"The Golden Calf (1968)" Movie Review Essay & Film Analysis

The Golden Calf ', as well as the twelve chairs, long ago became the "face" of the Soviet cinema, who has never been deprived of the talents, stunning first Western film critics such thunderous names like Eisenstein, Dovzhenko, Pudovkin, Vertov, and after Kolotozov, Tarkovsky, Bondarchuk. Today, the recognition of their services by the artists definitely. For example, one of the pillars of the entire Western European philosophy - Gilles Deleuze in his book 'Movie' takes shape Eisenstein and Griffith as the founding fathers of cinema all directions, claiming that together they make a discovery more than all the other directors combined. Meanwhile, the Soviet comedies, which are so fond of flaunting so many who lived under the communist system, the citizens obviously not met in the minds of Western critics proper response. Why is it?
In my opinion, there are several reasons. Firstly, many funny cinematic techniques (sketches using special effects), which seemed to us to innovative, obviously, have not been established in world cinema, which with rare exceptions, it never came to the Soviet cinema. Secondly, the people who lived in the so-called free democratic societies obviously had a completely different type of mentality and did not understand the subtle humor and satire.
However, scammers and con artists of diverse poshiba have, as they have so and we have a lot in common. This is - the strong-willed, not discouraged, active and sharpness, enterprising and very charming ... the genius of his craft. The only difference is that in the councils of the law it is impossible to escape, because he is everywhere. It is also obvious that not only violate it in the Soviet Union seemed a supernatural act, but simply to describe the literary form of the offense was a matter of fact extremely dangerous. Especially if the court of 1931.
But be that as it may, the two police officers who are familiar with the dark underworld, ventured to create a completely uncharacteristic of Soviet literature character named Ostap Bender, who once won the hearts of millions, but whose invented incredible adventures, for the time replaced the harsh reality of world war II, the universal ruin and starvation. But now, after a decade, in 1968, again recalled the intrepid schemer. On cinema screens out the Golden Calf. And again, Bender met an incredible success, because the ticket on his adventures bought every eighth citizen of the USSR.
justified whether such an enthusiastic spectator relation to the character and the film as a whole. ABSOLUTELY! After the golden calf - it is not just an adventure story about fraud and fraud (the few exceptions, full-America), but actually cut all multi bulk, deep and cohesive society councils, its very structure, ideology, morals and values. Bender, though involuntary experimenter searcheth all sorts of diverse social and political groups, societies, and individuals with a variety of personalities, vital foundations and ideologies of strength. Calf Genius (and twelve chairs) is in absolute (micron) harmonic balance between recognition ironic ridicule and advantages of a particular actor. Perhaps this is so original, subtle satire, it is hardly possible to talk about the repetition of something like that now or in the future. After all, this invisible, mysterious veil of 'freedom and independence', enveloping Bender unthinkable in terms of total permissiveness. They can only be enjoyed as an archaic relic of a great past.
As for the technical performance of the film, then there is, of course, not everything is rosy. Only later, Gaidai vbuhnet in its 12 chairs fabulous sum and create dazzlingly bright, furious comedy. The Golden Calf, in a test run, limited to black-and-white film and a small budget. But, in fact, he does not need it and when there is such energy tornadoes as the Jurassic, Kuravlev, Gerdt, Evstigneev, under the wise leadership of the great Schweitzer. It is impossible to believe, but a three-hour black-and-white film with no special effects flying for five minutes, and on watching desperately sorry that it ended.
so. Perhaps nowhere in Soviet art have a concentration of mischief, enthusiasm, liveliness and aphoristic per unit time. This delicate matter could only occur in a heavy, powerful, mighty and coherent grounds of public consciousness. Which today, unfortunately, no.

How to cite this essay: