Ivan the Terrible (1944 film)

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(Redirected from Ivan the Terrible, Part Two)
Ivan the Terrible
Theatrical poster
Directed bySergei Eisenstein
Written bySergei Eisenstein
Produced bySergei Eisenstein
Starring
CinematographyAndrei Moskvin
Eduard Tisse
Edited bySergei Eisenstein
(Part I)
Esfir Tobiak
(Part II)
Music bySergei Prokofiev
Release dates
  • 20 January 1945 (1945-01-20) (Part 1)
  • 1958 (1958) (Part 2)
Running time
187 minutes
Part 1: 99 minutes
Part 2: 88 minutes
CountrySoviet Union
LanguageRussian

Ivan the Terrible (Russian: Иван Грозный, romanized: Ivan Grozny) is a two-part Soviet epic historical drama film written and directed by Sergei Eisenstein.[1] A biopic of Ivan IV of Russia, it was Eisenstein's final film, commissioned by Soviet leader Joseph Stalin.

Part I was released in 1945, and received a Stalin Prize. Part II, although it finished production in 1946, was not released until 1958, as it was banned on the order of Stalin, who intensely disliked the depiction of Ivan therein. Eisenstein had developed the scenario to require a third part to finish the story, but with the banning of Part II, filming of Part III was stopped. After Eisenstein's death in 1948, what had been completed of Part III was mostly destroyed.

Plot

Ivan the Terrible, Parts I and II

In the prologue, Ivan's mother, Elena Glinskaya, and her lover are murdered by the boyars. Later Ivan is enthroned as the grand prince of Moscow.[2] The prologue was removed by Soviet censors; however, the scenes of Ivan's childhood from the prologue were inserted into part 2 as flashbacks.[3]

Part I

In 1547, 17-year-old Ivan IV is coronated as the tsar of all Russia, amid animosity from the boyars and silent jealousy from his cousin, Vladimir of Staritsa and Vladimir's mother and Ivan's aunt, Yefrosinya Staritskaya. Ivan makes a speech proclaiming his intent to unite and protect Russia against the foreign armies outside her borders and the enemies within – a reference to the boyars, who are already seen as discontented with his coronation. Heinrich von Staden asks Prince Andrei Kurbsky why Ivan is more worthy to rule than Kurbsky is, sowing the seeds of doubt into his heart. Shortly after, Ivan marries Anastasia Romanovna. Fyodor Kolychov, a close friend of Ivan, informs Ivan that he cannot support Ivan in his mission against the boyars and receives Ivan's permission to retire to monastic life. Kurbsky, who is in love with Anastasia, attempts to resume his romance with her, but she rejects his advances.

The marriage feast is interrupted by news of the burning of several boyar palaces, carried into the tsar's palace by a mob of common people, led by Malyuta Skuratov, who complain that the tsar is being led astray by the tsarina's family. Ivan calms the crowd, but is interrupted by envoys from the khanate of Kazan, who announce that Kazan has declared war against Muscovy and send him a ceremonial knife with the suggestion that he do himself a favor by using it to commit suicide. Ivan immediately declares war against Kazan.

The next scene shows the 1552 siege of Kazan, in which Ivan's army digs saps underneath the city and fills them with gunpowder. Kurbsky, nominally in command, is reprimanded by Ivan for senseless brutality against their Tatar prisoners, causing his resentment against Ivan to grow. The city of Kazan falls to the Russian army. Here, Ivan meets Alexei Basmanov, a commoner who despises the boyars, for the first time. His son, Fyodor, is awestruck by the tsar.

During his return from Kazan, Ivan falls seriously ill. The last rites are administered to him. Staritskaya tells Kurbsky to swear allegiance to Vladimir, promising him rule over Moscow, as Vladimir is not fit to rule on his own. Ivan sends for the boyars and orders them to swear allegiance to his son, the infant Dmitri, reminding them of the need for a single ruler to keep Russia united. They demur, with Yefrosinya Staritskaya openly urging the others to swear allegiance to her son, Vladimir, instead. Emotionally overwrought, Ivan collapses and is thought dead. The boyars, celebrating, all begin to swear allegiance to Vladimir, the "boyar tsar" they have hoped for. However, when the tsarina hints that Ivan is not yet dead, Kurbsky hurriedly swears his allegiance to Dmitri. Ivan unexpectedly grows well, much to the disappointment of the boyars. As a reward for his loyalty, Kurbsky is sent to the western border of the kingdom to defend against the Livonians and Poles. Alexei Basmanov is sent to the south to take care of the Crimean border. The fact that Ivan promotes a commoner over them creates more discontent amongst the boyars.

The boyars plot against Ivan, and Staritskaya plans to kill Anastasia. Just as the royal couple receive word that Kurbsky has surrendered to the Livonians, Staritskaya slips a goblet of poisoned wine into the room and listens from behind a wall. The news shocks the tsarina, who is already ill. Ivan, looking around for a drink to calm her, takes the wine and gives it to her, causing her death.

Ivan questions his own justifications and ability to rule, wondering if his wife's death is God's punishment on him. He learns that Kurbsky has defected to Sigismund of Poland. He sends for his old friend, Kolychov, the monk. Malyuta warns him not to trust Kolychov, and Alexei Basmanov suggest that Ivan instead surround himself with men he can really trust – common people, "iron men", the oprichniki. He offers his own son, Fyodor, in service to Ivan. Ivan accepts, and sets about recouping his losses. He abdicates and leaves Moscow, waiting until the people beg him to return, saying that he would then rule with absolute power by the will of the people.

Part II

Kurbsky swears allegiance to King Sigismund of Poland. Sigismund promises to make Kurbsky ruler of Ivan's territories, once he exploits the tsar's absence by conquering them. The plan is foiled when an emissary announces that Ivan has returned to Moscow.

His friend, Kolychov, arrives, now the monk Philip; after a heated debate, Philip agrees to become metropolitan of Moscow, as long as Ivan gives him the right to intercede for condemned men. This is mutually agreed upon, but as soon as it is settled, Ivan finds a way around this: he has Malyuta execute the condemned men quickly, before Philip can use his right. In this way he has three of Philip's kinsmen executed.

A flashback shows Ivan as a child, witnessing his mother's death by poisoning, then as a young teenager standing up to the condescension of the boyars who want to rule. He begins by reforming the land distribution - he takes the boyars' lands, then reinstalls them as managers, increasing his own power at their expense.

Fyodor Basmanov, the first of the oprichniki, suggests to the tsar that his wife was poisoned, and both suspect Staritskaya of poisoning the cup of wine. Ivan orders Fyodor to keep his silence until they are certain beyond doubt of her guilt.

Philip, angered by Ivan's execution of his kinsmen, allies himself with the boyars. He vows to block Ivan's abuse of power, and confronts him in the cathedral while a miracle play is being presented. As the argument heats up, a small child, carried on the boyars’ shoulders next to Staritskaya, calls out, asking whether this is the "terrible heathen king". Ivan, angry, proclaims that he will be exactly what his enemies call him – terrible. He has Philip arrested. Having lost one of their most powerful allies, the boyars, along with the archbishop Pimen, now decide that their only option is to assassinate Ivan. The novice Pyotr is selected to carry out the assassination. Malyuta invites Vladimir to a banquet with the tsar and the oprichniki. Ivan sends his aunt an empty wine goblet, hinting to her that he is aware of her role in Anastasia's death.

At the banquet, Ivan gets Vladimir drunk while the oprichniki sing and dance around them. Vladimir mentions that there is a plot to kill Ivan, and that he is to replace Ivan as tsar. Fyodor Basmanov notices the assassin leaving and signals to Ivan who, feigning surprise at Vladimir's revelation, suggests Vladimir try being tsar. He has the oprichniki bring the throne, orb, sceptre, crown and royal robes, and they all bow down to Vladimir. Then he tells Vladimir to lead them to the cathedral in prayer, as a tsar should lead. Hesitantly, Vladimir does.

In the cathedral, the assassin runs up, stabs the mock tsar and is immediately seized by Fyodor and Malyuta. Staritskaya arrives, jubilant at the apparent death of Ivan, until she sees him alive; she realizes that Vladimir has been killed. Ivan orders the two to release the assassin, and thanks him for killing not only "a fool", but "the tsar's worst enemy". He leaves Staritskaya, who has gone insane over her son's death, in the cathedral; her future fate is unknown.

Ivan proclaims to his oprichniki that all his enemies within Moscow are vanquished, therefore, he can now turn his attention to those outside.

Cast

As credited in the film:

Additional roles were performed by Oleg Zhakov, who played Heinrich von Staden, and Erik Pyryev, who played young Ivan.

Production

Pre-production

Andrei Zhdanov, under Stalin's orders, commissioned Eisenstein to make a film about Ivan the Terrible in early 1941, as part of the Soviet historical revisionist campaign.[4] Stalin admired Ivan the Terrible, as he viewed Ivan as the same kind of brilliant, decisive, successful leader that he considered himself to be.[5]

Eisenstein began research on the film in early 1941. Among his sources were Heinrich von Staden's and Andrei Kurbsky's writings about their lives in Ivan's court and his reign, and Ivan's correspondence with Kurbsky. Additionally, Eisenstein read the biography of Ivan by Robert Wipper and the writings of historians Sergei Solovyov, Vasily Klyuchevsky, Alexander Pypin, and Igor Grabar.[6] Eisenstein filled over a hundred notebooks with his ideas for the film.[7] Eisenstein read extensively, not just about Ivan the Terrible and 16th-century Russia but in general about theory; the writings of Freud, Vissarion Belinsky, John Masefield, and Shakespeare also influenced the creation of the film.[8] Eisenstein collaborated with screenwriter Lev Indenbom [ru] on Part I, who also took his own extensive notes for the film.[9] Eisenstein took liberties with historical fact in order to develop his narrative: he replaced the historical figures Metropolitan Macarius and Sylvester with the historical figures of Philip II and Pimen of Novgorod [ru], who oppose the tsar in the film; additionally, he invented a romance between Prince Kurbsky (whom he depicted as Ivan's childhood friend) and Anastasia in order to create personal strife for Ivan.[10]

Eisenstein completed the first draft of the screenplay in May 1941.[11] After the invasion of the USSR in June 1941, Eisenstein was evacuated to Alma-Ata in October; he completed the screenplay in December.[12] Production on the film was delayed to April 1943.[13] The scenario of Ivan the Terrible had been accepted by Mosfilm in the form of two full-length films. Eisenstein considered splitting the screenplay into three parts and discussed this with Grigori Alexandrov, who was against this; ultimately, he ignored Alexandrov's advice and changed the film from two parts to three.[14] He received permission to create a third part in 1944.[15]

Production of the film

Eisenstein had worked almost exclusively with Eduard Tisse for most of his features, and invited Tisse to work on the film. In 1942, Eisenstein became friends with Andrei Moskvin, and developed a closer relationship with Moskvin than he had with Tisse. However, he did not want to fire Tisse, as he was concerned that Tisse could be arrested for his "Germanic" name. Cinematography was divided between the two - Tisse shot the exteriors, and Moskvin, who became director of photography, filmed all interior scenes. The color sequences of Part Two were also filmed by Moskvin.[16][17]

The score for the films was composed by Sergei Prokofiev, with whom Eisenstein had collaborated on Alexander Nevsky.[18] Eisenstein remarked that Prokofiev was able to grasp the emotional mood, rhythm and structure of a scene immediately and have the score ready the next day.[19] Prokofiev incorporated music from an unrealized production of an adaptation of Boris Godunov into the score.[20] He did not finish writing the score of Part I until August 1944.[21] In January of 1945, he suffered a concussion, and was too ill to work; in spite of Prokofiev's request that Eisenstein instead work with Gavriil Popov, Eisenstein insisted on working with Prokofiev. Prokofiev recovered by October of that year and was able to complete the score for Part II.[22] Rostislav Zakharov was hired as choreographer for the film.[22]

One of the difficulties was making Cherkasov look convincingly both older and younger than he was. In the beginning of Part I, the 39-year-old Cherkasov had to portay a 17-year-old Ivan; additionally, Ivan had to age throughout the film, culminating in the portrayal of a 53-year-old Ivan by the end of Part II. This was solved by taking a mask of Cherkasov's face and modifying the mask depending on the needed age. Cherkasov disliked this solution, saying that the mask made him look not like a 17-year-old, but like a fetus.[23]

The entire production was shot in Kazakhstan at Mosfilm's substantial production facility in Alma Ata.[24] Although most of the film was shot in black and white, there are color sequences in the second part, making Ivan the Terrible one of the earliest color films made in the Soviet Union.[citation needed] In July 1944, production of the film was transferred to Moscow.[25]

Casting

Casting for the film began in spring of 1942. Eisenstein invited Cherkasov, who had previously performed the title role in Eisenstein's Alexander Nevsky, to play Ivan IV. Zharov, who had wanted to perform the role of Kurbsky, was instead offered the role of Malyuta. Erik Pyryev, son of director Ivan Pyryev, performed the role of the young Ivan.[26]

Eisenstein wanted Vsevolod Pudovkin to play Pimen, but Pudovkin had recently suffered a heart attack and could not accept the role; he ultimately played the holy fool Nikola. Instead, the role went to Aleksandr Mgrebov, who, unknown to Eisenstein, was seriously ill with tuberculosis. When Eisenstein learned about Mgrebov's illness, he organized the treatment of Mgrebov, who grew well enough to play Pimen. Mgrebov later stated that Eisenstein's intervention saved his life.[27][28]

According to Kuznetsov, Eisenstein noticed him after his performance in Mashenka, and already began to consider him for the role of Fyodor Basmanov. After he evacuated to Alma-Ata, Eisenstein offered him the role.[29] Kadochnikov stated that Eisenstein had wanted Nikolay Okhlopkov to play the role of Vladimir Staritsky, however, Okhlopkov by this time was too old for the role. Therefore, Kadochnikov was invited to play Vladimir. He was also meant to play Evstafy, the younger brother of Philip II, in the unrealized third part.[30]

The actresses for Anastasia and Staritskaya were found 6 months after filming began. The role of the tsarina first was offered to ballerina Galina Ulanova, but Ulanova chose to prioritize her dancing career instead and rejected the role. Ultimately, Tselikovskaya, who was Zharov's wife, was cast as the tsarina. Eisenstein wanted to cast Faina Ranevskaya as Staritskaya, but Ivan Bolshakov, who had final say on casting choice, insisted that Ranevskaya, as a Jewish actress, was an unsuitable choice to play the boyarina. Birman was then invited to play the role of Staritskaya; after a successful make-up test, Birman accepted the role. [31][32]

Screenings and release

Ivan The Terrible, Part I was screened by the Mosfilm Artistic Council in October 1944. The members of the council were disappointed with the film. The members criticized the characterization of Ivan IV, Malyuta Skuratov, and the oprichnina. As a result, they demanded the removal of the prologue, more emphasis on Ivan's accompishments as Tsar, and modification of the presentation of the oprichniki, to make them less sinister. The artistic merits of the film were also criticized.[33] Part I was screened for Stalin in December of that year, and premiered in Moscow on 20 January 1945.[34] The same year, it was nominated for the Stalin Prize. In spite of the objections of the members of the Stalin Prize committee, the film ultimately received the prize.[35] For their work on Part I, Eisenstein, Cherkasov, Prokofiev, Moskvin, and Tisse were each awarded a Stalin Prize in 1946.[36]

The second film, Ivan The Terrible, Part II: The Boyars' Plot, finished filming at Mosfilm in 1946. The unshown film received heavy criticism from the Central Committee of the Communist Party, calling the picture "anti-historical".[37] In spite of this, Eisenstein insisted on screening Part II for Stalin, who called it a "nightmare".[38] Stalin criticized Eisenstein's Ivan as being "a weak-willed Hamlet", and the oprichnina as being too similar to the Ku Klux Klan.[39] After meeting with Stalin in 1947, Eisenstein refused to further revise Part II or to begin work on Part III. A year later, Eisenstein died.[40] Part II was released in 1958.

The conductor of the score was Abram Stasevich [ru]. After the release of the films, he released an oratorio adaptation of the music of the film. A recording of the oratorio by Neeme Järvi with Chandos Records was released in 1991. [41]

Part III

A third film, which began production in 1946, was halted when the decision was made not to release the second film. After Eisenstein's death in 1948, all footage from the film was confiscated, and it was rumored to have been destroyed (though some stills and a few brief shots still exist today).[42]

The plot of Part III was to include Ivan's growing paranoia of his followers, his execution of the Basmanovs, and a battle against Livonian troops which Ivan wins, and thus gains access to the sea for his people (however, this is not an accurate reflection to history, as Ivan lost the wars of the Baltic Provinces).[43] Eisenstein contemplated several endings for Part III - one ending had the tsar walking triumphantly toward the sea, another had the aged tsar contemplating the future of Russia, a third ending had the tsar dying alone and regretful after his murder of his son, and a fourth ending would have the tsar seeing a prophetic vision of Peter the Great conquering the Baltic Sea.[44]

Analysis

Eisenstein wrote about Ivan The Terrible’s tone, saying that he wished chiefly to convey a sense of majesty. To achieve this effect, the actors spoke in measured tones, frequently accompanied by Prokofiev's solemn music, Ivan the Terrible, op. 116.[17] Nikolai Cherkasov's style of acting was realistic, but highly stylised and intense. He was said to have been in a state of nervous exhaustion when the filming of the second part of Ivan the Terrible was completed.[45]

Historian Joan Neuberger describes Ivan the Terrible as a "personal drama", compared to the "collective drama" of Battleship Potemkin or the "patriotic drama" of Alexander Nevsky.[46]

Power

Eisenstein wrote in 1941 that his depiction of Ivan the Terrible was not intended to "whitewash him or to turn Ivan the Terrible into Ivan the Sweet", but rather to show "Ivan in the whole range of his activity and the struggle for the state of Muscovy."[47] Neuberger argues that Eisenstein had no intention to glorify Ivan the Terrible, as he chose to focus on the oprichnina and the bloodiest years of Ivan's reign and completely excludes his positive reforms from the film.[48] He desired to show how good and evil interacted with one another within the tsar; thus, Ivan is not good at one point and evil at another point, rather, good and evil coexist within him and influence his actions at all times.[12]

Symbolism

Certain symbols are constantly repeated within the film. Notable examples include the single eye which refers to truth. Other symbols include icons, which are symbolic of the Russian Orthodox Church, and then contemporary views of the Church and theology.

Neuberger interprets the film as having a homoerotic subtext. In her interpretation, most of the male characters of the film show signs of homoerotic attraction. Eisenstein wrote in his production notes that King Sigismund's courtiers were "effeminate" and that Fyodor "must love" Ivan, and in one of the final scenes of the film, Fyodor Basmanov dances in drag, dressed in a parody of Anastasia's clothing.[49][50] Additionally, Eisenstein in his notes wrote one scene depicting Fyodor Basmanov's homosexuality - Basmanov, while sacking a boyar estate, pursues a young woman for her earrings; his father later discovers the earrings and punches him. This scene was never filmed.[51][52]

Shadows are also used, to visually explain a character's power and control over other characters. This is especially evident in the throne room scene in Part I, when Ivan's shadow dominates the globe, with all those around him referring to his political power.[53]

Almost all of the film is in black-and-white, but at the very end of Part II, colour film is used to emphasize the transition from good to bad as well as those scenes' general importance. At the end of the colour part Ivan decides to put his cousin under the assassin's knife by robing him in tsar's dress. The use of black-and-white is here also a visual cue to aid in the dualistic breakdown of characters and their personalities. Certain characters wear colours to refer to their personalities, such Yefrosinya wearing black to visually allude to her evil nature. Beyond that, swans are displayed at two feasts within the film - the first are white, representing innocence and goodness; the second are black, representing the wickedness that has come to pass.[citation needed] Malyuta Skuratov, after his promotion to role of the tsar's spy, is dressed in a new black robe; when he first carries out executions, he is dressed in gold-stitched brocade. In the view of Neuberger, this symbolizes the transformation of the oprichnina into a neofeudal force.[54]

Reception

The film has been polarizing amongst viewers.

The first part was received ambivalently in the USSR upon release.[55] Aleksandr Solzhenitsyn directly references the film in his 1962 novel One Day in the Life of Ivan Denisovich; in a scene where two characters argue about the merits of the film, one of the characters claims about Eisenstein "You can’t call him a genius! Call him an ass-kisser who followed orders like a dog."[56]

Bosley Crowther, writing for the New York Times, called Part I a "work of art" and praised the visuals, camerawork, Prokofiev's score, and Cherkasov's performance, while criticizing the lack of continuity in the film, and the "conspicuously tolitarian" depiction of Ivan IV.[57] In contrast, Crowther harshly criticized Part II, calling it a "pale extension" of part I.[58] Ivan the Terrible was awarded 4 out of 4 stars by critic Roger Ebert and included on his list of "Great Movies'. In his 2012 review, Ebert praised the scope and visuals while criticizing the story, and concluded "It is one of those works that has proceeded directly to the status of Great Movie without going through the intermediate stage of being a good movie... every serious movie lover should see it - once."[59] Director Akira Kurosawa named Ivan the Terrible as one of his 100 favorite films.[60] Russian-born director Slava Tsukerman named Ivan the Terrible his favorite film.[61]

While the first part is generally viewed as a Stalinist depiction of Ivan IV, critics such as Naum Kleiman and Dwight Macdonald viewed Part II as a serious critique of Stalinism.[62][63][64]

References

Citations

  1. ^ Peter Rollberg (2009). Historical Dictionary of Russian and Soviet Cinema. US: Rowman & Littlefield. pp. 302–303. ISBN 978-0-8108-6072-8.
  2. ^ Eisenstein; screenplay (1963), pp. 23-41
  3. ^ Neuberger 2014, p. 311.
  4. ^ Neuberger 2014, pp. 296, 308.
  5. ^ Perrie, Maureen. The Cult of Ivan the Terrible in Stalin's Russia (Studies in Russian and Eastern European History and Society). New York: Palgrave, 2001 (hardcopy, ISBN 0-333-65684-9).
  6. ^ Neuberger 2014, p. 301.
  7. ^ Neuberger 2014, pp. 295, 297.
  8. ^ Neuberger 2014, pp. 315–318, 328–329.
  9. ^ Neuberger 2014, pp. 300–301.
  10. ^ Neuberger 2014, pp. 309–310, 314.
  11. ^ Neuberger 2014, p. 316.
  12. ^ a b Neuberger 2014, p. 318.
  13. ^ Neuberger 2014, p. 303.
  14. ^ Seton 1960, p. 429.
  15. ^ Neuberger 2019, p. 62.
  16. ^ Neuberger 2019, pp. 56–57.
  17. ^ a b Jay Leyda (1960). Kino: A History of the Russian and Soviet Film. George Allen & Unwin. pp. 382–384.
  18. ^ Neuberger 2019, p. 55-56.
  19. ^ Sergei Eisenstein (1959). Notes of a film director. Foreign Languages Pub. House. p. 152.
  20. ^ Palmer 1991, p. 180.
  21. ^ Neuberger 2019, pp. 55–56, 65.
  22. ^ a b Neuberger 2019, p. 68.
  23. ^ Yurenev 1974, pp. 327–328.
  24. ^ Marie Seton (1960). Sergei M. Eisenstein: a biography. Grove Press. pp. 411–412.
  25. ^ Neuberger 2019, p. 65.
  26. ^ Neuberger 2019, pp. 53–54.
  27. ^ Neuberger 2019, p. 54.
  28. ^ Yurenev 1974, pp. 329–330.
  29. ^ Yurenev 1974, pp. 335–336.
  30. ^ Yurenev 1974, pp. 342–343.
  31. ^ Neuberger 2019, p. 54-56.
  32. ^ Yurenev 1974, pp. 354–356.
  33. ^ Neuberger 2019, p. 306-309.
  34. ^ Neuberger 2019, p. 66.
  35. ^ Neuberger 2019, pp. 313–319.
  36. ^ Platt et al. 1999, p. 640.
  37. ^ Marie Seton (1960). Sergei M. Eisenstein: a biography. Grove Press. pp. 449–450.
  38. ^ Neuberger 2019, pp. 321, 327.
  39. ^ Neuberger 2019, p. 328.
  40. ^ Neuberger 2019, pp. 334.
  41. ^ Palmer 1991, p. 181.
  42. ^ Dixon, Wheeler Winston and Gwendolyn Audrey Foster (2008). A Short History of Film. New Brunswick, NJ: Rutgers University Press. p. 77. ISBN 978-0813560557. Retrieved 27 March 2015.
  43. ^ Eisenstein, Sergei (1962). Ivan the Terrible: A Screenplay by Sergei M. Eisenstein. Trans. by Ivor Montagu & Herbert Marshall. Simon and Schuster; 1st US edition. ASIN B000HB7OVK.
  44. ^ Neuberger 2014, p. 334.
  45. ^ Marie Seton (1960). Sergei M. Eisenstein: a biography. Grove Press. p. 428.
  46. ^ Neuberger 2014, p. 315.
  47. ^ Neuberger 2014, p. 306.
  48. ^ Neuberger 2014, p. 310.
  49. ^ Neuberger 2018, p. 130.
  50. ^ Neuberger 2019, pp. 322–324.
  51. ^ Neuberger 2018, p. 128.
  52. ^ Neuberger 2014, p. 321.
  53. ^ Мстислав Добужинский о фильме «Иван Грозный»
  54. ^ Neuberger 2014, p. 326.
  55. ^ Neuberger 2019, pp. 305–306.
  56. ^ Neuberger 2014, p. 298.
  57. ^ Crowther 1947.
  58. ^ Crowther 1959.
  59. ^ Ebert 2012.
  60. ^ Thomas-Mason 2023.
  61. ^ Tsukerman 2019.
  62. ^ Neuberger 2014, p. 298-299.
  63. ^ Thompson 1977, p. 30.
  64. ^ Platt 2007, pp. 294–295.

Bibliography

Further Reading

Screenplay

  • Eisenstein, Sergei M. (1963) Ivan the Terrible: a screenplay; translated by Ivor Montagu and Herbert Marshall; edited by Ivor Montagu. London: Secker / Warburg (published in the US by Simon & Schuster, 1962); includes bibliography

Academic works

  • Eisenstein, Sergeii Mikhailovich, et al. The Film Sense. San Diego: Harcourt Brace Jovanovich, 1975. ISBN 978-0-15-630935-6
  • Eisenstein, Sergei, and Jay Leyda. Film Form. San Diego: Harcourt Brace Jovanovich, 1949. ISBN 0-15-630920-3
  • Ejzenstejn, Sergej, et al. The Eisenstein Reader. London: British Film Institute, 1998. ISBN 0-85170-675-4
  • Gallez, Douglas W. The Prokofiev-Eisenstein Collaboration: "Nevsky" and "Ivan" Revisited. Cinema Journal, 1978. doi:10.2307/1225488
  • Neuberger, Joan. Ivan the Terrible. London: I. B. Tauris, 2003.
  • Nesbet, Anne. Savage Junctures: Sergei Eisenstein and the Shape of Thinking. City: I. B. Tauris, 2003. ISBN 978-1-85043-330-9
  • Minturn, Neil. The Music of Sergei Prokofiev. New Haven: Yale University Press, 1997. ISBN 0-300-06366-0
  • Thompson, Kristin. Eisenstein's "Ivan the Terrible": A Neoformalist Analysis. Princeton: Princeton University Press, 1981. ISBN 0-69110-120-5
  • Tsivian, Yuri. Ivan the Terrible. London: B.F.I. Publishing, 2002. ISBN 0-85170-834-X

External links

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