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IMDbPro

Umirayushchiy lebed

  • 19171917
  • 49m
IMDb RATING
7.1/10
997
YOUR RATING
Umirayushchiy lebed (1917)
Drama
A grief-stricken ballerina becomes the obsession of an increasingly unhinged artist.A grief-stricken ballerina becomes the obsession of an increasingly unhinged artist.A grief-stricken ballerina becomes the obsession of an increasingly unhinged artist.
IMDb RATING
7.1/10
997
YOUR RATING
    • Yevgeny Bauer
    • Zoya Barantsevich
  • Stars
    • Vera Karalli
    • Aleksandr Kheruvimov
    • Vitold Polonsky
    • Yevgeny Bauer
    • Zoya Barantsevich
  • Stars
    • Vera Karalli
    • Aleksandr Kheruvimov
    • Vitold Polonsky
  • See production, box office & company info
    • 11User reviews
    • 5Critic reviews
  • See production, box office & company info
  • See more at IMDbPro
  • Photos

    Umirayushchiy lebed (1917)
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    Top cast

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    Vera Karalli
    Vera Karalli
    • Gizella - mute dancer
    Aleksandr Kheruvimov
    • Gizella's Father
    Vitold Polonsky
    Vitold Polonsky
    • Viktor Krasovsky
    Andrey Gromov
    • Valeriy Glinskiy - the artist
    • (as Andrej Gromov)
    Ivane Perestiani
    • Glinskiy's friend
      • Yevgeny Bauer
      • Zoya Barantsevich
    • All cast & crew
    • Production, box office & more at IMDbPro

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    Storyline

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    User reviews11

    Review
    Review
    Featured review
    The dying image (of an era)
    Only ten months after the January 1917 release of the film, the whole Russian worldview was going to be torn asunder. The Soviet cinema that emerged post- 1922 was going to commit itself in the pursuit of the mechanisms that drive forward the eye, a collective eye that did not contemplate any more but would set in motion by seeing.

    So, this is a really precious film to have, I think; a snapshot of the world about to be swept aside, and the transfiguration of the core of that world in terms of cinema.

    So, whereas with Eisenstein or Pudovkin, the heroic focus shifts on the disenchanted individual - the faces tired but resolute, the living hard but rigorously driven - who is transformed, subsumed into a mass of collective struggle redolent with immediate purpose, Bauer's films shows a life distraught with aimlessness, women as fragile, ethereal beings - a far cry from Pudovkin's Mother - and the members of a decadent aristocracy, the ruling class not quite able to even rule their own lives, as entombed in morbid fixations with images of the past. Faces are nervous, agitated, sunken from inner weights.

    In Daydreams it was the image of a dead wife; here it is the image of a ballerina, the swan with broken wings, as evoking the essence of death. The young painter will eventually have to stage the picture of death he wants to immortalize.

    On the whole, this one more gloomy than Bauer's rest, it evokes an atmosphere of Poe; a tragic, romantic exaltation of woe. It's potent as Gothic romance but - like Poe - rather comfortably nudged in its archaism. It's not something I will keep with me, unlike Daydreams and its Vertigo-esque dizziness.
    helpful•7
    1
    • chaos-rampant
    • Sep 13, 2011

    Details

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    • Release date
      • January 17, 1917 (Russia)
      • Russia
      • None
      • Sign Languages
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    • Production company
      • JSC "A. Khanzhonkov and K"
    • See more company credits at IMDbPro

    Technical specs

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    • 49 minutes
      • Black and White
      • Silent

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