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Dnevnik Glumova (1923)

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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 »

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Title: Dnevnik Glumova (1923)

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Cast

Credited cast:
Grigori Aleksandrov ...
Glumov 2, Golutvin
Aleksandr Antonov ...
Joffre
...
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
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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. Written by Steven P Hill, University of Illinois.

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Genres:

Short

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Also Known As:

Glumov's Diary  »

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Technical Specs

Sound Mix:

Aspect Ratio:

1.33 : 1
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Did You Know?

Trivia

Long assumed to be lost, this little debut film by Eisenstein (a year or two before "Strike") was re-discovered decades later, contained in a short newsreel compiled in 1923 by Dziga Vertov ("Spring Smiles of Proletkult"). See more »

Connections

Featured in Sergei Eisenstein: Autobiography (1996) See more »

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User Reviews

Clowns Behaving Badly
24 July 2011 | by (New York City) – See all my reviews

Hailed as Eisenstein's first movie, DNEVIK GLUMOVA looks a lot like circus clowns let loose on the city, climbing to the top of buildings and generally behaving in a way that should send anyone who suffers from coulrophobia screaming for the exits.

Since it is an Eisenstein piece, the general reaction is that it is a harbinger of future glory and should be loved for that. Looking at it on its own merits, however, one is struck by the oddity of the piece. The Academician editing is staccato and as annoying as the clowns, and the pacing of the cuts is monotonous and as boring.

Academician editing had quicker cuts than was standard for the era and, indeed, for anything short of MTV editing. However, the constant rate of cutting makes all the clips of equal impact and prevent any sort of emotional connection. This may have been Eisenstein's intention, but it is too great a demand on the viewer. Eisenstein would learn to do better, but his failures here make this of no more than historical importance.


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