nike Air Max 24-7 The Making of the Red Hollywood

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The story of how these films were “discovered” is an international tale leading from Berlin to Sundance to Venice and finally to New York. And it took a graduate student working on her thesis to start it all.
Dubbed “Swing Time for Stalin” by Entertainment Weekly’s David Everitt, Ranga’s brief history covered 20 years of musicals from Stalinist Russia and a decade of youth-oriented musicals from post-1960 Eastern Europe. Filmgoers described what they saw as “jaw-droppingly fascinating,” “beguiling and edifying,” and “mind-melting.” Time magazine named it one of the Top 10 Films of 1997. (East Side Story was released by Kino in 2000, but sadly is no longer in print.)
One of the more important film retrospectives of 2009 is “Red Hollywood: The Musicals of Grigori Alexandrov and Lyubov Orlova.” This series of joyous song-and-dance movies challenges the prevailing notion that all Soviet movies were gloomy and depressing – and invites filmgoers to rethink the role of musicals everywhere as both popular entertainments and political tools.
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Jazz Comedy (aka Jolly Fellows) (Vesiolye rebiata) (1934)The Circus (Tsirk) (1936)Volga-Volga (1938)The Radiant Path (Svetlyj put’) (1940)Vesna (Spring) (1947)
It’s the Berlin Film Festival in the mid-90s. A handful of East German musicals are showing and Dana Ranga attends with a friend, Andrew Horn (an NYU-grad in Berlin for an artist’s exchange program). Ranga is intrigued and Horn encourages her to pursue her interest in East German cinema for her master’s thesis. Finding source materials turns out to be difficult, but as she works, she keeps stumbling over people’s recollections of other musicals (Sherman, Boston Herald, 11 Aug 1997). Eventually she and Horn discover 40 musicals, all virtually unknown outside the USSR.
Ranga, Horn’s “East Side Story” Documents Musicals in Soviet Cinema
East Side Story opened in limited release worldwide. Word spread. It took almost a decade [link widoczny dla zalogowanych] but finally Klein and Arnold got their wish. The programmers of the 2006 Venice Film Festival dedicated a retrospective section to “the Secret History of Russian Cinema,” continuing a series inaugurated in 2004 for restoration and screening of lost films. They presented 18 musicals and featured the work of two directors, Grigorij Aleksandrov and Ivan Pyr’ev, and two "divas," Lyubov Orlova and Marina Ladynina. Aleksandrov and Orlova were represented by 5 films:
In program notes [link widoczny dla zalogowanych], the Venice Festival committee lauded these films as unique e
Their discoveries took documentary form and, in 1997, East Side Story premiered to considerable fanfare at the Sundance Film Festival. This revelation of a popular — and entertaining — mass cinema in Russia and the Soviet Union, with excerpts from 23 musicals [link widoczny dla zalogowanych], was a sensation.
Venice Film Festival‘s "Secret History of Russian Cinema"
Andy Klein of the New Times-LA left a screening of East Side Story “wishing…that some enterprising art-film distributor would book a package featuring the best of them” (28 August 1997). Gary Arnold, of the Washington Times (5 December 1997), suggested that “a repertory series with full-length examples might be a logical next step.” But no one seemed to be listening.