Word: scenes
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Dates: during 1980-1989
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Glasnost cinema is good news for Soviet citizens, who go to the movies four times as often as Americans and ten times as often as the British. Today Soviets get to watch sexual barriers fall like dominoes in slow motion. Little Vera features a love scene -- 82 seconds of topless necking and a quick tickle under Vera's dress -- that has shot viewers' eyebrows up through their hairlines. By American cable-TV standards the episode might be tame, but in a culture as repressed erotically as it is politically, Little Vera is big news...
...expect some 21st century director to filch a scene from Little Vera the way David Lean, Brian De Palma and others have quoted the Odessa Steps sequence from Eisenstein's Potemkin. For one thing, critical realism, the style of most glasnost films, eschews the bold editing effects and pristine iconography of the Soviet silents. But style is subordinate to message just now: the priority is journalism, not art. To U.S. eyes, the rebels without a cause in an alienated-teen drama like Valeri Ogorodnikov's The Burglar are a sight as nostalgic as Hula-Hoops. But in the U.S.S.R. these...
This is no small triumph, considering the sorry history of repression exercised by Goskino, the state censorship board. For any reason or none, Goskino could cut a scene, ban a film, put a director out of work or put him in jail. Sergei Paradjanov, a lyric poet in the Dovzhenko mold, spent nearly four years in prison. Andrei Tarkovsky, the greatest Soviet director since Eisenstein, filmed Andrei Rublev in 1966; the complete version was not shown publicly in the U.S.S.R. until 1987, just after Tarkovsky died in exile. Alexander Askoldov's The Commissar, filmed in 1967, was accused of "Zionist...
They said the submarine managed to surface for a time in the Norwegian Sea after the accident occurred and that at least one Soviet ship had responded to a distress call and arrived on the scene...
Protest Watch: When several Crimson editors went to Memorial Church yesterday morning to see what happened with a Divinity School protest there, the scene was filled with media representatives, almost to the exclusion of protesters. One reporter received the demonstrator's mimeographed "statement of purpose" from at least four different students before politely declining a fifth copy. Domenic Bozzotto, head of the dining hall workers' union, Local 26, was on hand to give counsel to the Divinity School students about handling the press--the protesters were seen listening intently to his advice...