Иван Грозный Часть I [1944)

[IVAN THE TERRIBLE, PART I (1944)]

Have you ever used Russian Wikipedia?

Because you can’t just type Ivan the Terrible.

You can’t even type Ivan Grozny.

Not least, you cannot type NBaH rpo3HbIN yactb I.

No, certainly not.

But by that point, you are close.

Funny thing about the Cold War was that it was cold.

No shooting.

At least the big guns.

Boom boom.

It was an economic war.

It would really be unfair to capitalism to claim that it didn’t win.

Ah, good old capitalism.

Capitalism is bad in a lot of ways, but it is an economic beast.

Communism is good in a lot of ways, but it got its butt kicked by capitalism.

But our story predates Marx and Lenin by centuries (even though it was commissioned by Stalin).

What we have here is a masterpiece of Soviet film:  Ivan the Terrible (Part I).

It’s important.  Part I.  Часть I.

Because Часть II wouldn’t appear for another 14 years (Stalin was a fickle patron).

And Часть III would never appear.  [It was destroyed after the director’s death.]

And what a director!

Sergei Eisenstein was a true auteur in every sense of the word.

When he died in 1948, Часть III more or less went with him.

Considering that, it’s amazing that Часть II itself even survived.

It was only the “Khrushchev thaw” which occasioned its eventual release in 1958.

But the year is 1944.

And the year is also 1547.

16 January 1547.

And Ivan (though he doesn’t look it in the film) is 16 years old.

It’s not Reims.

But it rhymes with…Bosco?

If it had a rhyme, Bob Dylan would have smacked it right down in the middle of The Freewheelin‘ or Another Side

Good old Moscow!  Москва́

Something like that…

And so we see a truly riveting coronation (this is not really a spoiler…1547).

We must remember what “the Terrible” meant.

Or means.

As I understand it…it’s neither good nor bad.

Terrible as in terror…but also as in “fear God”.

Perhaps I have botched it.

grozny (miniscule).  As opposed to the capital of Chechnya.

Let me just say this:

Nikolay Cherkasov (in this film) is the spitting image of Nick Cave.

[God forbid an iconoclast get ahold of a spitting image!]

Some might need a further clarification.

I mean the Nick Cave from Warracknabeal, Australia.

Not the one from Fulton, Missouri.

Clear?

“2000 years of Christian history baby/and you ain’t learned to love me yet”

Something like that.

Ivan the Terrible “read that book from back to front”.

“It made a deep impression” (on his forehead).

But they didn’t have BBC Radio 4 in Russia in 1547.

So not even a gift of a chess set could cause Queen Elizabeth to beam a broadcast of Gardeners’ Question Time over to Ivan.

Alas, he was on his own…

Boyars be boyin’ [if you know what I mean].

I must admit, I’m rather proud of myself for figuring this out.

To wit, Михаил Названов looks like Gene Wilder as Jesus.

Tsk tsk, English Wikipedia.

Which is to say, Andrey Kurbsky is played by Mikhail Nazvanov.

Every epic needs a great beauty 🙂

And Lyudmila Tselikovskaya is no exception.

She is chaste (and chased).

English Wikipedia gives no hypertext love.

But there is an article.

She was from Astrakhan.

And here she portrays Ivan’s bride Anastasia.

Such a lovely word…tsarina.

And by Astrakhan we certainly don’t mean Canadian military fur wedge cap.

Clear?

Ivan the Terrible is basically Donald Trump (for anyone needing a reference).

Which is why Stalin identified with Ivan.

Putin is another good reference point.

For that matter, Pavel Kadochnikov’s effeminate, moronic character is a good symbol for the past 16 years of American presidency.  Imagine W. as a metrosexual in 16th-century Russia.  You’ve got it!  16 & 16.

Marriage is the end of friendship (in more ways than two).

And so Philip II, Metropolitan of Moscow heads off to the monastery.

But at this time he was just Feodor Kolychev.

Family Glinski mentioned.  Family Zakharin mentioned.

But the House of Romanov takes an extra effort.

Anastasia’s side.

Do you remember Kazan from Quantum of Solace?

I never properly expressed my admiration for that film.

Tosca in Bregenz.  Exquisite!

Back to Kazan…  Poor saps vs. rich saps.

And military strategy comes to the fore.  That of Ivan.

Their strength was sapped.  One letter from tapped.

That would be Operation Gold!

There’s a Tartar sauce of brutality (?) reminiscent of ¡Que viva México! (remember the horses and the buried guys???).

Same camera angles.

En plein air version of coronation.  The doubters.  Maybe Eisenstein took a thing or two from Welles?

Because Citizen Kane was 1941.

The Soviet Union joined the Allies in June 1941.

Citizen Kane premiered the previous month and would open in theaters across the U.S. the coming September.

So we wonder whether one of the first “chess sets” of understanding was a copy of Welles’ film.

Back to these Tartars.  That’s just the Western version of Tatar.

An extra R (gratis).

You may need some tarragon as well.

It certainly wasn’t “Palisades Park” for these poor Tartars.

No Freddy Cannon sound effects to distract them before being picked off by (demonym-for-people-from-Kazan) arrows.

It’s almost a Thelonious goatee.  Pharaonic.  Sun Ra-nese.

Over and over we hear of Livonia.

Reval (which is today Tallinn, Estonia).

An iron curtain required iron men.

Oprichnina.  A policy.

Oprichnik.  Of the Oprichniki.  Political police.

Oath of allegiance (starting to sound like Dale Cooper).

But lets not get caught up in bikeshedding.

This film is a masterpiece throughout.

 

-PD

Night on Earth [1991)

I’ve run out of witticisms.

Snappy beginnings.

Which is a shame.  Because I really want you to know about this film.

If you don’t already.

This is called quantum writing.

It is the sentence fragment equivalent of liberal ellipses.

So tired.

The cities.

Los Angeles.

It is the first episode.  Vignettes.

Seemed like a throwaway scene years ago.

Now.  So prescient.  Then.

So pertinent.  Germane.

She’s not really interested in becoming a movie star.

People selling kidneys to get a real casting agent and she’s not interested…

Beautiful.

New York.

Lost in the world.

Pulling immigrants with the magnetism of illustrious decades.

East Germany.  Dresden.  Near Czechoslovakia.  1991.

My neighborhood.  When I can pause for a moment and appreciate the diversity.

America.  Amer-ica.

Paris.

Francophone magnet.

Another scene which ages well.

When I saw this I hadn’t been to France.

Hadn’t been to New York or L.A.

And you appreciate more.  When you’ve been.

The loving portrayal.  The in-between shots.

Maybe it’s the garbage can at Pink’s Hot Dogs.

A green trash bag.  Liner.  Someone sweeping up.

We’re blind to so many details.

And so Jim Jarmusch went and put ’em in a film.

They’re there.

The details.

Tom Waits soundtracking like Charles Ives with an accordion.

Why?

Why is it sad?

It should be funny.  And sad.

It depends.

It depends on your life.

If you’ve ever had a brush with the entertainment industry, then that first scene might get you.

Might punch you right in the gut.

Not interested.

And the point is that as one girl throws it all away (from a perspective) a bloke on the east coast is just trying to get a cab.

Look.

I’ve got money.

It’s winter.

And home is Brooklyn.

It’s painful cold.

And as one family is dysfunctional in its uniquely Tolstoyvian way, another has no family at all.

None.

None left.

It was too cold to shave today.

Save the money.

Money is not important to me.  I’m a clown.  I just need the money.  But it’s not important to me.

And there’s your artist.

A mechanic works the art of grease.

A clown suffers in the tumult.

Please.  Come in.  Welcome to my taxi.  It is very important to me.

Long night.  On Earth.

You hear about Africa every year.  Annually.  On average.

A famine.  A plague.  An outstanding war.  Out standing in the rain.

We never know just how it feels to live in Nigeria.

It is furthest from our thoughts.

And then we are reminded.  That Africa exists.

The continent.  Does not exert itself.

Comes down to capital.  LLC.  Land labor capital.

To LKM.  labor Kapital material.

A lot has changed since Adam Smith.

Land disappeared.

And what makes the U.S. unique compared to Hong Kong or Tokyo?  Land.

Room to sprawl.  Endlessly.

But I digress.  As a matter of course.

In the course of one speck of matter (Earth) running rings around the Sun.

Our sun.  Not up yet.

The hour of the wolf.

Brings us to Rome.  Ingmar not Ingrid.

It is comic blast #2.

We survived the sadness with laughter.  In New York.

And now we book a room at the Hotel Genius.  [Hotel Imbecile was full-up.]

Thank God for Charlie Parker!

I confess.

I was looking forward to this humor for days.  I knew the ending.

But I didn’t know my own age.  In the mirror of cinema.

But, dear friends, all good things must end (and bad things must start).

“They say the darkest hour/Is right before the dawn.”

That’s the hour of the wolf.

And instead of Max von Sydow we get Matti Pellonpää.

With his Grinderman mustache.

Walrus.  Circles the statue.  In front of parliament?

Helsinki.  Like a sinkhole.  Cold.  Hell sinky.

It is the end of the earth.  And I only have my memories of being drunk in Kiruna.  Sweden.  Never made it further east.

And for a moment he just sits behind the wheel and stares off into space.

After it’s all over.  As if he can see the ice-trails of orbits.

We travel the spaceways.

Every humble step of our lives.

From bakery to grain field.

But mostly streets.

Taxis.  The poetry of snaking asphalt.

Sing the songs of the pavement.

Every passenger a sad story.

Every driver a priest.

-PD