“Miss Mary” is a Russian silent art film directed by Boris Tchaikovsky . The film was released on April 23, 1918 [1] [2] . Another name for the film is “The Man Who Killed”. It is preserved without inscriptions [1] .
| Miss mary | |
|---|---|
 | |
| Genre | drama |
| Producer | Boris Tchaikovsky |
| Author script | Boris Tchaikovsky |
| In the main cast | Zoya Barantsevich Nikolay Radin Wojciech Brydzinski |
| Operator | Boris Zavelev |
| Film company | JSC “A. Khanzhonkov and K " |
| A country |  Russia |
| Tongue | Russian |
| Year | 1918 |
| IMDb | |
Creation History
The film was shot in Moscow in the pavilion on Zhitnaya street.
According to the recollections of the film entrepreneur Alexander Khanzhonkov , “for this picture, the young artist Lev Kuleshov , who had already managed to advance among our artists, set up very spectacular scenes of the Bosphorus” [3] .
Story
The action takes place in Constantinople . During the ball at the embassy of the Marquis de Sevigny, I noticed tears in Mary Falkland's eyes. After the ball, secret police chief Mahmed Pasha tells his friend Marquise Sevigny about Mary’s family drama, which is unhappy in marriage.
Her husband, Archibald Falkland, has a mistress for Lady Edith. Under her influence, he prepares a plan to discredit his wife. He agrees with Count Chernuvich, and he becomes the executor of this plan for money. The count begins to look after Mary, and she agrees to a night date with him.
Having visited the house of the Falklands, the Marquis sees that Mary suffers the rude antics of both her husband and his mistress. The Marquis becomes Mary's friend, and then declares her love. In response to the confession, Mary runs away.
Once the marquis becomes an involuntary witness to the scene when her husband enters the bedroom at the moment when Mary is in the arms of Count Chernuvich, and demands to sign a divorce document.
The unseen Marquis of Sevigny decides to avenge the honor of the deceived woman. A few days later, Sir Archibald was killed.
When the suspicion of murder falls on Mary Falkland, the Marquis of Sevigny confesses his crime to Mahmed Pasha. He understands the motives of his act and silently shakes his hand. The Marquis leaves Constantinople.
Cast
- Zoya Barantsevich - Mary Falkland
- Nikolay Radin - Archibald Falkland, her husband
- Nonna Leshchinskaya - Edith, cousin of Archibald and his mistress
- Wojciech Brydzinsky - Count of Sevigny
- Hugo Freedom - Count Stanislav Chernuvich
- Eduard Kulganek - Mahmed Pasha, head of the secret police
Camera crew
- Director: Boris Tchaikovsky
- Screenwriter: Boris Tchaikovsky
- Operator: Boris Zavelev
- Artist: Lev Kuleshov
- Producer: Alexander Khanzhonkov
Criticism
Critics noted that “the picture is mainly interesting for the artist’s work” [4] . The scenery of Lev Kuleshov, “who interestingly solved the problem of transferring nature to the pavilion” [5] [6], stood out .
A columnist for Kino-Gazeta (1918) pointed out that "the director throughout the whole picture seems to be too subordinate to the artist, and this reflects on the overall impression." He also wrote that “the picture does not look boring”, the plot is developed at a good pace, “there are interesting provisions”, “large shots have been successfully used” [7] [8] .
The film expert I. N. Grashchenkova wrote that “the artist Lev Kuleshov built Istanbul (the station, port streets, mansions) in the studio, showing miracles of ingenuity and skill” [9] .
Film critic Yevgeny Gromov rated the film as follows: “This is quite an ordinary melodrama with an“ oriental ”surroundings. But it was removed expressively, and the artist’s work in it is interesting ” [10] . In the frames of the film, he saw the influence of the films of the teacher Lev Kuleshov Yevgeny Bauer : “Looking today at the shots of“ Miss Mary ”, you can easily find their inner affinity for shots of Bauer tapes: columns, relief,“ stereoscopic ”decorations, textured props. The operator is happy to beat a huge bear skin on the floor. A conditionally oriental garden with gurgling fountains was carefully built. The painted backdrop - hills and mountains - also makes one recall Bauer's paintings ” [11] .
However, the critic saw a difference in design: “It is, so to speak, more courageously in the manner of execution. It is rather a graphic, not a painting. ” “The frame is organized more clearly and simply, not so full of props,” wrote E. Gromov about the creative manner of Lev Kuleshov [11] .
Notes
- ↑ 1 2 The Great Kinemo, 2002 , p. 447.
- ↑ Short, 2009 , p. 394.
- ↑ Khanzhonkov, 1937 , p. 118.
- ↑ Short, 2009 , p. 201.
- ↑ “Kino-Gazeta”, 1918, No. 12, p. 6.
- ↑ The Great Kinemo, 2002 , p. 448.
- ↑ “Kino-Gazeta”, 1918, No. 18, p. 12-13.
- ↑ The Great Kinemo, 2002 , p. 450.
- ↑ Grashchenkova, 2005 , p. 142.
- ↑ L.V. Kuleshov: articles, materials, 1979 , p. 13.
- ↑ 1 2 Gromov, 1984 , p. 47.
Literature
- Khanzhonkov A.A. The first years of Russian cinema. - M., L .: Art, 1937. - P. 118. - 172 p.
- Cinematic Heritage. L. V. Kuleshov: articles, materials / Comp. A. Khokhlova. - M .: Art, 1979. - S. 13. - 272 p.
- Gromov E.S. Lev Vladimirovich Kuleshov. - M .: Art, 1984. - S. 46-47. - 319 p.
- The Great Kinemo: Catalog of preserved feature films of Russia (1908-1919) / Comp .: V. Ivanova, V. Mylnikova, S. Skovorodnikova, Yu. Tsivyan, R. Yangirov. - M .: New Literary Review, 2002. - S. 447-450. - 568 p.
- Grashchenkova I.N. Cinema of the Silver Age. Russian cinema of the 10s and Cinema of the Russian post-October foreign countries of the 20s. - M. , 2005 .-- S. 142. - 432 p.
- Short V.M. Operators and directors of Russian feature films. 1897-1921. - M .: Scientific Research Institute of Cinema, 2009 .-- S. 201, 394. - 430 p.
Links
- The film "Miss Mary" on the site RUData.ru