7.2/10
302
6 user 7 critic

Tikhiye stranitsy (1994)

The existential protagonist is a hungry, homeless, socially isolated, and socially alienated young man living on the streets of an anonymous Russian big city in the 19th Century. He's ... See full summary »

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1 win & 1 nomination. See more awards »

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Cast

Cast overview:
Aleksandr Cherednik
Sergey Barkovskiy
Elizaveta Koroleva
Galina Nikulina
Olga Onishchenko
S. Toropov
S. Shurygin
V. Maslachkov
Valeri Kozinets
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Storyline

The existential protagonist is a hungry, homeless, socially isolated, and socially alienated young man living on the streets of an anonymous Russian big city in the 19th Century. He's looking for answers about himself and the things that he sees around him, but he's coming up short. Very innovative cinematography that alternates between B&W and full color through the course of the film in a way that accents the dramatic action. Sometimes, a B&W scene will even become full color in just one spot on the screen, a unique alternative to a close up shot. Written by Joe Kulik-jkulik919@gmail.com

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Drama

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Release Date:

8 October 1994 (Japan)  »

Also Known As:

Whispering Pages  »

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Did You Know?

Connections

Featured in Histoire(s) du cinéma: Les signes parmi nous (1998) See more »

Soundtracks

Kindertotenlieder
Composed by Gustav Mahler
Text by Friedrich Rückert
Performed by The Mariinsky Theatre Orchestra
Conducted by Algierdas Paulowicz (as A. Paulowiczius)
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User Reviews

 
The Definition of Pretentious Garbage
5 March 2003 | by (Stockholm, Sweden) – See all my reviews

I saw this piece of pseudo-intellectual crap a couple of years ago, and it is now making a comeback at the local film club. It uses every cliché in the Intellectual Movie Makers Handbook (Beginners Edition) in order to appear as intellectual as the director probably imagines himself to be. You get your run-of-the-mill slow-motion tempo, brown color scale, slow pans through bombed-out environments, blank, suffering facial expressions, over-symbolic imagery, and the requisite miserable ending.

It is a complete failure, an unintentional perfect caricature of the typical Russian art movie. The director, Aleksandr Sokurov, has excellent command of technique, but he lacks eye. He doesn't see when he crosses the line into the realm of the pathetic.

This movie is a wet dream for art film haters. It lives up to every stereotypical view of the genre that there is.

If it was bad in an entertaining way, it would a turkey. But for a movie that is so bad that you walk out afterwards royally p***ed-off, we need a new term. This movie is a Sokurov.


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