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Rating: 
Summary: A Much Needed Book
Review: REAL IMAGES is a very interesting look at Soviet Cinema from 1953 to 1967. I can't think of another book that deals with the films of this era so completely. It is the book to turn to when one has finished Peter Kenez's history of Soviet Cinema to 1953.What makes the book so interesting is that the author has investigated the background to each film, such as the controversy that projects such as "Carnival Night," "Nine Days of One Year" and "Ilich's Gate/I Am Twenty" generated before and during filming. These critical responses are tied to the political shifts of the Khrushchev era. If there are any drawbacks, it is that the book opens slow, but then the interesting films didn't really start appearing until 1956. Also, the Shakespeare films of Soviet directors aren't really covered, but I can understand why the author made that choice. Still, the positive features far outweigh any criticism. The book gives new perspective on directors such as Mikhail Romm, and shows the start of the careers of directors such as Eldar Riazonov and Elim Klimov. It adds flesh and spirit to the overviews of "Thaw" era Soviet cinema that appeared in The Most Important Art and other books. Strongly recommended to anyone with an interest in Soviet cinema in general or European film of the Fifties and Sixties.
Rating:
Summary: A Much Needed Book
Review: REAL IMAGES is a very interesting look at Soviet Cinema from 1953 to 1967. I can't think of another book that deals with the films of this era so completely. It is the book to turn to when one has finished Peter Kenez's history of Soviet Cinema to 1953. What makes the book so interesting is that the author has investigated the background to each film, such as the controversy that projects such as "Carnival Night," "Nine Days of One Year" and "Ilich's Gate/I Am Twenty" generated before and during filming. These critical responses are tied to the political shifts of the Khrushchev era. If there are any drawbacks, it is that the book opens slow, but then the interesting films didn't really start appearing until 1956. Also, the Shakespeare films of Soviet directors aren't really covered, but I can understand why the author made that choice. Still, the positive features far outweigh any criticism. The book gives new perspective on directors such as Mikhail Romm, and shows the start of the careers of directors such as Eldar Riazonov and Elim Klimov. It adds flesh and spirit to the overviews of "Thaw" era Soviet cinema that appeared in The Most Important Art and other books. Strongly recommended to anyone with an interest in Soviet cinema in general or European film of the Fifties and Sixties.
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