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Kinas Ir Miestas: Kinematografas Tarpukario Vilniuje / Cinema and the City: Cinemas in Interwar Vilnius

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Kinas Ir Miestas: Kinematografas Tarpukario Vilniuje / Cinema and the City: Cinemas in Interwar Vilnius KINAS IR MIESTAS: KINEMATOGRAFAS TARPUKARIO VILNIUJE / CINEMA AND THE CITY: CINEMAS IN INTERWAR VILNIUS Anna Mikonis-Railienė 3 KINO REPERTUARO POLITIKA SOVIETMECIU / THE POLITICS OF THE CINEMA REPERTOIRE IN THE SOVIET ERA Lina Kaminskaitė-Jančorienė 11 Kinas eina per miestą. Vilniaus kino teatrų istorijos kino teatrų Vilniaus Kinas eina per miestą. KINO TEATRO PASTATAS SOVIETINEJE LIETUVOJE: ARCHITEKTURA, SKIRTA SUVOKTI GREITAI / THE CINEMA BUILDING IN SOVIET LITHUANIA: ARCHITECTURE DESIGNED FOR QUICK GRASP Vaidas Petrulis 17 KINO SALE KINO SALEJE / A CINEMA HALL IN A CINEMA HALL Natalija Arlauskaitė 27 Žiurovo situacija sovietmeciu: STRUKTURINE KONTROLE, TYLIOJI REZISTENCIJA IR DIDEJANTIS REIKLUMAS TURINIUI / THE SITUATION OF THE VIEWER IN THE SOVIET ERA: STRUCTURAL CONTROL, QUIET RESISTANCE AND GROWING EXPECTATIONS OF CONTENT Renata Šukaitytė 33 1 KINAS IR MIESTAS: KINEMATOGRAFAS TARPUKARIO VILNIUJE / CINEMA AND THE CITY: CINEMAS IN INTERWAR VILNIUS ANNA MIKONIS-RAilienė Kinas eina per miestą. Vilniaus kino teatrų istorijos kino teatrų Vilniaus Kinas eina per miestą. XIX a. pab. didžiųjų miestų kultūrinis gyvenimas su- In the late 19th century, cultural life in the big cities teikė galimybę įvairių socialinių grupių integracijai. provided a possibility for the integration of different Industrializacijos, urbanizacijos, masinės kultūros pro- social groups. The processes of industrialisation, ur- cesai, amžių sandūroje pasiekę ir Vilnių, skatino kino banisation and mass culture, which reached Vilnius vystymąsi. Tokia situacija kino fenomenui suteikė ne- at the turn of the 20th century, stimulated the devel- tikėtą pagreitį. „Augti Vilniuje – reiškė gyventi XX am- opment of cinema. This situation gave unexpected žiuje tiktai dėl kino“1, – prisiminė Czesławas Miłoszas. momentum to the phenomenon of the cinema in the Statistiniai duomenys teigia, kad tarpukario Vilniuje city. ‘Growing up in Vilnius meant living in the 20th veikusius 12 kino teatrų kasmet aplankydavo daugiau century thanks to cinema alone,’1 Czesław Miłosz re- Cinema Passes Through the City. The Stories of Vilnius Cinemas of Stories Vilnius The the City. Through Cinema Passes kaip 2 mln. žiūrovų, o tai reiškė, kad statistinis vilnie- called. The statistics show that more than two million tis per metus kine pabuvodavo 11,7 karto. Kokiuose people per year visited the 12 cinemas in interwar kino teatruose laisvalaikį leisdavo miesto gyventojai ir Vilnius, which meant that the average resident went kokias emocijas jie išgyvendavo? to the movies 11.7 times a year. In which cinemas did Pasibaigus Pirmajam pasauliniam karui, beveik the people of Vilnius spend their free time, and what 120 tūkst. gyventojų turinčiame Vilniuje veikė 6 stacio- emotions did they experience there? narūs kino teatrai. Būtent jie ir buvo pats tvirčiausias After the end of the First World War, there were būsimo kino gyvenimo raidos mieste pagrindas. Visi six permanent cinemas in Vilnius, which had almost jie lengviau ar sunkiau ištvėrė karo metus. Vis dar ge- 120,000 residents at the time. They were the main riausias buvo 1915 m. J. Pogorzelskio įsteigtas priva- foundation for the further development of cinemas tus 1 500 vietų kino teatras „Helios“ (Vilniaus g. 22). in the city. All of them had survived the war more or Jo konkurentas – R. Sztremerio „Kinematografinis te- less successfully. The 1,500-seat Helios cinema (22 atras“, kartais vadinamas „Šeimyniniu“ arba „Šeimos Vilniaus St), opened in 1915 by J. Pogorzelski, was teatru“, – veikė miesto centre, Didžiojoje gatvėje 74. still the best. Its close competitor, R. Sztremer’s Cine- 1 Miłosz Cz., Zaczynając od moich ulic, Paryż, 1985, p. 41. 1 Miłosz C., Zaczynając od moich ulic, Paris, 1985, p. 41. 2 3 Vykstant karui neužsidarė ir mažesni kino matographic Theatre, occasionally referred to as the teatrai: 1911 m. ruso V. Drobcunovo įsteigtas „Minia- ‘Family Theatre’, was located in the city centre at 74 tiur“ ir „Lux“ (Šv. Jurgio pr. 11, dab. Gedimino pr.) bei Didžioji St. „grand-kino“ vadinamas „Eden“ (Didžioji g. 66). Smaller cinemas also remained open through the war years: the Miniatiur, opened in 1911 by the Tačiau netrukus miesto žemėlapyje ima atsirasti Russian V. Drobtsunov, the Lux (11 Šv. Jurgio Ave, nauji kino teatrai. 1920 m. duris atvėrė „pagal naujus presently Gedimino Ave), and the Eden (66 Didžioji kinematografijos ir technikos meno patobulinimus“2 St), also called a ‘grand-kino’. įrengtas pirmos klasės meninis kinematografas „Po- lonia“ (Mickevičiaus g. 22, dab. Vilniaus mažojo teatro However, new cinemas soon began to spring salė), kurio direktoriai buvo G. Slepianas ir G. Feigen- up on the map of the city. The year 1920 saw the bergas. Pasižymintis „rafinuotai įrengta estrada, nau- opening of the Polonia (22 Mickevičiaus St, now jausia ventiliacija ir erdvia žiūrovų sale“3 bei galimybe the Vilnius Small Theatre), a first class art cinema, jame susitikti „visam Vilniui“4, konkuruojantis su „He- equipped ‘according to recent developments in cin- lios“ ir įsikūręs vienoje geriausių miesto vietų šalia ematography and the art of technology’,2 managed Štralio cukrainės, kino teatras buvo nuolat atnaujina- by G. Slepian and G. Feigenberg. Boasting an ‘ex- mas ir remontuojamas. Jis sėkmingai gyvavo iki pat quisitely decorated stage, the latest ventilation sys- ketvirto dešimtmečio vidurio. tem and a spacious auditorium’,3 as well as provid- 1922 m. spalio 22 d. Slepianas ir Feigenbergas ing an opportunity for ‘all of Vilnius’4 to meet inside, atidarė „Piccadilly“ (Didžioji g. 72). To meto spauda this competitor of the Helios, located in one of the entuziastingai pranešė: „Nepagailėjus pasakiškų city’s best locations near the Štralis confectionery, istorijos kino teatrų Vilniaus Kinas eina per miestą. lėšų, padaryta viskas, kas tik įmanoma, kad sekant was constantly being renovated and upgraded. It re- 1920 m. vokiško filmo „Madame Récamier ir Napoleonas“ ( rež. Joseph Delmont) afiša. Lietuvos Mokslų geriausių europietiškų kino teatrų pavyzdžiu (ir me- mained in operation until the mid-1930s. Akademijos Vrublevskių biblioteka, Retų spaudinių skyrius, smulki spauda, 142/3 / The poster of the 1920 German movie “Madame Récamier and Napoleon” (directed by Joseph Delmont). The Vrublevsky Library of niniu, ir technikos požiūriu) būtų sukurtas iki šiol ne- On 22 October 1922, Slepian and Feigenberg the Lithuanian Academy of Sciences, Department of Rare Printed Materials. būtas dalykas. Ypač daug dėmesio skirta patogumui, opened the Piccadilly (72 Didžioji St). The press pro- nuolatinei gryno oro apykaitai ir maloniam apšvieti- claimed enthusiastically: ‘With no shortage of spec- mui a giorno.“5 tacular investment, everything possible has been Dešimtoji mūza Vilniuje reikalavo pasiturinčių done to create a hitherto unseen venue, comparable žmonių paramos, nes kino mokestis miesto magis- to the best European cinema theatres (both in artistic tratui buvo pakankamai didelis. Taigi galima pasakyti, and technical respects). Particular attention has been kad kino pramonė Vilniuje priklausė turtingiems žy- paid to convenience, the constant circulation of fresh dams ir rusams. Tai buvo broliai Pimanovai, „važinėję air, and pleasant a giorno illumination.’5 Cinema Passes Through the City. The Stories of Vilnius Cinemas of Stories Vilnius The the City. Through Cinema Passes automobiliais, visada su frakais sėdėję Žaliajame ir Raudonajame Štralyje“6. Jie ketvirtame dešimtmetyje The tenth muse was in need of support from af- turėjo kino mokyklą ir vadovavo keletui kino teatrų. fluent people in Vilnius, because the tax on cinemas levied by the magistrate was quite high. Hence, one Vilniaus pirklių žydų Slepiano ir Feigenbergo could say that the cinema industry in Vilnius was owned duetas trečiame dešimtmetyje valdė keturis kino te- by rich Jews and Russians. They included the Pimanov atrus – juose, pasak reklamų, rodė žiūrovų poreikius brothers, who ‘drove automobiles and always sat in the ir skonį atitinkančius filmus. „Piccadilly“ siūlė „įdomius Green and Red Štralis wearing tailcoats’.6 In the 1930s inteligentų pomėgius atitinkančius vaizdus“, R. Sztre- they owned a film school, and ran several cinemas. 2 An announcement for the Polonia cinema, Gazeta Krajowa, No. 76, 2 Kino „Polonia“ anonsas, Gazeta Krajowa, nr. 76, 1920 12 01, p. 1. 1 December 1920, p. 1. 3 Ibid. 3 Ibid. 4 Ibid. 4 Ibid. 5 Kino teatro „Piccadilly“ anonsas, Gazeta Krajowa, nr. 238, 5 An announcement for the Piccadilly cinema, Gazeta Krajowa, No. 1928 metų amerikietiško filmo „Žmogus, kuris juokėsi” (rež. Paulo Leni) afiša. Lietuvos Mokslų Akademijos 1921 10 22, p. 1. 238, 22 October 1921, p. 1. Vrublevskių biblioteka, Retų spaudinių skyrius, smulki spauda, 143 / The poster of the 1928 American movie “The Man Who Laughs” (directed by Paulo Leni). The Vrublevsky Library of the Lithuanian Academy of Sciences, 6 A. Mikonis-Railienės pokalbis su Janina Gieczewska, pavasaris, 6 From a conversation between A. Mikonis-Railienė and Janina Department of Rare Printed Materials. 2010. Gieczewska, in the spring of 2010. 4 5 merio kinas – „ypač sensacingus amerikietiškus fil- The Jewish merchants Slepian and Feigen- mus“, o „Eden“ – naujausias „meniškas dekoracijas“ ir berg managed four cinemas in the 1920s: accord- cirko pasirodymus. ing to the advertisements, these screened movies Vertinant Vilniaus kino teatrų išsidėstymą to- which matched the needs and tastes of viewers. The pografiniu požiūriu, matome, kad daugiausia jų buvo Piccadilly offered ‘intriguing images that catered for įsikūrę
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