Dnevnik Glumova (1923)

Filmic insert to Eisenstein's modernized, free adaptation of Ostrovskiy's 19th-century Russian stage play, "The Wise Man" ("Na vsyakogo mudretsa dovolno prostoty"). The anti-hero Glumov ... See full summary »

Director:

Sergei M. Eisenstein

Stars:

Grigori Aleksandrov, Aleksandr Antonov, Sergei M. Eisenstein

Cast

Credited cast:
Grigori Aleksandrov	...	Glumov 2, Golutvin
Aleksandr Antonov	...	Joffre
Sergei M. Eisenstein	...	Himself (takes bow at end)
Mikhail Gomorov	...	Turusina
Junior Inkizhinov	...	Small child
Vera Muzykant	...	Mashenka, Mary McLack
Ivan Pyryev	...	Fascist clown
Maksim Shtraukh	...	Milyukov-Mamaev
Vera Yanukova	...	Mamaeva
Ivan Yazykanov	...	Glumov 1

Storyline

Filmic insert to Eisenstein's modernized, free adaptation of Ostrovskiy's 19th-century Russian stage play, "The Wise Man" ("Na vsyakogo mudretsa dovolno prostoty"). The anti-hero Glumov tries to escape exposure in the midst of acrobatics, derring-do, and farcical clowning. Several members of Eisenstein's troupe at the legendary "Proletkult" stage theatre in Moscow briefly appear in this little film.

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Genres:

Short

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Details

Country:

Soviet Union

Also Known As:

Glumov's Diary

Company Credits

Production Co:

Proletkult

Technical Specs

Runtime:

5 min

Sound Mix:

Silent

Color:

Black and White

Aspect Ratio:

1.33 : 1

Did You Know?

Trivia

The first film directed by Sergei M. Eisenstein.

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Connections

Featured in The Story of Film: An Odyssey: Episode #1.3 (2011)

User Reviews

GLUMOV'S DIARY (Sergei M. Eisenstein, 1923) **

A weird 5-minute short which saw the debut of one of cinema's most important figures (who even appears at the start to salute the audience!) in the development of cinema technique. This is evident even here, as the film starts by introducing various characters (circus clowns, from what I could gather) fixed in a pose to which they all return at some point during the plot less proceedings! Another odd element has each of them enter one particular scene and dissolve into some object or other. For what it is, the bafflingly-titled film is tolerable, even proficient – but, considering the heavily political/social themes Eisenstein would tackle in his influential features soon after, this is at once bland and unmemorable.