Umirayushchiy lebed

I can assume that Bergman must watched this and created THE MAGICIAN's character (Max von Sydow did a perfect job). And our infamous, notorious Hideshi Hino's cult masterpiece MERMAID IN A MANHOLE, somehow utilized this tragic novella by Zika Barantsevich (what a genius, made every artists reflected themselves in a hysterical way including both of cult of feminine and pursuing of death).

How close that beauty is between death, and I think it would be no necessity to bring up Kierkegaard's theory or Psychoanalysis to kill this beautiful images, which to itself is brilliant enough in the cinematic way.

The mute protagonist, what a brilliant sleight of hand to adapt into the silent film, well indeed, it is way more moralizing to appreciate those tragedy in a disability's POV, and we awry feel that the dishonesty of the male in the beginning is way more pathetic than the ending of killing. Perhaps, we do not have enough hysteria from this crazy artist, but what we see somehow is a quintessential and clear pathos that Russian directors at that moment bring to us, this peculiar art of morality and psycho.

I see also a lot Bergman's threads in it, like the stage-within-film, painting-within-film. And even some avant-garde, dolly out, tinted dream surrealism, and depth in the composition with a beautiful parallel action from the front and back with dishonesty of the partner, how brilliant, how moralizing (decreased the CITIZEN KANE's reputation again). And some tribute, probably to the CARMENCITA(1894)or Annabelle's dance (1894-1895) I'm tired with figuring out which dance is earlier, but they do somehow ground this aesthetic of reproducing the dance over the screen.

Poor Gizella Love the plot, evoke my new script.

A mute ballet dancer is jilted in love and finds herself crossing paths with a deranged artistic noble and inevitable tragedy results. Good directing and good acting make this slow-going film worth the watch. The mousy and odd-looking but charming Vera Karalli acted well considering she started out as a ballerina. The film features a segment of her dancing and what an inspired moment in film and a marvel of fate it survived for posterity. If only the same can be said for Nijinsky. This melodramatic decadent curio from the dying age of the Tsars is a dated but charming remnant from the distant past.

Sadly, Yevgeni Bauer would die soon after this, a morbid reminder in and of itself that life sometimes reflects art first. And in viewing "Umirayushchii Lebed" it is nearly impossible to not think that Bauer was not influenced by the literary works of Edgar Allan Poe. There are too many parallels there. Particularly the influence of women on the lives of the two men.

While Bauer's earlier marks in film were more technical, it is the acting and Zoya Barantsevich's story that shines this time around. The cast is similar to his earlier "Posle Smerti" and again employs Vera Karalli as its star. Karalli plays a beautiful dancer (the dying swan) who tragically is also a mute. When the first suitor of her life breaks her heart a lonely artist becomes totally enthralled by her beauty as well...but in a completely different way.

Andrej Gromov plays this second of the two men in her life and does a masterful job of showing us an unhappy, dark, mysterious man-on-a-mission...for lack of a better term. The outdoor locations at the beginning of the film portray a happy world where the lovely Karalli lives with her loving father before her fateful meeting with Gromov. And once again Bauer shows us his fascination with dreams and their meaning, particularly as they coincide with the films ironic conclusion. And the film again features a nice score; this time by Joby Talbot and his violin-cello-piano trio.

The nutshell: not technically groundbreaking such as Bauer's "Posle Smerti" was but still comes across as more enjoyable because of its acting, storyline, and emotional response from the viewer. Again, not a feature length film but worth checking out...8/10.

The Dying Swan is surpassingly beautiful, the kind of movie you can sink into. Bauer seemed to be someone who loved the medium of film, there's beautiful framing and deep focus photography from the very first scene where a father and daughter go fishing whilst in the deep background we see a horse lolling at the waterside. It's a film filled with sunlight (seems strange that the black and white medium could be used so effectively to portray natural light). You get the idea that filmmakers used to be more subtle, Bauer crafts beauty from the shadow of a palm frond on a sunny porch, and uses moving camera shots sparingly and for maximum effect.

The film also has elements of humour, Bauer clearly enjoying making a mockery out of a fatalistic death-obsessed Count who sees his own amateurish daubs as masterpieces. Russia was supposedly in the grip of morbidity in this period.

The story is about a young woman (Gizelle) who is mute and lives with her father. She falls in love with a young man, stintingly, and is upset when she discovers a dalliance of his. The great passion of her life is dancing so she resolves to leave home and become a ballerina. She is sad and dances a solo ballet piece which is meant to imitate the death of a swan, and is in fact, very beautiful. The actress Vera Karalli was actually a great ballet dancer and danced with Diaghilev's Ballets Russes. Often the dancing in old films is a bit less than spectacular (I'm thinking of Les Vampires, and Der Heilige Berg), that is not the case here.

I've mentioned the painter Alma Tadema in reviews before, and I think Bauer does some shots which are similar to his type of preoccupations, shots of architecture, generally balconies with glimpses of landscape or seascape in the distance. Bauer is not quite as exaggerated, which is good seeing as the story is of folks more introverted that the Romans. I think early filmmakers particularly Griffiths were highly influenced by Victorian painters, unfortunately film's love affair with painting and image seems to have wained since then.

What I like about Mr Bauer as well are his dream sequences, which seem to resonnate at a primordial level (one might even call them Lynchian - especially as the one in this film is premonitive). There is a terrific one in Bauer's After Death (1915). The dead Zoya Kadmina (Vera Karalli again) appears to the student Bagrov in a dream, a wonderful rolling landscape of wheat-sheaves rolling away into the distance, her face incandescent. In Dying Swan Gizelle dreams that the Count who is painting her has already killed a predecessor of his obsession, she warns Gizelle that this is what is waiting for her and takes her down to a dungeon where hands close in on her, grasping.

Recommended to all.

Any discussion of silent film in Russia centers around the dawn of the Soviet era and its three great directors Eisenstein, Dovzhenko, and Pudovkin. Yet before World War I and the Russian Revolution there existed a flourishing film industry that is all but forgotten today. Among the people working at that time was one Evgeni Bauer (the first name has several different spellings) whose films I was totally unfamiliar with.

His career lasted only four years (he died in 1917 at the age of 52) but if the three films on this DVD are any indication of his other works then he certainly deserves the title "the greatest film director you have never heard of" given to him on the liner notes of this offering from Milestone Films. The most astonishing thing about these movies is how sophisticated their lighting and camerawork are. They are easily the equal of anything being done in Italy, France, or by D. W. Griffith at the time. Also noteworthy are the stories themselves which deal with psychological issues rarely found in films of this vintage.

Two of the three films feature Bolshoi ballerina Vera Karalli whose face is as expressive as her body. Her performance of the title piece in THE DYING SWAN from 1917 gives us a glimpse of what it would have been like to see Anna Pavlova dance. This story of a mute ballerina and an artist obsessed with death is the longest and most potent of the three thanks to its striking visual imagery. TWILIGHT OF A WOMAN'S SOUL (1913), the earliest of the films on the DVD, features a remarkably frank outlook on the plight of a woman who is abandoned by her husband after he discovers that she has been raped. Certain images from this film seem to foreshadow scenes in THE CABINET OF DR CALIGARI. The second feature AFTER DEATH (1915) deals with the effects of a woman's suicide on a sensitive young man. Parts of it resemble the cinematic landscape of early Kurosawa.

All three films have been restored from Russian archival prints and are in excellent shape considering their age and feature newly composed scores which are highly effective. There is also a brief documentary on what to look for in Bauer's works from Russian film scholar Yuri Tsivian. A major discovery for silent film enthusiasts and a real eye opener for movie buffs as well. While MAD LOVE is the title given to this collection of films, it could have been subtitled "The Russian Revelation"...For more reviews visit The Capsule Critic.