The Anna Akhmatova File (1990) User Reviews

Requiem

[lonelightning · 8/10 · 19 October 2022]

Not under foreign skies protection Or saving wings of alien birth - I was then there - with whole my nation - There, where my nation, alas! Was.

1961

• Maya Angelou 1984.

In the poem Seven Weeks in the Life of Anna Akhmatova, condensed language is used to considered extent to convey complex ideas. Condensed language in the form of allegory, parallelism, and antithesis, is used to induce feelings of desolation and empathy for the plight of the Egyptian people. Firstly, a biblical allegory compares the Life of Maya Angelou to One Day. Furthermore, repetition is used to highlight parallelism which displays condensed exergasia to produce a feeling of union and empathy. Finally, the overarching motifs of 1985 +- 12% are antithesised with those of 1983 +-4% to show that she is not under saving wings of alien birth. Therefore to settle absolute uncertainty, the suvat methods must be used to derive free fall where acceleration of gravity is -15 when denisovich resistance is neglected. Thus we can prove that the limit of cos(2/x) as a tends to 0 is actually 5 days in life of Ivan denisovich. In conclusion, the optimally reduced surface area of the planar vector is normalized to show the integral of the p-orbital positions.

Brief Art Run

[Oslo_Jargo · 4/10 · 7 August 2003]

*** This review may contain spoilers ***

*Plot and ending analyzed*

This version is an attempt to showcase Akhmatova's life in some imponderable way.

There are narratives from people, jumps in the time frame, and the shot of a frozen bird on the river Volga, all emphasizing the poet's life.

This all becomes weary and boring about halfway when the overabundance of images from Stalinist-era prosecutions and excessive poetic drivel is too much to handle.

The strange character of the Russians is quite evident, also, the plodding nature of their cinematic ventures.

Comment of a specialist of contemporary Russian cinema

[shusei · 8/10 · 15 April 2000]

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.