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Lichnoe delo Anny Akhmatovoy (1990)

6.5
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Ratings: 6.5/10 from 13 users  
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An impressionistic look at the life of Russian poet, Anna Akhmatova, 1889-1966. It begins and ends with footage from her funeral, and includes readings from her diaries and of her poems. ... See full summary »

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Title: Lichnoe delo Anny Akhmatovoy (1990)

Lichnoe delo Anny Akhmatovoy (1990) on IMDb 6.5/10

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Anna Akhmatova ...
Herself (archive footage)
Lidiya Chukovskaya ...
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An impressionistic look at the life of Russian poet, Anna Akhmatova, 1889-1966. It begins and ends with footage from her funeral, and includes readings from her diaries and of her poems. Also included are passages of official Soviet criticism. She was born near Odessa, married and published her first volume of poetry in 1912, was a friend of Blok, Mandelshtam, Pasternak, and Solzhenitsyn, and recounts an extraordinary day with Marina Tsvetaeva about a month before Tsvetaeva's death. Her husband Nikolai Gumilyov was shot in 1921, the same month Blok died. Her only son, Lev, was imprisoned in the Stalin era. Recognition came after many sorrows, too late to be sweet. Written by <jhailey@hotmail.com>

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4 May 1990 (Netherlands)  »

Also Known As:

The Anna Achmatova File  »

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Comment of a specialist of contemporary Russian cinema
15 April 2000 | by (Japan) – See all my reviews

This is an experimental documentary, narrating the life of poetess Anna Akhmatova through photos reading of her memoirs, a variety of documentary materials from Imperial Russia to the regime of N. Khrushchev. Associative montage here is based on the combination of images and the woman's voice, reading text by the poetess. The year in which this film was made is marked by the abundance of Christian motives and the images of "the judgment of God. Certainly in this film of S.Aranovich one can also notice such a tendency. In the first part of it you see the documentary episode showing the distraction of the Cathedral of the Resurrection, soon after that and in the last part of the film the image of some funeral in the church repeatedly appears. To say, the film is framed by 2 funerals. And everywhere in the film you can see images of icons, churches and crosses, the depressed atmosphere is emphasized by Gvaidulina's heavy music. From cinematographic point of view it's worth to point the frequent use of dissolve linking two shots very similar to each other in object and time within them. It seems to express the sense of abnormally prolonged time under Soviet regime.


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