¶ tecture. 4 3 2 1 y a D . y h p a r g o t a m e n i c f o e g e l l o c l a c i n h c e t c i l b u p e h t t a o i d u t s n o o t r a c d e t a m i n A - . t n I . 3 g n i n r o M . m o o r g n i v i L . t a l f s ’ y k s v o n a h k e Ts — . t n I . 2 Alexander Bushkin(1896–1929)—filmdirector, animationartist,createdinlays animatedcartoon for thefilmsof D. Vertov. Dziga Vertov Three Songs About Lenin (1934),andothers. ThreeSongs About Cinematography, directed Interplanetary Soviet animated cartoons. Revolution, oneofthefirst Nikolai (1892–1979)—filmdirector, Khodataev artist, animatedcartoon studioatthefounded thefirst animatedcartoon National of School Technical of Cinematography, headofalaboratory for directors. animatedcartoon Ivan vanov-Vano director, (1900–1987)—animatedcartoon people’s Union, artistoftheSoviet founder oftheArtDepartmentatNational Institute aduga publishers and Lengiza children’s editorial office from 1926 onwards. ¶ onwards. 1926 from office editorial children’s Lengiza and publishers Raduga

(1896–1954) —filmdirector, directed suchfilmsasTheBattleof Tsaritsin (1920), Manwiththe MovieCamera (1929), rtist, animation artist. Studied at the Imperial the at Studied artist. animation Artist, missary on Emissary rts in Belarus, head of head Belarus, in Arts seen fromInterplanetaryRevolution—ourownfilminthe“flatpaperdummy”technique… Soviet T newsreels aresomethingthathasneverbeendonebeforeintheUnion.Ofparticular noteisthefilm experimental workofourcolleaguesVertov Close-up. Thepresenteristryingtooutshouthisaudience.•Weareallfamiliarwiththe animated film-making. A lotofpeopleintheroom,makinglotsnoise.Few arelisteningtothepresenter, whoisdiscussing General shot.Asmokybasementwithnowindows,lightedbyasinglebulbhangingfromthe ceiling. is thefuture!Hisinterlocutorflailinghisarms. Medium shot.Amanarguingheatedlywithanother. •Actedfilmsarealllies! nimation The whiteofthepageisidenticaltodesertedsnow-whiteMoikaembankment. Close-up. Adrawnyard-keeperinTsekhanovsky’s notebook.Theirfiguresandmotionsareidentical. Medium shot.Therealyard-keeperoutside,drowsilyscrapingtheice. so that when you leaf through really fast, the drawing starts moving, comes “alive”). He flips through it. (like a kid’s notebook where there is the same drawing on every page with a slight change of movements, standing up from his chair, he reaches up and grabs a book from a shelf. This is one of his “movie books” Tsekhanovsky sullenly watches the yard-keeper's mechanical sweeping motions below. He grins. Without Down below, theyard-keeperisatinyfigureinsnow. from theCrossbyMichelangelonexttodoor. ThetwowindowsoverlooktheMoika. walls are:DrinkersbyVelasquez abovethesofa,TheGiacondabyrevolvingbookcase,andDescent On theshelfbydeskarebooksillustratedTsekhanovsky. Thecopiesofpaintingsonthe stands ononeofthebookcases.Therearerollsprintpaperinastacknexttootherone. in themorninglight.Arevolvingbookcase.Thesculptureofafemaletorso—byTsekhanovsky — stares atit.Hepicksuphiscigarettesandlightsoneup.Theobjectsintheroomarenowmorevisible He walkstohisdesk.Acopyofaself-portrait byRembrandthangsabovethedesk.Tsekhanovsky • Thatdreamagain.I’msosickofthem.Tsekhanovsky looksattheclock.It’sfiveinmorning. Tsekhanovsky openshiseyesabruptlyandsitsuponthesofa.Helooksaround. face withhishandsinanguish. about toopenyetanotherdoor, hisarmswon’tmove.Hiskneesarebending.Tsekhanovsky covershis runs tothenextdoor, opensit,andkeepsrunningacrossdarkmuseumrooms.Finally, whenheis whoever isafterhimhotonhistracks.Ahallwaytakestoavacantmuseumroom.Tsekhanovsky with roomsandhallwaysleadingtomorerooms,hallways.Tsekhanovsky isbeingfollowedand to thenextroom.Hekeepsrunningandflat,asitusuallyhappensinnightmares,seemsendless • “Misha,what’swrong?”Tsekhanovsky wantstoanswer, butcannotmovehistongue.Herushes hallway. His first wife is standing there with their child in her arms. She looks at him with amazement. Close-up. Tsekhanovsky’s blood-covered hands. Tsekhanovsky feverishly paces the room, runs out into the struggles, buteventuallygrowsquiet. a randomobject,Tsekhanovsky hitstheshadowonhead.Heagainandagain.The towards hiswritingdesk,fromwhichbooks,rollsofpaperandasmallsculpturefalldown.Grabbing away fromhisneck,butthehandcrawlsback.Tsekhanovsky jumpsupandpushestheshadowaway, neck andbeginstostranglehim.Terrified, Tsekhanovsky openshiseyes,grabsthehandandtearsit Close-up. Theshadow, whichisnowidentifiableasahumanhand,slowlyapproachesTsekhanovsky’s heading towardsthesofa. One oftheshadowssurreptitiouslydetachesitselffromwallandbeginstocrawlalongcarpet, curtains. Thefurnitureandsomeotherbarelyvisibleobjectsintheroomarecastingslantedshadows. Tsekhanovsky isasleeponthesofabywall.Thewindowhalf-open. Thewindisrustlingthe oys theycreatedtwoyearsagousingthetechniqueof“cutoutanimation.”However, ascanbe Red rmy University in Smolensk. ¶ Provided illustrations to books for children for books to illustrations Provided ¶ Smolensk. in University Army cademy of Academy esigned over two dozen editions, including books by Samuil by books including editions, dozen two over Designed 1 andBushkin rts and Moscow School of Painting, Sculpture and Sculpture Painting, of School Moscow and Arts he first film made by made film first The 2 —theiranimatedinsertsinKinopravda T sekhanovsky as a director was a was director a as sekhanovsky

Archi-

h e r m i tage � №1–2 (17), 2011

5th section A LIFE’S WORK 8 7 6 5 g n i n e v E . d a r g n i n e L f o s t e e r t s d e r e v o c - w o n S — . t x E . 5 g n i n e v e t a h t r e t a L e l t i . t d a r g n i n e L f o s t e e r t S — . t x E . 6 e l t i t e l t i t e l t i t e l t i t e l t i t e l t i t e l t i t e l t i t y a D . a i r e t e f a c e g e l l o C — . t n I . 4 e l t i t e l t i t e l t i t e l t i t e l t i t where shemetTsekhanovsky. When Tsekhanovsky divorced hisfirst wife A.V. Kitaeva, hemarried Vera Shengelidze. Vera classunderV.P. Shengelidze(1902–1977) attended ananimated cartoon Vishnevsky, acameraman, thefather ofawell-knownwriter, inthemid-1920s, full-feature, three-dimensional—ascreen animatedcartoon version ofReinekeFox, (entitled byGoethe thelong poem The a Novel About Fox). Vladislav Starevich (1882–1965)—filmdirector, cameraman, filminRussia;he artist,filmandanimatedcartoon pioneerofanimated cartoon directedtheworld’s first Valentina Brumberg (1899–1975) andZinaidaBrumberg (1900–1968)(sisters) —filmdirectors andanimationartistswhousuallyworkedtogether. (The Adventures ofBratishkin). Yury Merkulov (1901–1979)—filmdirector, artdirector, animator;heiscredited withoneofthefirst attemptsto create aserialfilmcharacter Vera highly recommendedtoattend.Histechniqueofthree-dimensionalpuppetanimationnowseems… week atthefilmgroupofCentralHouseArts.llthosewhohavenotpreviouslyseenthemare • AsforthepioneerofRussiancartoonanimation,VladislavStarevich Some ofthewould-begreatcartoonistsareinaudience:Ivanov-Vano negligence, Iwastetimescrabblingaroundfortwoorthreerubles.Wastingprecious time… He willhavetowalktherestofwayhome.•Thisisdumb.Becausemyown Close-up. Tsekhanovsky’s handfeelstheone-kopeckpieceinhispocket.Thisis not enoughforafare. out autumn coat, the one he bought in 1917, is not very warm. HeTsekhanovsky looks wistfully is at walking a tramcar home. rolling He’s freezing.by. He breathes into his cupped palms to warm them up. His worn- Vera disappearsbehindherfrontdoor. By thelookontheirfaces,it’snotlikelythathe’llstayfreemuchlonger. • It’sdone.I’mafreemannow! • Vera: “How’sitgoingwiththedivorce?”Tsekhanovsky smiles. prelude tomyworkinfilm.”TheyarenowoutsideVera’s house.Theyareabouttopart. to me,Vera, thatallI’vedonebefore—the“moviebooks,”“dynamicpictures”…wasmerelya In cartoonanimation,youcancreateyourownnovels,dramas,comediesorevensymphonies!Itseems •T naked treesandwhitesnow—thewintrycityaroundevokegraphicart. bor.” Very generalshot.Two tinyfigures,Tsekhanovsky andVera, walkingthroughthepark.Theview— successful film,everyonewillknowrightaway, everyonefromLunacharskytoyournextdoorneigh- • T City lifegoeson,buttheywalkrightthroughit,takingnonotice. They arewalkingalongacanal.walkpastfactory. Workersareleavingthroughthefactorygate. pretty muchboilsdowntothefactthatafilmcamerashootsatspeedof16framespersecond.” snow. •T him sofiredup.SometimesTsekhanovsky stopsinhistrackstosketchashotmontageideathe Tsekhanovsky iswalkingVera home.Asthey walk,hetalks.Vera nodsapprovingly, she’shappytosee listening. Tsekhanovsky demonstratesstagesofmotion,bendinghisarmattheelbow. Thebaristaisnowalso my drawings.Thenyoujustlayoutthemotionstagesinfrontofcameraandshootthem! • Flatdummytechnique!Hingejoints!Shouldn’tbehardtomakepaperfigureswithhingejointsfrom Tsekhanovsky istalkingwithsuchgustothatthecoupleatothertablenowlistening,too. without remorse. ence. I’mnotakidanymore.Children’sbookartisgoingnowhere.Itshouldbeswappedforfilmwork • Illustrationisboring.Bookarttorture.It’sbeentwoandahalfyearsofhumiliationdepend Tsekhanovsky talks.Vera listens. • Film-makingmaypavethewaytotop! At thetable,Tsekhanovsky tellsVera enthusiasticallyaboutcartoonfilms. Close-up. OnekopeckisallTsekhanovsky hasgotleft.Hewinces. Tsekhanovsky nodsVera totakeaseat.Walksthebar. Hehasjustenoughcashfortwocupsoftea. It’s morequiethere.Acoupleissittingatoneofthetables.baristastandsbar. and morecheerful. Tsekhanovsky looksather. Wheneverheseesher, hisface,usuallyquiteintent,growsnoticeablysofter • That’snottrue.She’sjustjealous. Close-up. Vera smiles. • Iranintomyex-wifetoday. ShetoldmeIdon’tlooksogood. They walkoutintothehallway. Tsekhanovsky takesVera’s hand. • It’sOK.allthesamehere.Let’sgohavesometea! Tsekhanovsky shrugs. across therowsofseats,toucheshershoulder. Vera smiles.• •I’msorry, I’mlate. the Brumberg sekhanovsky: “I mustfindmygenre.It’snotkids’artorcaricature,it’sgottobesomethingserious. sekhanovsky: “Incartoonanimation,almosteveryoneisabeginneratthispoint.Andifyoumake 8 enterstheroom.Shelooksaround,lookingforTsekhanovsky. Heseeher, makeshiswayback 6 sisters.Tsekhanovsky isalsohere.Thepresentercontinues. sekhanovsky: “IknowIdon’thavemuchexperience.Allaboutfilm-making 7 , hisfilmswillbeplayingthis 3 , Khodataev 4 , Merkulov 5 , and - → 73 74 11 10 9 y a D . a k i o M e h t n o t a l f s ’ y k s v o n a h k e Ts . d a r g n i n e L — . t n I . 7 e l t i t y a D . e c n a r t n E e l . t m i u t e s e u l m t i e t g a t i m r e H . t n I . 9 e l t i t e l t i t y a D . m u e s u m e g a t i m r e H — . t n I . 8 e l t i t e l t i t e l t i t e l t i t e l t i t e l t i t e l t i t e l t i t graphic works. (1891–1967)—graphicVladimir Lebedev artistandpainter, people’s artistoftheRussianFederation, wasastrong style influence on Tsekhanovsky’s paintingsand Lev Pumpiansky(1889–1943)—artcritic,DeanoftheDepartmentArt History attheNational AcademyoftheArts,afriendTsekhanovsky’s years. sinceschool Adrian Piotrovsky (1898–1938)—translator, theatercritic,screenwriter, artdirector atLenfilmin1928–1937. • I’msickofitall.I’vehadenough. Pumpiansky andTsekhanovsky recedeastheywalkalongtheembankment. Schwartz… WillIeverbeindependentfromthesebastards?I’mboredanddisgusted. • ThisthingwithPostOfficehasbeendraggingonfortwomonths…Zhitkov, Marshak,Lebedev • Pumpiansky:“HowisPostOfficecomingalong?Gotthatcontract?” Tsekhanovsky isleavingthemuseum.HerunsintoPumpiansky Tsekhanovsky strollsmelancholicallyacrossthemuseumrooms. artist, somethingthatforcesitswayoutofhissystemlikeascreamcannot besuppressed. me. Likeworksofliteratureormusic,whicharemoreobviouslyso,apainting isaconfessionofthe like I’mseeingthemforthefirsttime.Thisishard.ButwhatI’veseentodayhashadarealimpacton • NowI’mnearly40,andtryingtopurifymyselfseethesemasterpieces astheyreallyare.It’s moving totheright). (if theyarealllookingtotheleftormovingtowardssomethingoff-screen ontheleft,heshouldbe past theexcursiongroup.Hismovementshouldbejuxtaposedagainsttheir gather infrontofaRembrandtpainting,tellsthemaboutthepainting.Tsekhanovsky walkspensively from badforsure.Someteenagerswalkin,scatteraroundtheroom.Thetourguidetellsthemallto to externalinfluences,thatI’veneverhadanindividualtasteandIknewgoodart • Ihavealwayssuspectedthat,inmyperceptionofart,sinceearlyyearsbeensusceptible depressed. General shot.Tsekhanovsky iswalkingaroundtheHermitage,lookingatpaintings.Hefeels Close-up. Tsekhanovsky’s face. Medium shot.Detail.Abraham’sSacrificebyRembrandt. Medium shot,butlarger. Tsekhanovsky islookingintentlyatthepainting. Medium shot.ThepaintingPietabyVeronese. painting. Medium shot.Alife-sizecontinuousshotofTsekhanovsky, whoisstanding,motionless,infrontofthe Medium shot.ThepaintingSt.SebastianbyTitian. (The nextshotisperfectlystaticincontrastwiththeideaofmotion). objects. Motionistheessenceofcinematography. Thisisgoingtobetheultimatefilm!!! versatile motion—theprogressofaletter, atrain,steamship,themotionoftunnelsandother • Thiscouldbesuchagreatfilm!SuchIcanseeit!Itsideaispure,incessant, grabbing aspoon,helightsupcigarette.Thenjumpsandpacesthekitchen. career ofafilmdirector…Vera poursthesoup.Tsekhanovsky sitsdown atthetable,butinsteadof at 200to300rublesamonth!Butthemoneyisn’tevenpointhere.It’scareerprospect!The • Vera, thecontractisalreadyinworks.IfSovkinogivesitsgo-ahead…that’sasix-month Vera reassureshim.Tsekhanovsky cheersupagain. • “Thatjerk…He’sbeenstallingforaweeknow. T • Vera: “WhataboutMarshak?Ishein?”Tsekhanovsky stops. Tsekhanovsky isabouttoburstintoadancearoundthekitchen. a greatcartoonfilmwiththose…” • Vera: “Whatdidhesay?”T Vera’s face.She’sgladtohearthesetidings,wantsknowmore. • I’veseenPiotrovsky Tsekhanovsky runsin,besidehimselfwithjoy, grabsandhugsVera. Vera isinthekitchencookingdinner:cabbagesoupwithgiblets,androastduck. • 1928. General shot.Tsekhanovsky recedingspeedilydowntheMoikaembankment. He’s almostrunningnow. Asuccessionofclose-ups. into day-to-dayservitude. all. Then,andonlythenwillIgetsomewhere.accomplisheverythingeventually. OrIwillrelapse • Gottowork!Needdiscipline!Innerchecksonlittlethings,that’swhatIneedmostof keep warmandtogethomesoonerresumehiswork.Hetalkshimselfinsyncwithstrides. He walkshomeacrosstown.startstogetangry. Tsekhanovsky walkson,acceleratinghispace.To 9 . GavehimmysketchesforPostOffice. sekhanovsky: “Hegavethemaravereview. Hesaidwecouldmake oo badIneverlearnedhowtokissass.” 10 . Theysayhello. Tsekhanovsky waveshimoff. 11 ,

h e r m i tage � №1–2 (17), 2011

5* A LIFE’S WORK 12 g n i n e e l v t E i t . t e e r t S — . t x E . 2 1 e l t i t e l t i t e l t i t t r e s n i n o o t r a c d e t a m i n A . А 1 y 1 a D . 4 y a M . g n i t o o h s t s r i F . y r o t c a F — . t n I . 1 1 l i r p A n i y a d A . m o o r g n i v i L . t a l f s ’ y k s v o n a h k e Ts — . t n I . 0 1 at the Higher School ofArts at theAcademyofArts. at theHigher School Yan Tsionglinsky (1858–1913) —RussianartistofPolish extraction, oneofthefounders oftheMir Iskusstva artgroup,airpainting class instructedtheopen INT EXT instead. his work.SuddenlyTsekhanovsky looksupatthesculpture,andseesashapelesssackofpotatoes INT EXT little bylittle,thepraisepetersout. INT at thetrunk,dayafterday, nightafternight. M EXT A E R D S ’ Y K S V O Parallel montage. N A H K E S T Tsekhanovsky issleepingonthesofa.He’stossinginhissleep. is goingtoend,whatmyfirstfilm tobelike. • Notaccustomedtothelanguageoffilm.Likeakittenintree….ButI’llcrack it.Iwonderhowthis Tsekhanovsky isreturningfromthefactorylatethatevening. Close-up. Thedrawnboyslowlybeginstomove. unsure ofhimself. drawn boywithhingejoints.Tsekhanovsky wantstosaysomething,but restrainshimself. He’sshyand professionals, butheisnot.Andtheyallknowit;knowsit,too.Theyareshooting themotionsofa Tsekhanovsky smilesatthem.Hissmilebetraysinsecurityorfear. Itisobviousthat theothersare Tsekhanovsky isatthefactory, surroundedbycartoonists. intermingled withcartoonframesfromPostOffice. tive processoftheanimatedcartoonfilmPostOffice.Shotsfactory, theflatandstreetsare The nextsuccessionisshotatanacceleratingpacetoconveytheintensityofhisworkandcrea Now I’mgoingtomakeitorbreak—it’sallupme! smile onhisface.•ThePostOfficedealissealed—for5months!It’smydreamcometrue! After hangingup,hekeepsstaringatthewallforawhile,thenbangshisfistondesk.Thereis self-assurance, resolveandquickness—return.Evenahintofrageisdiscernible. Close-up. Tsekhanovsky’s facialexpressionchangesashelistens.Allofhisusualqualities— eyes. Thephonerings.Tsekhanovsky picksupthephonewithoutlooking. a crowdofpeoplebooinghimandchanting:“Me-di-o-cri-ty!”Horrified,heopenshis Tsekhanovsky scowlsathimselfinthemirror. Heshutshiseyesmomentarily, andimmediatelyvisualizes sofa. Hetrudgestowardshisdeskslowly, likeanoldman.•IfIfailnow, Ifailcompletely. M A E Tsekhanovsky awakesinhorror. R Itisnotthefirsttimehehashadthisdream.Tired,getsupfrom D E H T F O D N E still greenleaveswiththeblueskyandsunabove,butinside,trunkiscompletelyeroded. EXT “Me-di-o-cri-ty!” bearing thesameposters.Theyareshakingtheirpostersoverhishead.visiblychanting: ever harder, buttherearemoreandofthemaround.Nowthewholeroomisfilledwithpeople around him,bearingposterswith“Mediocrity!”writtenonthem.Hetriesnottolookatthem,working INT nothing ofanyvaluewhatsoever. • Youhavenotcreatedasingleentirelycompleteworkinyourlife,eventrifle. Close-up. Tsekhanovsky wincesinhissleep,asfrompain. INT himself. Tsekhanovsky workshard,buthe’slosinghisdrive. . —Tsekhanovsky isattheAcademyofArts.He’s25.HecommendedbyYanTsionglinsky . —Tsekhanovsky isinParis.He’s20.astudio,workingonsculpture.Histeacherpraises . —Tsekhanovsky seeshimselfasaschoolboy. Theteachersencouragehim,praisehiswork,but . —Studio.Tsekhanovsky is30.He’ssittingatthedesk,drawing.Suddenlypeopleappearall . —Tsekhanovsky’s flat . —Thewormisgnawingthetreefrominside. . —Thewormcontinuestoeattheoakfrominside. . —Ahugeoakabuzzwithlife:birdsflitting,bugscrawling…Butinsidetheoak,awormisgnawing . —Thewormhasdestroyedalmosttheentiremiddleoftreein10years.Attop,thereare 12

- → 75 76 e l t i t e l t i t e l t i t e l t i t e l t i t e l t i t e l t i t t h g i N . t a l f s ’ y k s v o n a h k e Ts — . t n I . 6 1 y a D . t n e e m l k t n i a t b m e a k i o M — . t x E . 5 1 t a l f e l s t ’ i y t k s v o n a h k e Ts — . t n I . 4 1 y a D . y r o t c a F — . t n I . 3 1 . 4 2 . 3 2 . 2 2 . 1 2 . 0 2 t r e s n i n o o t r a c d e t a m i g n n A i n . e А v 9 E 1 . m o o r g n i v i L . t a l f s ’ y k s v g o n n i a n h e k v e E Ts . — n e . h t c n t I i K . 9 . 1 t a l f s ’ y k s v o n a h k e Ts — . t n I . 8 1 y a D . y r o t c a F — t r . e t s n n I i . n 7 o 1 o t r a c d e t a m i n A . А 6 1 Tsekhanovsky smiles.Butthenhissmileslowlyfadesaway. • underneath thetrees.It’sanidyllicscene.Lookingatchildren,buddingfoliage,palebluesky, the parkacrossriver. Theleavesarejustcomingout,theytinyandsticky. Somekidsareplaying stops, asifstruckbyanewperspectiveonthethingsaroundhim.Hestands,lookingatpalaceand Tsekhanovsky iswalkinghisdogDougalongtheMoikaRiver. He’sdeepinhisthoughts.Suddenlyhe down. Drasticallyandmercilessly!” or fourmetersadaytodrawandshootsingleframe!Balderdash!Thisisnotpossible.I’vegotcut • “HowmanyshotsadaydoIneedtoforthefilmbefinishedontime?Apparently, ittakesthree desk, onthefloorandsofa.Hestopsdrawingstartswritinginhisnotebook. Tsekhanovsky isathome,drawingfeverishly. Hundredsofsketchesarescatteredeverywhere—onhis lunch. Tsekhanovsky stays. Tsekhanovsky isworkingatthefactory. Heisbentoversomemachine.Thecartoonistsaregoingto to re-shoot.Hewinces, toucheshisleftside.Hisheartaches. Tsekhanovsky isshootinginsidethefactory, viewinghisfootage onascreen,cursing,tellinghiscrew • Tsekhanovsky isridingatramcar earlyinthemorning,drawingonwindowglass. will revolutionizecinematography. • Tsekhanovsky isathome,drawing.Hisclockshows3AM. • Tsekhanovsky isridingatramcarlateintheevening,lookingthroughhis sketches. • Tsekhanovsky workingatthefactory. From thispointon,thecutsaccelerateevenmore. • A caterpillar, crawling. sits downonit.Helayshisheaddesk. Tsekhanovsky knocksthechairoverwithhisfootinafitofrage.Thenhepicksitupandputsback, 40 yearsandnothingtoshowforit!Thenanyfurtherproofwillberedundant. shame Icanneverwashoff. Andiffailureispossible,thenonlyasaresultoflazinessornegligence. Tsekhanovsky nervouslypacestheroom,smoking.• He shutsthedoorlightlybehindhim.Vera putsthedishesaway. Without finishinghismeal,Tsekhanovsky standsup,thanksVera andretirestothelivingroomwork. • Allourfootagesofarisoflittlevalue,andsomeitprettybad.Thisnotthewaytogo. She sitsdownacrossfromhim,staresathim.Tsekhanovsky neverlooksupfromhisplate. Tsekhanovsky iseatinginsilence.Seeingthathesucharottenmood,Vera fussesabouthim. trying toprovehispoint. Tsekhanovsky isflailinghisarms,yellingatthepeoplearound,fightingwithcartoonists, A poodlediggingaholeintheroom. It’s well past midnight. Medium shot. Moika embankment.Heisinahurrytogethomeandwork.Dougstrugglingcatchup. to thespotwhereTsekhanovsky stoodbefore.Heisfarawaynow, striding,almostrunningdownthe less talkingaboutfilm,endinginfailure.No,thismustnotbe!” “If Ifailinthisdirectingjob,I’mdonefor. 40yearsold—andnothingtoshowforit!T It isn’ttoolateyet. There isstillachanceofmakinggreat film. I mustproduceonly framesthataremasterpieces,only I mustworkharderthanI’veeverworkedbefore. Minimize thedream—tofivehours. Three monthstogo.Whatcanbedoneinthistime?Icannotaffordwasteanother hour! Tsekhanovsky is drawing desperately, with complete abandon. He is chain-smoking. • Failure inthisworkwillleavea stainof • A panfromtheidyllicscenewithchildren T sekhanovsky’s thoughts: wo yearsofend-

h e r m i tage � №1–2 (17), 2011

5* A LIFE’S WORK . 9 2 9 1 h c r a M 0 2 . y a D . e c i f f O t s o P f o g n i n e e r c s e h T . r e t a e h t m l i F . s t r a f o e s u o h l a r t n e C — . t n I . 0 3 e l t i t e l t i t e l t i t e l t i t e l t i t e l t i t e l t i t e l t i t e l t i t e l t i t e l t i t e l t i t y a D . y l u J . a h c a D — . t n I . 7 2 e l t i t e l t i t y a D . m o o r A . m u e s u m e g a t i m r e H — . t n I . 9 2 r e t a e h t m l i F — . t n I . 8 2 t r e s n i n o o t r a c d e t a m i n A . А 6 2 . 6 2 . 5 2 5.5 months. days, then I will need 400 days, or 13 months. If I allow two days per shot, then I’ll need 160 days, or notebook. • Tsekhanovsky is gnawing at his pencil, then writes down a rather complex mathematical problem in his mechanically with a spoon, keeps looking out the window. • his sketchbook, removes it, places a cup of tea on the table in front of him. Tsekhanovsky stirs his tea which form the word “shame”. Vera approaches, looks at his sketch over his shoulder. She gently shuts Tsekhanovsky is sitting at the table in a soporific state. By force of habit, he copies the drops of rain down the window glass. Slowly, slowly the drops of rain form the word “shame” on the glass. Tsekhanovsky is sitting at the table, watching the rain outside the window. The drops are slowly trickling Having reached a maximum velocity, the cut change stops. This is a tranquil, static continuous shot. A moving tunnel, moving ever faster, moving as if it’s sucking the viewer in. the ashtray from the table, throws a blanket over him. Tsekhanovsky is sleeping at his desk in the morning, amid scattered sketches. Vera approaches, removes • T his eyes — can’t see so well. He covers his face with his hands. Tsekhanovsky has been working nights. He looks disheveled, exhausted. He hasn’t slept in days. He rubs • Inworkasinabattle.Nootherwaytodothis. • solution! booed. Heflees,burningwithshame.• at theblankscreenforsometime,thenbeginstowhistle,stompitsfeetandyell.Tsekhanovsky gets Then thescreenremainsblank.Nothinghappens.Notasingleframeappears.Theaudiencestares Finally, everyoneisseated.Thelightsgoout.title—PostOfficecomesonscreen. find theirseats.SomefriendsshakeTsekhanovsky’s hand,pathimontheshoulder, wishhimsuccess. The premierescreeningofPostOfficeistoday. Thisisalargetheater. Viewerstakealongtimeto truly great to be noticed. If it’s just “good,” my worth is nil. • • Tsekhanovsky’s face. • where? Thewatchman’sface.Heisstaringpensivelyoutthewindow. I’m losingthegistofmoment.notmakingit,thoughrunningasfast asIcan.Running Tsekhanovsky, sleeping.Asilentconversation.Tsekhanovsky’s face.• A successionofclose-ups.Thewatchman’swise,thoughtfuleyes,thentheclosedeyes The roomisveryquiet,tranquil.Therearespotsofsunlightonthefloor. wake himup,butchangeshismind,sitsbackdowninchairandstaresoutthewindow. • I’m sotired…Inalittlewhile,thewatchmanopenshiseyes,looksatTsekhanovsky, triestoriseand is no one else in the room. Tsekhanovsky sits down on another chair by the wall and shuts his eyes. General shot.Tsekhanovsky is staring at the sleeping watchman, mesmerized. He is clearly jealous. There softly. He appearstohavebeensleepingforalongtime. A continuouswideshot.Anelderlywatchmanonachairinthecornerofroom,sleeping,snoring He finagledoneextension,thenanother. Hefinallymanagestofinishthefilmbyspring. • Lebedev: “Youareagreatdirector!” • Piotrovsky: “ThisisafilmofEuropeanmagnitude! Congratulations!” Among themarePiotrovsky, Lebedev, RoomandKozintsev. Theyhughimandpatontheshoulder. When Tsekhanovsky climbsback down, heisapproachedbymanypeople,friendsandstrangers. A montageofclose-upsclappingpeople. Lotsofpeople.Anuproarapplause. the screen,bowing.Heishappy. Office hasjustended.Itwasagreatsuccess. Tsekhanovsky walksontothestageandstandsinfrontof Montage. Hundredsofpeoplejumpintheirchairs, clapping.Everyoneissmiling.ThescreeningofPost • After awhile,anothermuseumemployeecomesby, seesthissceneandclapshishands. General shot.Anemptyroomwithtwopeoplesleepingpeacefullyintheirchairs. The watchmancloseshiseyes.Botharedrowsingnow. Amouse scampersquietlyby.

But Ichange,reallydo.That’stheimportantthing.Thewatchman’sface. People don’trunaroundhere.Eventimeseemstostandstill. Nothing everchanges. Hey, wakeup!Tsekhanovsky andthewatchmanjumpup,startled. D T ake abreak,takegoodlookaround,closer. Ithelpssometimestostopandsmellthe roses… oo late to go back now. espite the time pressure, I have to sustain the excellent film quality to the end. Post Office has to be T hat’s crazy…” • “I have 80 more shots to do before the picture is complete. If I do one shot in five T wo days per shot! What’s the solution? Where’s the solution? Tsekhanovsky looks out the window, tired. His heart aches. • All thedeadlineshavepassedonPostOffice. • 39 days to first screening. A t 40, shame is a reward I well deserve. • I’msoedgy, sonervous. T wo shots per day, is the → 77 78 78 14 13 e l t i t e l t i t e l t i t e l t i t e l t i t e l t i t e l t i t e l t i t e l t i t e l t i t e l t i t e l t i t t h g i N . t n e m k n a b m e a k i o M — . t x E . 1 3 e l t i t e l t i t e l t i t e l t i t e l t i t e l t i t y a D . e g a t i m r e H — . t n i d n A . t x E . 4 3 y a D . e r a u q s e c a l a P — . t x E . 3 3 y a D . y a M . y n o c l a b o n i k v o S — . t x E . 2 3  directed suchfilmsas Ferris Wheel(1926), NewBabylon (1929), Maxim’s Youth(1934),andothers. Grigory Kozintsev(1905–1973) —filmdirector, creator ofthe drama studio,“Eccentric ActingStudio”(FECS),whichwasin1924 transformed into“FECS Film Lab”; The Horde (1944), Pomegranate Bracelet (1964),andothers. Abram (1894–1976)—filmdirector, Room people’s artistofthe Russian Federation, directed suchfilmsasDeath (1926),Prim Harbor Young Man(1936), T at Sovkino.AfteryourPostOfficehasprovedsuchasuccess,Idon’tthinktheycanturnyoudown. Tsekhanovsky’s elbow. • Tsekhanovsky nods.Viewersaremillingabout.Piotrovskymakeshiswaythroughthecrowd,grabs • success untiltheveryend.Inhallway, Vera approacheshim.Shehugshimandwhispersinhisear. Tsekhanovsky bashfullyacceptstheencouragements.Itlookslikehewasnotentirelyconvincedofhis • Kozintsev: “Amazingshow!Greatwork!” • building. HeshakeshisfistattheHermitage.• from wheretheHermitageisinplainview. Tsekhanovsky stops.Histinyfigurepointsatthehumungous grimy lookingsnow-banks.Theyallseemtobehavingfun.walkacrossthePevcheskyBridge, slipping ontheiceandfallinganyway, thenjumpsbackupandtriestodoawaltzwithheramidthe four areshouting,singing,gesticulatingemphatically. Vera issupportingTsekhanovsky, buthekeeps falling down.It’sTsekhanovsky. Everyoneisalittledrunk,butheseemsmoresothantheothers.The Pumpiansky andhiswife,recedinginthedirectionofTsekhanovsky’s house.Oneofthefigureskeeps General shot(alongfromabove).TinyfiguresofTsekhanovsky, Vera andtheirclosestfriends, ment. It’sprettylate—mostpeoplehavelongbeenasleep. It isdark.Therestillsomesnowontheground.iceandgrimysnow-banksembank dumbstruck. Peoplekeephuggingandcongratulatinghim. • “Hermitage” Piotrovskysmilesslylyanddisappearsinthecrowd.Tsekhanovsky staresafterhim, Piotrovsky: “Very.” T • INT • I haven’treallystartedworkingonityet. EXT the greatestfilmever! • Sometimes Igetthiseeriefeelingofimpendingfailure… andsometimesIfeelthatI’mgoingtomake EXT A montageofcuts. • “Hermitage” willbedefinitiveformycreativeworth. Tsekhanovsky stopsandlooksup,staringrightattheHermitagewindow withthecamera. really matter. Notanelephant,butamouse. wanted? DidIwanttobepraised,“famous”?Allthispraise…itonlysoundsimportant,doesn’t • A shotfromaHermitagewindow. Tsekhanovsky isatinyfigurewalkingincirclesaroundPalaceSquare. • Have youheardabouthisnewproject?Hethinkshecantacklethat! Tsekhanovsky thanksthemsomewhatlimply, tryingtoleaveassoonhecan.Theystareafterhim. • I’ve heardsomuchaboutyourfilm! • • I’ve seenyourPostOffice.It’sgreat! the hallwaycallouttohim,sayhello,pathimonshoulder. They saygoodbye.Tsekhanovsky walksdownthestairs.Thepeoplepassinghimbyonstairsandin involved. ButIbelieveinyou.” still alotofworktobedonethere.Itrustthatyourealizethescaleprojectandchallenges • Piotrovsky: “Thetalkson“Hermitage”arenowunderway. Ilikedyourscreenplaydrafts,butthere’s Tsekhanovsky nodsapprovingly. Piotrovskygiveshissketchportfoliobacktohim. plause. Yourdaysofgloryhavebegun.MillionsarenowgoingtoseeyourpictureacrosstheUnion.” • Piotrovsky: “YourPostOfficewasshowninMoscowafewdaysago.Bigsuccess!Thunderousap Piotrovsky isstandingnexttohim. Tsekhanovsky isrelishingthewarmsun,staringintofoliageoftreegrowingnexttobalcony. tor fartherdowntheembankmenttowardshishouse. The groupseggshimon.othersgrabTsekhanovsky byhiselbowsandwalkthedrunkenfilmdirec ake aweekoff, thenwe’lltalk.Tsekhanovsky smiles.• Are youhappynow?You’vegotwhatwanted… Room: “Nothinglikethishaseverbeendoneincinematography!YourPostOfficeisabreakthrough!” The challengeiscolossal.hismaterialnotcinematic,atall… Everyone seemstolikePostOffice,theyareravingaboutit,amazed. ButisthiswhatI Congratulations! . —EmptyhallsoftheHermitage. . —Stairway. TheHermitageentranceontheNevaside. . —aslowpanofHermitagewindows. sekhanovsky: “What’sthetitle?”Piotrovskyleansforwardtowhisperinhisear. • I wanttoletyouinonasecret.Thereisaninteresting projectnow • • There itis…mynewnuttocrack! T sekhanovsky: “Aseriousproject?” - - -

h e r m i tage � №1–2 (17), 2011

5* A LIFE’S WORK e l t i t e l t i t e l t i t e l t i t e l t i t e l t i t e l t i t e l t i t e l t i t e l t i t e l t i t e l t i t e l t i t e l t i t sekhanovsky’s flat. Late night h g i n e t a L . t a l f s ’ y k s v o n a h k e Ts — . t n I . 7 3 m u e s u m e g a t i m r g e n H i n — e v . E t n . I t a . l 6 f 3 s ’ y k s v o n a h k e Ts — . t n I . 5 3 answers. Hiswifeistryingtogettheirsonbehave.• Tsekhanovsky approachesthepeasantman,triestostrikeupaconversation.Thereluctantly tour guide.Meanwhile,theireight-year-oldsonistryingtoseehowfarhecanslideontheparquetfloor. a littleconfused.Theyhuddlebythewallstoletthroughgroupofurbanresidentsledstentorian retirees onanexcursion.Anelderlycouple.Inoneoftherooms,henoticesapeasantfamily. Theyare and sketchesthestudentsinhissketchbook.Hewalksaroundroomsobservingvisitors.Bored He looksovertheshouldersofsomestudentswhoarecopyingfamouspaintings.Thenhewalksoff Tsekhanovsky walksaround,staringatpaintings,makingsketches. are hundredsofsketches.Crumpledpapersonthefloor. Tsekhanovsky isworkingonhisscreenplay. His deskisonceagainheapedupwithpapersandsketches,likewhenheworkedonPostOffice.There • INT feature cinematographywillopenforme. to workwithrealactors,lighting,shootingonlocation.Thisisfilm-making.hedoorfull- • If thefilmisasuccess,maybeitwillscreenabroadandmakesomeripplesthere.I’mgoingtohave smile, another, yetanother…andcuttotherecedingTsekhanovsky. INT assurance, giveyouwings,removethecauseofconstantdoubts,andpalliatemalaisevanity. • Broad, solid,well-deservedacclaimistheplacetobeinanyartgenre.Itwouldstrengthenyourself- INT • …Iwouldsavetheday, winthebattle! INT • But atleastIknowthismaterial.Andifcouldfindafewwinningcombinations… INT room, explaininghisvisionofthefilm.• Tsekhanovsky andPumpianskyareworkingonthescreenplaytogether. Tsekhanovsky ispacingthe we’re tired.It’sjusttoomuch.”Theyleave.Tsekhanovsky staresafterthemgleefully. again.” empty halls. captured by moonlight. night. • discuss thescreenplay. Brieftitlesareinterspersedwithvisionaryshotsillustratingwhatthesay. Pumpiansky iswritingthingsdown.Sometimesheagrees,andsometimesargues.Thentheyboth time freezes.It’s1917.AnewhistorybeginsfortheHermitage. comes the20thcentury:stormingofWinterPalace,footagefromfilmOctober, theclockof the fires…ataneveracceleratingpace.ButHermitagestillstands,watchinginsilence.Then tion ofAlexanderII.TheeventsfromRussianhistorywillbeshownincartooninserts:theshootings, century begins,themutinyinSenateSquare,Nicholas’ballroomparties,peasantriots,assassina this beauty.” AndthenIwanttoshowthepassageoftime:palaceguardschanginguniforms,19th empty room,atnight,scribblingwithhergoosefeather:“ThemiceandIareherealonetolookall a silent,motionlesswitnessofthetimessinceCzars.Say, CatherinetheSecondsittingaloneinan multicolored tank-tops rowing their canoes up the Winter the Hotel riding a tram, workers walking down antique bronze-plated door. the tracks. a vigilant watchman with a rifle. on the living and non-living custodians of the Hermitage: the legs of the stone from different angles. this is the point where we need a hero.” • • • Peter I,theportraitofCatherineII.The manandhiswifearetalkingtoeachother. walking aroundliketheyowntheplace. Theyexpressthemselvesingestures.stareatthebustof parquet floor. Thefamilyseemsalotmoreconfident andateasenowthanitwasinreallife.Theyare George’s Room.Thepeasantboytries to pullsomepranks,climbingPeterI’sthrone,slidingonthe the mainstaircase,thenwalksthough the pompousanddesertedhalls:ThroneRoom,1812Gallery, General shot.ThepeasantfamilyTsekhanovsky hadmetattheHermitageafewdays beforeclimbs could never have set foot inside there before. Pumpiansky: “OK, let’s say, this is the intro. But itended badly. Theymovetothenext room. The Hermitageisthedoorthatwillletmeintoworldoffilm-making. T They hadagreatlife! sekhanovsky: “Thispeasantfamilyis heretoseethekings.Weshowportraits and busts from . —AtinyTsekhanovsky standsatthefootofJordanStaircaseHermitage. . —Theportraitsonthewallsaresmilingcondescendingly. Apanoftheircondescendingsmiles.One . —Generalshot.Tsekhanovsky asatinyfigureintheThroneRoom. . —Fragment. AmontagefeaturingseveralmotifsfrompaintingsintheHermitagecollection. . -Tsekhanovsky recedesdeeperinsidetheroom,shotisfrombehind. T he shadows and silhouettes of sculptures, parts of paintings and pieces of marble naked bodies Tsekhanovsky nods eagerly. • E urope, a group of A nd the Hermitage awakes as the watchman turns the key and struggles to open the heavy, T hen the shadows come alive, fancifully leaping from one object to another, and freeze T hey finally converge at the Hermitage entrance. N ight watchmen occasionally pass amid the silent, motionless denizens of these E C xcursion groups stream towards the Hermitage from every side: school kids OMI T hen the city around awakes: house gates open, the first tramcars hit NTERN • T rade Unions Boulevard, a group of foreigners boarding their bus at • • delegates in a car speeding down Ulitsa Khalturina, athletes in • T N hen comes a phantasmagoria of the Hermitage by ow he can walk freely around the royal chambers.” T sekhanovsky: “ T sekhanovsky: “MyideaistoshowtheHermitageas T sekhanovsky: “It’s a peasant — the new hero who • C anal. A T ll these groups approach the Hermitage hen comes morning. The peasant:“It’sbeautiful.But • • Pumpiansky: “ A tlantes and the figure of T he play continues A nd - → 79 80 e l t i t e l t i t e l t i t e l t i t e l t i t e l t i t e l t i t e l t i t e l t i t e l t i t e l t i t e l t i t y a D . m u e e s l u t m i t e e l g t a i t t i m r g e n H i n — r o . M t n . I t a . l 9 f 3 s ’ y k s v o n a h k e Ts — . t n I . 8 3 m u e s u m e g a t i m r e H — . t n I . 2 4 m u e s u m e g a t i m r e H — . t n I . 1 4 y a D . m u e s u m e g a t i m r e H — . t n I . 0 4 pompousness, fromafreakishorcomicangleusingthecaricaturesengravingsdepartment of Watteau,LancretandFragonard. Thenweshowthesamekingsanddignitaries,divestedoftheir the reignsofLouisXVandVI:MadameduBarry, MarieAntoinette,theLouis,festivals Tsekhanovsky’s sketches.• An office.Themuseum employeefrombeforeapproaches the headofdepartment;heshowshim ing. Ihopeso.Thewatchmansighsresignedly. • • Tsekhanovsky. • bids farewellandleaves.Tsekhanovsky keepswalkingaroundtheroom.Thewatchmanstaresafter suitable subjectthatIcanusetofinallyprovethiseveryone.” thing newandamazingcanbecreatedbycombiningfilmanimatedcartoons. TheHermitageisa • sketchbook tothemuseumemployee.Heargues,desperateprovehispoint. • where anelderlywatchmanissittingonachairbythewindow. HisfacelooksfamiliartoTsekhanovsky. recognition, bronzeobjectscorrodedthrough,splintersofvases…” ration ofsculptures…Andthenthedeath,aconditionbeyondrepair:partsstatuesmutilated the “treatment”oftheseconditionsinarestorationstudio.Thecleaningdarkenedcanvasses,resto surfaces ofpaintings,thestatueswiththeirnoses,fingersorarmsbrokenoff, thecrackedvases…And • T other painting.Andhere,again,Tsekhanovsky’s attentionisdrawnmore readilytothe“crazing.” Close-up. Tsekhanovsky isinspectingthecracksonsurfaceofpainting.They moveontoan in theforeground. a Brueghelpainting.Theirtinyfiguresinthebackground.The“Noentry”noticestillrockingtoandfro good filmmaterial?Tsekhanovsky nods.Theemployeetakeshimtothenextroom,wherebothstareat Tsekhanovsky standsup,startled.Amuseumemployeeisbehindhim,smiling.• • What’sthematterwithyou,MikhailMikhailovich? Close-up (throughTsekhanovsky’s fingers).The“Noentry”notice,rockinglimplytoandfro. viewfinder. Hesquatsandinspectsthe“frame”throughhisfingers. shaking. Heputshisfingerstogether(rightthumbtoleftindexfingerandviceversa)simulatea In adesperateattempttofindsinglemovingobject,Tsekhanovsky pushesthenotice.Itstarts He passesbyastaircase,whichisfencedoff. Thereisanoticeonropestretchedacross:“Noentry.” • Everythingissostatic.Thismaterialnotcinematicatall.WhatcanIdowithit?! Tsekhanovsky iswalkingaroundtheHermitage.He’sinpain. Kozintsev level.He’snotoftherightscale.Theyleave. a cartoonist,solethimmakeanimatedcartoonsforkids.Thisisseriousstuff. It’sEisensteinlevel, esting couldcomeoutofit…Theotherpersonshakeshishead.• goodbye andmakeforthedoor. Theygodownthestairs.• Two Sovkinoemployeesleavethegroup.Theylikedscreenplay. TheysmileatTsekhanovsky, say and ideas.Hemeetsthepeopleinchargeofdifferentdepartmentsmuseum. staff arehereforareadingofTsekhanovsky’s screenplay. Hefinishesreading,encouragescomments The chairsareplacedinasemicircleoneoftheHermitagerooms.museumstaffandSovkino Close-up. Tsekhanovsky’s angryface. Close-up. Theportraitofasmilingcourtier. poverty andstarvation. And inparallelcartooninlays,Iwouldshowthehumblelifeoftheirparishioners:peasanthuts, scenes ofsumptuousfeasts,kingsindulginginvice,cardinalsandhighpriestssolemnvestments. with the“winnerGods”—Raphael’sMadonna,Titian’sSavior, vanEyck’sLastJudgment.Iwouldshow Tsekhanovsky movestoanotherroom,staresatRaphael’sMadonna.• kings. IcouldstartwiththeancientGreekGods.Theywouldbe“deadGods”or“loserGods.” • Tsekhanovsky isstrollingaroundtheGreekRoom.Hestaresatstatuesofancientdeities. now drawingtheseveredheadofLouisXVI. Pumpiansky, fullydressed,issleepingonthesofa.Tsekhanovsky isstillworking,makingsketches.He Then there’safade-inoftheVoltaire maskwithapetrifiedgrin.Thekingsarenomore.” of LouisXVI.Thehangmanliftstheking’sheadupforcrowdtosee.isjubilant. of theHermitage.Thenweadddynamismtothisplotlinewithcartoonshots—upuntilbeheading ThehistoryofthefallGodscanbeportrayedsamewayas thefallof So wehavemetbefore?AndyesIam,I’mrunning,andgoing tobeateveryonewhereI’mgo T T sekhanovsky: “Yousee,cartoonanimationisaseriousbusiness,anditisn’tonlyforchildren. Some sekhanovsky: “Havewemetbefore?”Thewatchmanshakeshishead.Tsekhanovsky handshis sekhanovsky: “Theillnessofartworks…hiscouldlookinterestingonfilm. hese tinycracksonthe • Soyou’rerunningagain,aren’tyou?Tsekhanovsky turnsaround,smiling. • Thiscouldworkout well. • Alrightthen. • Theemployeenodsapprovingly, then • They movetothenextroom, This soundslikesomethinginter- • They won’tlethim.He’s • Looking for Then Icouldcontinue

-

- - -

h e r m i tage � №1–2 (17), 2011

5* A LIFE’S WORK 16 15 e l t i t e l t i t e l t i t e l t i t e l t i t e l t i t e l t i t e l t i t e l t i t e l t i t e l t i t e l t i t sekhanovsky’s flat a l f s ’ y k s v o n a h k e Ts — . t n I . 6 4 . 5 4 g n i n e v E . t a l f s ’ y k s v o n a h k e Ts — . t n I . 4 4 m u e s u m e g a t i m r e H — . t n I . 3 4 Adventures ofMr. West (1924), TheRayofDeath(1925), intheLand oftheBolsheviks Timur’s Oath(1942). Lev Kuleshov(1899–1970) —filmdirector, filmtheoretician,doctorofarthistory, people’s artistoftheRussian Federation; directed suchfilmsasThe Extraordinary (1926), Three Meetings (1948),andothers. Vsevolod Pudovkin(1893–1953)—filmdirector, actor,people’s Soviet artistofthe Union, directed suchfilmsasStarvation…Starvation…Starvation (1921), Mother Kul(eshov) Tsekhanovsky. • (The monochromefilmnowdevelopsonemorecolor, butonlyone: yellow).Vera wakesup,looksat thing looksyellowtohim:theroom,walls,sketchesonhisdesk…andembankmentoutside. like this,everythinglooksyellow. Yellowlookslikethetruecolor. Tsekhanovsky- looksaround.Every Tsekhanovsky wakesup,horrified.It’s5inthemorning.• M A E R D E H T F O D N E my head. look down upon him from the walls. • running across the museum hallways and rooms, running from them all… The portraits of solemn corpses lod Dmitriev, who later became an art critic writing for Apollo magazine, and died in 1919. Tsekhanovsky is died young at the age of 32), his dead brother, his schoolmate Boris Ivanov, his other schoolmate Vsevo runs across the empty halls of the Hermitage. He sees dead people: his mother Zinaida Grigorievna (who M Tsekhanovsky A — his hands covered E in blood — is R fleeing desperately. D Someone is always after him. He S ’ Y K S V O It’s thesamedream,onehekeepshaving. N A H K E S T • they are younger than Tsekhanovsky. Tsekhanovsky stares mournfully at his list. This is a list of film directors with their years of birth, their current age and the number of years by which Tsekh(anovsky) 1889 — 41 Vert(ov) 1896 — 34 — 7 T Tsekhanovsky is pacing his kitchen restlessly. Vera is trying to calm him down. • gladly spendthenightinmuseum.Thewatchwomanhastoallbutdraghimaway. but keepsdrawinginhissketchbook.• and fewerpeoplearound.Awatchwomancomesby. • Tsekhanovsky iswalkingaroundtheroom,makingsketches,planningcameraangles.Therearefewer So nohurry, lethimwalkaround,giveittime…” one thingtoday, somethingelsetomorrowwiththem.I’veheardtheyarereconsideringthis. • • to this.”Theemployeeissurprised. • dream ofmakinganything“new.” I’mboredanddisgusted…”• • • • • • • • • • • • • • • • • • • • • • • sionate aboutfilm,makingsomething newinfilm.Manyyearshavepassed.NowIwouldn’teven first-born brainchild.Rereadinghisownjournalsfromthe1920s,T more animatedcartoons,butPostOfficewouldforeverremainhismostbrave andradicalproject—his films were“conserved.”T more years,butallhisprojectsfellthrough,earninghimaccusationsof“formalism.” Hisunfinished cinematography neveropenedforhim.Hecontinuedhisexperimentsincartoon animationforafew • A yellowHermitageloomsinthedistance. keeps walking.Hissilhouetteisgrowingsmaller, smaller. Infrontofhimstretchesayellowembankment. age. Vera staresafterhimfromthewindowandgoesoff-screen (goesbacktobed).Tsekhanovsky View fromthewindow. Tsekhanovsky walkingawayon adesertedembankment,headingfortheHermit Looks atherwistfully. • “Where areyougoingatthishour?Theystillclosed,aren’tthey?” C Pud(ovkin) Eisen(stein) 1898 — 32 — 9 of life or death to me!

I lose-up. Vera, I haven’t got as much time as they’ve got. Come backtomorrow!Tsekhanovsky shutshissketchbookandleaves.Heisdisappointed. Head ofdepartment:“Youknowtheseguys,thepeopleinfilmindustry, they’rekindoffickle.It’s What doyoumean,nothing?Thedirectorhasgothisdraftsready, almostallofthem… Head ofdepartment:“Holditfornow. I’veheardfromtheSovkinopeople,theremaybenothing They didn’tlet T L E . T ime, time… Why can’t they understand that I have no time. Tsekhanovsky at the kitchen table, scribbling on a piece of paper. Tsekhanovsky runs. Before he reaches the final door, he stops and looks around. 15 14 1899 — 31 — 10 1893 — 37 — 4 • Vera: “Misha,what’swrong?”T sekhanovsky makeHermitage,afterall.Thedoortotheworldoffull-feature T o make a film, to make the best film of all is a matter of life or death! • It’sOK, I’lljuststepoutside,dosomesketching. sekhanovsky abandonedhisexperimentsafterWWII.Hehadmademany • I can see the hand with a butcher’s knife, raised over • OK, OK.Tsekhanovsky isreluctanttoleave.Hewould A nd no one will give me a second chance. • We’re closing!Tsekhanovsky nods, • Whenyouwakeupfromadream sekhanovsky: “I’vegottogo,Vera”. Vera: N sekhanovsky wrote:“Iwassopas- o time at all! Tsekhanovsky getsdressed. E very film is a matter

- - 81