Veladas en un caserío de Dikanka

It has been a great pleasure re-starting my "watching Soviet/Russian films" quest (especially fantasy and animation) and becoming acquainted with ones not yet seen, the same going for the original stories that some are adapted from. Did it a lot in 2013 and 2014, a great way of coping with stress, and wanted to relive those fond memories. A lot of the Soviet films seen recently have been fantasy and often the surreal kind with touches of comedy. This has been especially true in the films of Aleksandr Rou.

Have seen almost all of them and have really liked to loved them all, though there will be those who will find them too weird. Not me, find them very imaginatively done, they are charming, the surrealism is a healthy dose but not excessive and the comedy touches in his films genuinely amuse. His most atypical and accessible, and also one of his best, is his adaptation of Prokoviev's ballet with the involvement of Bolshoi 'Cinderella'. It is a shame that non-Russian viewers know him best from the riffing of 'Morozko' ('Frosty'), to me that was not a bad film at all but to say that the dubbing doesn't do it justice is an understatement, very similar to the films of Aleksandr Ptushko.

'The Night Before Christmas' is another Rou adaptation based on the stories of Nikolai Gogol, having seen 1952's 'May Nights' recently and loving it. The film is based on Gogol's first story in the second volume of his "Evenings on a Farm Near Dikanka", known as both 'Christmas Eve' and 'The Night Before Christmas'. Although it is higher rated than 'May Nights', there is actually a preference for that film, which to me was a little better paced and more focused in story. Not that 'The Night Before Christmas' does either badly, just that 'May Nights' does it a little better for my tastes.

Getting the short-comings out of the way, the story is a slight one anyway in the first place and there are times in the film where one can tell where at times the pace feels a little draggy and padded.

Some of the sound effects are on the overwrought side and the latter parts of the film is not always as easy to follow as what came before.

Conversely, 'The Night Before Christmas' holds up well visually. Even if the sky is obviously painted, the sets are handsome enough and still evoke a sense of wonder, whether dreamy or macabre. Really made me want to be there, and this is complemented by the quite lavish photography, that is never too flashy or overblown nor simplistic or static and beautiful use of colour. The practical effects similarly are imaginatively done, have a charm and don't look cheap, the film doesn't overuse them and uses them when necessary. The music score is a mix of eccentric, whimsical, romantic and haunting, while not being at odds with what is going on.

The comedy is generally very funny and at its best hilarious, without being overdone to the point of being cartoony, while the quieter moments are charming even if they slow the film down slightly. It never feels over-complicated, yet never feels simplistic at the same time. Rou's direction is controlled and doesn't feel too heavy while also keeping things engaging. 'The Night Before Christmas' is not always easy to follow in the latter stages, but the surrealism didn't feel over the top and the more macabre elements are darkly unsettling while not being too scary. Didn't feel that the film was too stagy.

Found myself enjoying the characters, with the Devil being the most enjoyable and entertaining, a very memorable creation. The acting suits them well, on the theatrical side at times (not uncommon in a Rou film, or Russian fantasy), but didn't find them irritating or bland in any way.

In summary, very nice fantasy if not quite a classic, also feel that Rou has done better films. 8/10

This remarkable work merges into one powerful creative stream the genius of two outstanding figures of Russian culture: the writer Nikolay Gogol and the filmmaker-storyteller Alexander Rowe.

Gogol, a close friend of Pushkin, is a very original Russian writer, whose childhood and youth were spent in South-West Russia, also known as Little Russia or the Ukraine. He was one of the first to notice and embody the enormous literary potential of Little Russian life and folk art. The story "The Night Before Christmas", on which this film was shot, opens the cycle of his Little Russian works.

You might think that this is a typical love story, but in fact this is only the background, and in moral terms the Blacksmith, who fell in love with an arrogant and frivolous girl, is no better than the lustful Deacon who came to the Witch at night. This fits in well with the general outline of Russian literature, which traditionally looks down on the base passions of man. This is, first of all, a story about the triumph in a person's soul at Christmas in the context of a distinctive southern Russian village, which perfectly conveyed its atmosphere with all the qualities characteristic of the people of southern Russia, such as a sense of humor, kindness, broad soul, the ability to both deeply immerse themselves in thought and to walk, sing and have fun on all holidays, especially Christmas and Easter.

There is no evil in this story, the evil is leveled down to petty human vices, the victory over which is symbolized by the solemn worship at the end. Even the devil, played by the brilliant Georgiy Millyar, is not an enemy of humanity here, but the same victim of his own petty vindictiveness, appearing in an exclusively comical image. This is an exceptionally kind Soviet film for a kind holiday like Christmas and New Year.

It's pre-Christmas time, people are at home a lot, often old and young together. It's not uncommon to switch on the TV and watch a family film. You've seen the classics many times, but the films from the second series and especially the newer productions are usually more of a torture than a nice, cosy watch together. But there are also insider tips, lesser-known treasures, and this is definitely one of them. A magical fairy tale, ideal for the current times. And magical really hits the nail on the head, something like this cannot be reproduced today. The colours, Bava must have been delighted, the timeless tricks, it works without CGI, it works better without CGI, the backdrops, as if sprung from a dream, the surreal yet realistic atmosphere and last but not least the pleasant running time.

Add it to your programme, every year.

It's hard not to fall in love with the visual aesthetics here. Yes, they're right in line with those of similar titles - works of fantasy from central and eastern Europe in the 60s, 70s, or even early 80s - but in some capacity one is also reminded of the whimsical creations of French pioneer Georges Méliès. The sets alone are terrific with some lovely fine detail, to say nothing of the costume design, hair, and makeup. The stunts and effects are very simple, betraying the inauthenticity, yet there's a charming whimsy to them that's magical and endearing. This pointedly goes even for Kseniya Blinova's editing, and for Arkadi Filippenko's flavorful music, and the use of lighting at select times is just as delightful. Not to be outdone, the whole cast give spirited, animated performances that accentuate the fancifulness. With all this firmly in mind, the storytelling in 'Evenings on a farm near Dikanka,' alternatively known as 'The night before Christmas,' is largely visual. By all means, one will be stymied if one isn't fluent in Russian, or has the benefit of subtitles, or at least has Nikolai Gogol's original story as a point of reference. Yet between Aleksandr Rou's scene writing and direction, and the players' expressive acting, the dialogue almost serves as a rounding facet and finishing touch, like a song that can be appreciated by considering the vocals as another instrument rather than as purveyor of lyrics.

The narrative, meanwhile, is a minor joy, and distinctly follows Gogol's 'Christmas Eve' very closely. What we're given is a fantastical tale stirring together the mischief of The Devil, sorcery, the goings-on and social dynamics of a small rural village - and, of course, love - all at Christmastime. It's not a fiercely gripping saga that demands our eyes and ears, yet it's quite enchanting in and of itself, with clear influence from and reference to the culture in which it was written, and associated folklore. With that short story serving as solid foundation, all those working on this 1961 adaptation had the chance to let their creativity flourish, and the result is ever richer for the splendid work that all turned in, even down to Dmitri Surensky's smart cinematography. This won't appeal to all comers, and as suggested there are certain limitations on who will get the most out of it, but it remains an inviting, duly absorbing picture that's as enjoyable as it is lighthearted. Whether one has a particular interest in Russian cinema, Gogol, atypical holiday flicks, or is just looking for something good to watch, 'Evenings on a farm near Dikanka' is an excellent little movie that's worth checking out.

A very atmospheric movie. In Russia, it is always shown on New Years. Real Russian winter. Great acting and storyline.