Dear Comrades (Dorogie tovarishchi)
Russian director Andrei Konchalovsky continues his prolific chameleonic streak with his latest project, Dear Comrades, which will feature, once again, the director’s wife, actress Julia Vysotkaya. Konchalovsky famously collaborated with Andrey Tarkovsky on several projects, notably writing 1966’s Andrei Rublev before eventually breaking out as prestigious director with a string of celebrated titles which would lead him to Hollywood…and back. After winning the Crystal Globe at Karlovy Vary for 1974’s A Lover’s Romance, Konchalovksy competed four times for the Palme d’Or with 1979’s Siberiade (winning the Grand Jury Prize), 1986’s Runaway Train (which netted Eric Roberts an Oscar nod), 1987’s Shy People (for which Barbara Hershey won Best Actress at the fest), and 1994’s Assia and the Hen with the Golden Eggs.…...
Russian director Andrei Konchalovsky continues his prolific chameleonic streak with his latest project, Dear Comrades, which will feature, once again, the director’s wife, actress Julia Vysotkaya. Konchalovsky famously collaborated with Andrey Tarkovsky on several projects, notably writing 1966’s Andrei Rublev before eventually breaking out as prestigious director with a string of celebrated titles which would lead him to Hollywood…and back. After winning the Crystal Globe at Karlovy Vary for 1974’s A Lover’s Romance, Konchalovksy competed four times for the Palme d’Or with 1979’s Siberiade (winning the Grand Jury Prize), 1986’s Runaway Train (which netted Eric Roberts an Oscar nod), 1987’s Shy People (for which Barbara Hershey won Best Actress at the fest), and 1994’s Assia and the Hen with the Golden Eggs.…...
- 1/3/2020
- by Nicholas Bell
- IONCINEMA.com
Feature Ryan Lambie Jan 23, 2013
Jack Palance kisses mice. Teri Hatcher plays drums. Just two of the many remarkable things we've discovered in Tango & Cash...
In this occasional series of 'remarkable things' articles, we've mostly focused exclusively on movies that were critical or financial flops. Previous entries have included Jaws: The Revenge, Battlefield Earth and RoboCop 3, which all suffered in both critics' reviews and at the box office.
This time, our choice isn't a notorious flop at all - it's Tango & Cash, a film which actually made a few million dollars more than it cost to make. At this stage in Sylvester Stallone's career, which featured the critical and financial nightmares Rocky V, Oscar and Stop! Or My Mom Will Shoot, Tango & Cash was a comparative blockbuster.
In terms of critical reception, though, Tango & Cash fared less well. It was nominated for three Razzies (though won precisely none) and reviews...
Jack Palance kisses mice. Teri Hatcher plays drums. Just two of the many remarkable things we've discovered in Tango & Cash...
In this occasional series of 'remarkable things' articles, we've mostly focused exclusively on movies that were critical or financial flops. Previous entries have included Jaws: The Revenge, Battlefield Earth and RoboCop 3, which all suffered in both critics' reviews and at the box office.
This time, our choice isn't a notorious flop at all - it's Tango & Cash, a film which actually made a few million dollars more than it cost to make. At this stage in Sylvester Stallone's career, which featured the critical and financial nightmares Rocky V, Oscar and Stop! Or My Mom Will Shoot, Tango & Cash was a comparative blockbuster.
In terms of critical reception, though, Tango & Cash fared less well. It was nominated for three Razzies (though won precisely none) and reviews...
- 1/22/2013
- by ryanlambie
- Den of Geek
Ben Affleck’s new thriller Argo has been announced as the Opening Gala film of this year’s Leeds International Film Festival. The widely-acclaimed Argo, based on the remarkable true story of a CIA expert posing as a fake film producer in order to infiltrate Iran at the time of the hostage crisis in 1979 and rescue a group of stranded Americans, will open the annual festival at Leeds Town Hall on Thursday 1 November. Argo will be released in the UK by Warner Bros on Wednesday 7 November.
Now in its 26th year, the biggest film festival in England to be held outside London runs until Sunday 18 November and will present 167 feature films and special programmes in 257 screenings and events. The full programme, available to view at www.leedsfilm.com, is presented in five distinct sections: Official Selection, Retrospectives, Fanomenon, Cinema Versa, and Short Film City.
Amour closes the Official Selection
Opening this year with Argo,...
Now in its 26th year, the biggest film festival in England to be held outside London runs until Sunday 18 November and will present 167 feature films and special programmes in 257 screenings and events. The full programme, available to view at www.leedsfilm.com, is presented in five distinct sections: Official Selection, Retrospectives, Fanomenon, Cinema Versa, and Short Film City.
Amour closes the Official Selection
Opening this year with Argo,...
- 10/12/2012
- by Phil
- Nerdly
To remind us that director Terrence Malick’s work has always been divisive, along comes a BFI reissue of his 1978 film, Days Of Heaven. Michael takes a look back...
As Terrence Malick enjoys what could be the most attention he’s attracted in three decades (or, by his measure, three films) with this year’s divisive art flick Tree Of Life, the BFI are releasing a restoration of Days Of Heaven, one of the two films that made his reputation in the 1970s, before his two-decade hiatus from the industry that lasted until 1998’s The Thin Red Line.
In Days Of Heaven, a too-brooding, too-handsome Richard Gere stars as Bill, a young worker who, after a fatal tussle with a steel mill foreman, gathers up his girlfriend Abby (Brooke Adams) and his sister Linda (Linda Manz) and abandons 1916 Chicago to harvest crops out West. Posing as siblings, the trio work for a rich,...
As Terrence Malick enjoys what could be the most attention he’s attracted in three decades (or, by his measure, three films) with this year’s divisive art flick Tree Of Life, the BFI are releasing a restoration of Days Of Heaven, one of the two films that made his reputation in the 1970s, before his two-decade hiatus from the industry that lasted until 1998’s The Thin Red Line.
In Days Of Heaven, a too-brooding, too-handsome Richard Gere stars as Bill, a young worker who, after a fatal tussle with a steel mill foreman, gathers up his girlfriend Abby (Brooke Adams) and his sister Linda (Linda Manz) and abandons 1916 Chicago to harvest crops out West. Posing as siblings, the trio work for a rich,...
- 9/1/2011
- Den of Geek
Popular Russian film star and entertainer who brought a light touch to the Soviet era
After Nikita Khrushchev's denunciation of Stalin's "cult of personality" at the 20th party congress in February 1956, political and cultural life in the Soviet Union underwent many changes. One of the first films to benefit from "the thaw" was Eldar Ryazanov's musical-comedy Carnival Night (1956), starring Lyudmila Gurchenko, who has died of cardiac arrest aged 75.
The 21-year-old Gurchenko herself attracted a cult of personality with her sparkling performance as an enthusiastic member of a Soviet youth group (Komsomol) who is planning a fun-filled New Year's Eve celebration at the "house of culture". She is pitted against a pompous middle-aged bureaucrat who wants to make the occasion serious and educational by inserting communist slogans into the show. Tired of socialist realist films, which were required to glorify the revolution and the power of the collective, audiences...
After Nikita Khrushchev's denunciation of Stalin's "cult of personality" at the 20th party congress in February 1956, political and cultural life in the Soviet Union underwent many changes. One of the first films to benefit from "the thaw" was Eldar Ryazanov's musical-comedy Carnival Night (1956), starring Lyudmila Gurchenko, who has died of cardiac arrest aged 75.
The 21-year-old Gurchenko herself attracted a cult of personality with her sparkling performance as an enthusiastic member of a Soviet youth group (Komsomol) who is planning a fun-filled New Year's Eve celebration at the "house of culture". She is pitted against a pompous middle-aged bureaucrat who wants to make the occasion serious and educational by inserting communist slogans into the show. Tired of socialist realist films, which were required to glorify the revolution and the power of the collective, audiences...
- 4/3/2011
- by Ronald Bergan
- The Guardian - Film News
Itar-tass is reporting that the renowned Soviet and Russian actress Lyudmila Gurchenko has died in Moscow at the age of 75: "She played her best roles in Alexei German's Twenty Days Without War, Andrei Mikhalkov-Konchalovsky's Sibiriada, Nikita Mikhalkov's Five Evenings, Eldar Ryazanov's The Railway Station for Two, Pyotr Todorovsky's Mechanic Gavrilov's Beloved Woman, and Roman Balayan's Flights in Dreams and Reality."
As her Wikipedia entry has it, she "achieved overnight fame and celebrity status at 21 after she starred in young Eldar Ryazanov's 1956 directorial debut, musical Carnival Night. The film was enormously popular and made Lyudmila famous overnight. Throughout the next two years she toured the entire country with her Carnival Night-inspired musical numbers, attracting crowds of fans. The Soviet cultural establishment, however, deemed her style too western and too out of line with Soviet standards." But she made a roaring comeback, eventually receiving the...
As her Wikipedia entry has it, she "achieved overnight fame and celebrity status at 21 after she starred in young Eldar Ryazanov's 1956 directorial debut, musical Carnival Night. The film was enormously popular and made Lyudmila famous overnight. Throughout the next two years she toured the entire country with her Carnival Night-inspired musical numbers, attracting crowds of fans. The Soviet cultural establishment, however, deemed her style too western and too out of line with Soviet standards." But she made a roaring comeback, eventually receiving the...
- 4/3/2011
- MUBI
Hong Kong International Film Festival
HONG KONG -- In what is sure to be viewed as a Russian spin on The Devil Wears Prada, director Andrei Konchalovsky (Sibiriada, Runaway Train) turns an only partially jaundiced eye at the modern fixation on celebrity and fashion.
This is somewhat outdated and well-worn material, and explorations of the encroachment of Western celebrity culture on developing nations isn't new either. On top of that, a good amount of the film relies on tired character archetypes. Although cinematically polished and possessing an engaging lead, Gloss never manages to take flight as an effective satire.
Any film skewering the fashion industry and what was once called The Jet Set is likely to get attention from independent and Art House distributors. Gloss certainly has the production values for limited overseas release, but it's just as likely to be consigned to DVD after a spin on the festival circuit.
Galya (an appropriately low-rent Yulia Vysotskaya) is a working-class seamstress in the backwater town of Rostov-on-Don who dreams of becoming Russia's next great supermodel. After she's featured in a second-rate ad in a local newspaper, she decides the time is right to move to Moscow. She borrows enough money to get there from her on-and-off thug boyfriend, Vitya (Ilya Isaev), and quickly finesses her way into the office of the editor of Beauty magazine.
The editor, Marina (Irina Rozanova), lays the brutal truth on Galya: She doesn't stand a chance of making her mag's cover. Only temporarily defeated, Galya lands on her feet by working as a seamstress for the Karl Lagerfeld-like Mark (Yefim Shifrin), stumbles (literally) onto the runway in his new collection's show, loses her job and winds up working for erstwhile agent and escort mogul Petya (Gennady Smirnov). In the end, she does make the cover of Beauty after being transformed into a latter-day Grace Kelly and marrying up to politico Klimenko (Alekander Domogarov).
There's a lot going on in Gloss, and Konchalovsky and co-writer Dunya Smirnova go to great pains to draw links among fashion, prostitution, power and celebrity while at the same time peeling some of the glamor from the glitterati. The film is populated by shallow, fundamentally unhappy people who are simply spinning their wheels.
Marina's magazine is just a little behind the curve, and she feels her age when she looks at her competition, some of which comes in the form of her arrogant, needling daughter Nastya (Olga Arntgolts). Rozanova is affecting as a former beauty facing forced retirement, but she's only in Galya's sphere for a fleeting moment. Gloss is loaded with partially explored ideas, but therein lies the problem: They're also partially unexplored.
GLOSS
A Mosfilm, Motion Investment Group, Cadran Prods., Studio Canal, Backup Films production
Sales agent: Fortissimo Films
Credits:
Director: Andrei Konchalovsky
Screenwriters: Andrei Konchalovsky, Dunya Smirnova
Producer: Andrei Konchalovsky
Director of photography: Mariya Solovyova
Production designer: Yekaterina Zaletayeva
Music: Eduard Artemyev
Co-producers: Jeremy Burdek, Nadia Khamlichi, Adrian Politowski
Editor: Olga Grinshpun
Cast:
Galya: Yulia Vysotskaya
Zhanna: Olga Meloyanina
Vitya: Ilya Isaev
Marina: Irina Rozanova
Nastya: Olga Arntgolts
Mark: Yefim Shifrin
Petya: Gennady Smirnov
Klimenko: Alekander Domogarov
Running time -- 118 minutes
No MPAA rating...
HONG KONG -- In what is sure to be viewed as a Russian spin on The Devil Wears Prada, director Andrei Konchalovsky (Sibiriada, Runaway Train) turns an only partially jaundiced eye at the modern fixation on celebrity and fashion.
This is somewhat outdated and well-worn material, and explorations of the encroachment of Western celebrity culture on developing nations isn't new either. On top of that, a good amount of the film relies on tired character archetypes. Although cinematically polished and possessing an engaging lead, Gloss never manages to take flight as an effective satire.
Any film skewering the fashion industry and what was once called The Jet Set is likely to get attention from independent and Art House distributors. Gloss certainly has the production values for limited overseas release, but it's just as likely to be consigned to DVD after a spin on the festival circuit.
Galya (an appropriately low-rent Yulia Vysotskaya) is a working-class seamstress in the backwater town of Rostov-on-Don who dreams of becoming Russia's next great supermodel. After she's featured in a second-rate ad in a local newspaper, she decides the time is right to move to Moscow. She borrows enough money to get there from her on-and-off thug boyfriend, Vitya (Ilya Isaev), and quickly finesses her way into the office of the editor of Beauty magazine.
The editor, Marina (Irina Rozanova), lays the brutal truth on Galya: She doesn't stand a chance of making her mag's cover. Only temporarily defeated, Galya lands on her feet by working as a seamstress for the Karl Lagerfeld-like Mark (Yefim Shifrin), stumbles (literally) onto the runway in his new collection's show, loses her job and winds up working for erstwhile agent and escort mogul Petya (Gennady Smirnov). In the end, she does make the cover of Beauty after being transformed into a latter-day Grace Kelly and marrying up to politico Klimenko (Alekander Domogarov).
There's a lot going on in Gloss, and Konchalovsky and co-writer Dunya Smirnova go to great pains to draw links among fashion, prostitution, power and celebrity while at the same time peeling some of the glamor from the glitterati. The film is populated by shallow, fundamentally unhappy people who are simply spinning their wheels.
Marina's magazine is just a little behind the curve, and she feels her age when she looks at her competition, some of which comes in the form of her arrogant, needling daughter Nastya (Olga Arntgolts). Rozanova is affecting as a former beauty facing forced retirement, but she's only in Galya's sphere for a fleeting moment. Gloss is loaded with partially explored ideas, but therein lies the problem: They're also partially unexplored.
GLOSS
A Mosfilm, Motion Investment Group, Cadran Prods., Studio Canal, Backup Films production
Sales agent: Fortissimo Films
Credits:
Director: Andrei Konchalovsky
Screenwriters: Andrei Konchalovsky, Dunya Smirnova
Producer: Andrei Konchalovsky
Director of photography: Mariya Solovyova
Production designer: Yekaterina Zaletayeva
Music: Eduard Artemyev
Co-producers: Jeremy Burdek, Nadia Khamlichi, Adrian Politowski
Editor: Olga Grinshpun
Cast:
Galya: Yulia Vysotskaya
Zhanna: Olga Meloyanina
Vitya: Ilya Isaev
Marina: Irina Rozanova
Nastya: Olga Arntgolts
Mark: Yefim Shifrin
Petya: Gennady Smirnov
Klimenko: Alekander Domogarov
Running time -- 118 minutes
No MPAA rating...
- 3/27/2008
- The Hollywood Reporter - Movie News
NEW YORK -- Fortissimo Films has picked up the rights to Andrei Konchalovsky's Russian satire Gloss, which will be screened next month at the Hong Kong International Film Festival.
The feature centers on a poor girl from a coal-mining town who travels to Moscow with dreams of being a supermodel. After being forced to work as a seamstress, she stumbles her way to the top in a story that spoofs Russia's newfound capitalism.
Writer-director Konchalovsky broke through with U.S. films in the 1980s with the Oscar-nominated Runaway Train after his acclaimed 1980 Russian feature Siberiade.
Fortissimo's Michael J. Werner made the deal for all worldwide sales rights outside France and Russia with the director. The film was screened this month at the European Film Market in Berlin.
The feature centers on a poor girl from a coal-mining town who travels to Moscow with dreams of being a supermodel. After being forced to work as a seamstress, she stumbles her way to the top in a story that spoofs Russia's newfound capitalism.
Writer-director Konchalovsky broke through with U.S. films in the 1980s with the Oscar-nominated Runaway Train after his acclaimed 1980 Russian feature Siberiade.
Fortissimo's Michael J. Werner made the deal for all worldwide sales rights outside France and Russia with the director. The film was screened this month at the European Film Market in Berlin.
- 2/28/2008
- The Hollywood Reporter - Movie News
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