Shot between 1962 and 1986, Tarkovsky’s seven feature films often grapple with metaphysical and spiritual themes, using a distinctive cinematic style. Long takes, slow pacing and metaphorical imagery – they all figure into the archetypical Tarkovsky film (Note: free versions of these films have been here before, links have sadly died in the old posts). [more inside]
The Sochi Project: An Atlas of War and Tourism in the Caucasus “Sochi used to be much prettier... These days crooks from Moscow come here to build and sell skyscrapers and apartments, although it used to be such a small, lovely town." via The New York Review of Books article on "Why Sochi"
Putin explicitly links the Games to the humiliations of the recent past: “There is also a certain moral aspect here and there is no need to be ashamed of it,” he said. “After the collapse of the Soviet Union, after the dark and, let us be honest, bloody events in the Caucasus, the society had a negative and pessimistic attitude.” The Olympics, he explains, are a necessary part of an effort to “strengthen the morale of the nation.”
In 1959, MOSFILM released "Ballad of a Soldier," made during the Khrushchev Thaw . It chronicles a young soldier, Alyosha, and his six-day trip home from the front during World War II, which "sweeps you, with feeling, into the physical and psychological world of Russians at war." And it is on YouTube. [more inside]
An ever increasing accumulation of film stills from Sergei Bondarchuk's 8-hour long epic film adaptation of Leo Tolstoy's War and Peace [more inside]
Finnish YouTube user Ishexan has uploaded seven English subtitled movies in parts: Broken Blossoms (1919), Aelita (1924), The Gipsy Charmer (1929), The Tragedy of Elina (1938), The Activists (1939), The Wooden Pauper's Bride (1944), and Sampo (1959), which is based on the epic poem The Kalevala. The films are mostly Finnish, though Aelita is a silent Russian sci-fi film, and Sampo was a joint Finnish and Soviet production. More film clips inside (mostly Finnish documentaries and "dorky musical numbers"). [more inside]
Unlike many cinematic exports, the Disney canon of films distinguishes itself with an impressive dedication to dubbing. Through an in-house service called Disney Character Voices International, not just dialogue but songs, too, are skillfully re-recorded, echoing the voice acting, rhythm, and rhyme scheme of the original work to an uncanny degree (while still leaving plenty of room for lyrical reinvention). The breadth of the effort is surprising, as well -- everything from Arabic to Icelandic to Zulu gets its own dub, and their latest project, The Princess and the Frog, debuted in more than forty tongues. Luckily for polyglots everywhere, the exhaustiveness of Disney's translations is thoroughly documented online in multilanguage mixes and one-line comparisons, linguistic kaleidoscopes that cast new light on old standards. Highlights: "One Jump Ahead," "Prince Ali," and "A Whole New World" (Aladdin) - "Circle of Life," "Hakuna Matata," and "Luau!" (The Lion King) - "Under the Sea" and "Poor Unfortunate Souls" (The Little Mermaid) - "Belle" and "Be Our Guest" (Beauty and the Beast) - "Just Around the Riverbend" (Pocahontas) - "One Song" and "Heigh-Ho" (Snow White) - "Bibbidi-Bobbidi-Boo" (Cinderella) - Medley (Pinocchio) - "When She Loved Me" (Toy Story 2) - Intro (Monsters, Inc.)
Animatsiya in English is weblog (warning: livejournal) with a narrow focus: tracking the production of Russian animated feature films. Russian animation has a long history with output both abstract and obstructed; from the early influence of the Russian avant-garde and the work of small groups of enthusiasts, through Stalin-era Socialist realism and a style known as Éclair that was marked by the use of extensive rotoscoping, to the 1960's and beyond when surreal and politically charged (and unfortunately, in this case, anti-Semitic) as well as unconventionally structured, emotionally fueled films found release. Fortunately, when Pilot Studio—the Soviet Union's first private animation studio—decided to relegate parts of that history to the dumpsters out back, the people were ready to sift through the mess. [more inside]
The Emperor's Bunker. "The Japanese, with sadness and irony, stressed that Hirohito couldn't even speak properly. This was partly to do with the fact that he didn't have to speak - people spoke in his name and he was isolated from real life". "The Sun", the third part in Russian director Aleksandr Sokurov's 'Men of Power' tetralogy after the gloom of Moloch (1999), about Hitler and Eva Braun, and the despairing tones of "Taurus" (2001), focused on the wheelchair-bound Lenin in his death throes, "The Sun" seems almost upbeat. This, after all, is a film about reconciliation. More inside.