Volga-Volga is a Soviet film comedy directed by Grigori Aleksandrov, released on April 24, 1938. It centres on a group of amateur performers on their way to Moscow to perform in a talent contest called the Moscow Musical Olympiad. Most of the action takes place on a steamboat travelling on the Volga River; the lead roles were played by Alexandrov's wife, Lyubov Orlova, Igor Ilyinsky. According to Orlova, the name of the film is taken from a popular Russian folk song, Stenka Razin, that Alexandrov sang while rowing with Charlie Chaplin in San Francisco Bay. Chaplin jokingly suggested the words as a title for a movie, but Alexandrov took it and named his new film Volga-Volga; the feature was said to be Soviet Premier Joseph Stalin's favourite film. Nikita Khrushchev in his memoirs says that in the pre-World War II period Stalin laughed at him since he resembled a character from the film. In 2006, a colorization of the original black-and-white film began; the colorized version premiered on the Russian First Channel on February 14, 2010.
Igor Ilyinsky - Ivan Byvalov, head of management at a small handicraft industry in the city Melkovodsk Lyubov Orlova - Dunya Petrova, letter carrier Vladimir Volodin - old pilot Pavel Olenev - Kuzma Ivanovich, water carrier / chef Andrew Tutyshkin - Alesha Trubyshkin, accountant Sergey Antimonov - janitor Okhapkin Anatoly Shalaev - young composer Maria Mironova - Zoya, secretary of Byvalova Nikita Kondratyev - Philip Ivanovich, waiter Vsevolod Sanayev - bearded lumberjack / member of the symphony orchestra Aleksey Dolinin - policeman Ivan Chuvelev - chairman of the jury of the Olympics Volga-Volga on IMDb Volga-Volga at AllMovie Stalin's favourite film restored in colour, AFP, 12/02/2010
People's Artist of Russia
People's Artist of the Russian Federation sometimes translated as National Artist of the Russian Federation, is an honorary and the highest title awarded to citizens of the Russian Federation, all outstanding in the performing arts, whose merits are exceptional in the sphere of the development of the performing arts. It succeeded both the all-Soviet Union "People's Artist of the USSR" award, more directly the local republic's "People's Artist of the RSFSR" award, after the dissolution of the Soviet Union. Now, the status of the People's Artist of the Russian Federation has risen above that of the earlier RSFSR award. There are presently two levels to this award: The lower Honored Artist of Russia translates as "Meritorious Artist"; this was equivalent to the earlier «Заслуженный артист РСФСР», which became «Заслуженный артист Российской Федерации». The higher People's Artist of Russia is the highest honorary title of the Russian Federation for outstanding achievements in the field of theater, circus and film art.
Receiving the lower Honored... award makes the recipient eligible to receive the higher People's... award at a time. For example, the light entertainment singer Sergei Georgievich Zakharov was awarded Honored Artist of the RSFSR in 1988 People's Artist of Russia in 1996; the awards may be issued to people working in the following fields: - Architect - Teacher - Artist - Agronomist - Architect - Chemist - Miner - veterinarian - Military Pilot - Military Expert - Military Navigator - Doctor - Geologist - Scientist - Land surveyor - Husbandry - Inventor - Designer - Forester - Test Pilot - Mechanic - Metallurgist - Meteorologist - Border Guard - Community services worker - Foreign Service Employee - Health Worker - Cultural Worker - Forestry Worker - Oil & Gas Industry Worker - Employee of the Food Industry - Employee of the Aerospace Industry Other professionals are open to attaining the title as well as those listed. Vadim Abdrashitov — film director Vera Alentova – actress Gennadi Bortnikov – actor Ivan I.
Krasko – actor Yuri Lyubimov – actor Tamara Nosova – actress Tatiana Samoilova – actress Vitaly Solomin – actor Tatyana Vasilyeva – actress Lev Dodin – theatre director Pyotr Fomenko – film and theatre director Georgy Garanian – musician Boris Khimichev – actor Olga Ostroumova – actress Ruzhena Sikora – singer Sergei Solovyov – director Evgeniy Steblov – actor Olga Volkova – actress Irina Zhurina – singer Liya Akhedzhakova – actress Oleksandr Bondurianskyi – pianist Boris Novikov – actor Albert Filozov – actor Yevgeny Krylatov – composer Rimma Markova – actress Andrey Martynov – actor Irina Muravyova – actress Georgy Natanson – director Valery Nosik – actor Victor Pavlov – actor Elvina Podchernikova-Elvorti – circus performer Aleksandr Porokhovshchikov – actor, director Viktor Alexejewitsch Romanko - bayan-virtuoso Boris Shcherbakov – actor Nina Usatova – actress Anatoly Vasilyev – actor Gennadi Yukhtin – actor Aleksei Zharkov – actor Lev Leshchenko – singer Nina Ananiashvili – ballet dancer Yevgeniya Glushenko – actress Dmitri Hvorostovsky – singer Igor Kostolevsky – actor Savva Kulish – director Gennady Pasko – painter Vladimir Rubin – composer Yevgeniya Simonova – actress Vladimir Verbitsky – conductor Svetlana Bezrodnaya – violinist Alexander Burdonsky - theater director Nikolai Burlyayev – actor Vyacheslav Dobrynin – composer, singer Valery Fokin – theatre director Valery Gergiev – conductor Nadezhda Gracheva – ballet dancer Igor Krutoy – composer Valery Leontiev – singer Tamara Miansarova – singer Yuriy Norshteyn – director Valery Polyansky – conductor Natalya Seleznyova – actress Nikolay Serebryakov – director Mikhail Svetin – actor Margarita Terekhova – actress Sergei Zakharov – singer Yuri Antonov – musician Victor Balashov – radio host Valery Lantratov- ballet dancer Alexander Lenkov – actor Alexander Malinin – musician Vladimir Matorin – singer Klara Novikova – actress Kirill Tikhonov – conductor Olga Barnet – actress Vitali Konyayev – actor Fuat Mansurov – conductor Sergey Migitsko – actor Yuri Nikolaev – TV and radio host, actor Maria Pakhomenko – singer Boris Plotnikov – actor Gennadi Poloka – actor, director Nina Ruslanova – actress Sergei Skripka – conductor Larisa Udovichenko – actress Emmanuil Vitorgan – actor Alla Bayanova – singer Andrei Chistyakov – conductor Valentin Dikul – circus performer Vladimir Ilyin – actor Alexander Gradsky – musician David Goloschekin – musician Nadezhda Kadysheva – singer Mikhail Kononov – actor Aristarkh Livanov – actor Lyudmila Polyakova – actress Andrey Makarevich – musician Tatyana Piletskaya – actress Joseph Raihelgauz – theatre director Alexey Rybnikov – composer Alexey Sheynin - actor Nikolai Sorokin – actor Ivan Bortnik – actor Tatyana Dogileva – actress Taisia Kornilova — circus performer Evgeny Brazhnik – conductor Aleksandr Misharin Dmitry Nazarov – actor Emilyano Ochagaviya – actor Yuri Sarantsev – actor Alla Surikova – director Lev Borisov – actor Zakhar Bron – violinist Boris Bystrov – actor Lydia Davydova – singer Sergei Filin – ballet dancer Oleg Gazmanov – singer Boris Khmelnitsky – actor Georgi Movsesyan – composer Ilya Oleynikov – actor Slava Polunin – circus performer, actor Alexander Rosenbaum – musician Vladimir Steklov – actor Nikolay Tsiskaridze – ballet dancer Alexandra Zakharova – actress Olga Borodina – singer Gennady Gladkov – composer Boris Klyuyev – actor Tatyana Kravchenko – actress Vladimir Ponkin – conductor Stahan Rakhimov – singer Nikolay Rastorguyev
Joseph Yulyevich Achron seen as Akhron was a Russian-born Jewish composer and violinist, who settled in the United States. His preoccupation with Jewish elements and his desire to develop a "Jewish" harmonic and contrapuntal idiom and informed much of his work, his friend, the composer Arnold Schoenberg, described Achron in his obituary as "one of the most underrated modern composers". Achron was born in Lozdzieje, Russian Empire to Julian and Bertha and began the study of the violin under his father, an amateur violinist, at the age of five, his first public performance followed three years at age seven in Warsaw. This was followed by a prodigious childhood career including performances throughout Russia. Between 1899 and 1904 he studied violin under Leopold Auer and composition under Anatoly Ljadov, at the Saint Petersburg Conservatory, he joined the Society for Jewish Folk Music in 1911 and from that point occupied himself in theory and practice with the Jewish music tradition. His first "Jewish" work, Hebrew Melody, became recognized through the interpretation of violinist Jascha Heifetz.
In 1913, Achron became the head of the violin and chamber music departments at the Kharkiv Conservatory in Ukraine, served in the Russian Army between 1916 and 1918. In the years after World War I, he toured extensively as a concert artist in Europe, the Near East and Russia, performing over 1000 concerts between 1919 and 1922. During this period he was appointed head of the violin masterclass and chamber music department at the Leningrad Artists' Union. In 1922, Achron moved to Berlin, where together with Mikhail Gnessin he ran the Jewish music publishing company Yivneh. In 1924, Achron spent some months in Palestine. In 1925, he emigrated to the United States and settled in New York, where he taught the violin at the Westchester Conservatory, he performed his Violin Concerto No. 1 with the Boston Symphony Orchestra in 1927. His incidental music suite from H. Leivick's The Golem written during this period, was chosen by the International Society for Contemporary Music for performance in Venice in 1932.
In 1934, he moved to Hollywood, where he composed music for films and continued his career as a concert violinist. He performed his Violin Concerto No. 2 with the Los Angeles Philharmonic Orchestra in 1936 and his third – commissioned by Jascha Heifetz – with the same orchestra in 1939. Atonality and polytonality are among the techniques used in his works, his final work was the Concerto for solo piano, Op. 74. He is buried in Hollywood Forever Cemetery. A year after his death the Joseph Achron Memorial Committee was formed which included twenty well known composers, instrumentalists and critics, he was the older brother of the concert pianist and composer Isidor Achron, who became Jascha Heifetz's accompanist for more than ten years. Hebrew Melody, Op. 33, for violin and orchestra Hazzan, Op. 34, for cello and orchestra 2 Hebrew Pieces, Op. 35 Dance Improvisation, Op. 37 Shir, Op. 42, dance for clarinet and orchestra 2 Pastels, Op. 44, for violin and orchestra The Fiddle's Soul, Op. 50 Violin Concerto No.
1, Op. 60 Konzertanten-Kapelle, Op. 64, for violin and orchestra Two Tableaux from Belshazzar The Golem, suite for chamber orchestra Dance Overture Little Dance Fantasy Violin Concerto No. 2, Op. 68 Violin Concerto No. 3, Op. 72 Epitaph, Op. 38, for four voices and orchestra Salome's Dance, Op. 61, for mixed voices and percussion / Evening Service of the Sabbath, Op. 67, for baritone voice, four voices and organ – commissioned by Congregation Emanue-El of New York City, published by Bloch Publishing Company. 1ère Suite en Style Ancien, Op. 21, for violin and piano / Chromatic String Quartet, Op. 26 Sonata No. 1, Op. 29, for violin and piano Stimmungen, Op.32, Two Pieces for violin and piano Symphonic Variations and Sonata on a Palestinian Theme, Op. 39, for piano Suite Bizarre, Op. 41, for violin and piano Sonata No. 2, Op. 45, for violin and piano Children's Suite, Op.57, for clarinet, string quartet and piano Elegy, Op. 62, for string quartet 4 Improvisations, Op. 63, for string quartet 2 Pieces, Op. 65, for viola and piano Statuettes, Op. 66, for solo piano The Golem, for cello, trumpet and piano Sinfonietta, Op. 71, for string quartet Concerto for solo piano, Op. 74 Spring Night, ballet music for a short film The forgotten work of Joseph Achron in Hagai Shaham.
Glanville-Hicks, P. "Achron, Joseph". Grove Music Online. Macy, L. ed. Retrieved March 26, 2006). Randel, Don Michael, ed.. "Achron, Joseph". The Harvard Biographical Dictionary of Music. Cambridge, MA: Belknap Press. P. 3. ISBN 0-674-37299-9. CS1 maint: Extra text: authors list Butterworth, Neil. "Joseph Achron". Dictionary of American Classical Composers. New York and London: Routledge. P. 1. ISBN 0-415-93848-1.| Joseph Achron Society The New Jewish School in Music Joseph Achron Biography, Milken Archives Joseph Achron biography, on Jewish Music Research Centre Free scores by Joseph Achron at the International Music Score Library Project
Operetta is a genre of light opera, light in terms both of music and subject matter. Operettas have similarities to both operas and musicals, the boundaries between the genres are sometimes blurred. For instance, American composer Scott Joplin insisted that his serious but ragtime-influenced work Treemonisha was an opera, but some reference works characterize it as an operetta; some of Leonard Bernstein's works he designated as operas are categorized as operettas, his operetta Candide is sometimes considered a musical. Operettas are shorter than operas, are of a light and amusing character. Operettas are considered less "serious" than operas. While an opera's story is believable and more relatable to its audience, an operetta aims to amuse. Topical satire is a feature common to many operettas. However, satire is used in some "serious" operas as well: Formerly, in countries such as France, operas expressed politics in code – for example, the circumstances of the title character in the opera Robert le diable referred, at its first performance, to the French king's parental conflict and its resolution.
Some of the libretto of an operetta is spoken rather than sung. Instead of moving from one musical number to another, the musical segments – e.g. aria, chorus – are interspersed with periods of dialogue. There is no musical accompaniment to the dialogue, although sometimes some musical themes are played under it. Short passages of recitative are, sometimes used in operetta as an introduction to a song; the operetta is a precursor of the modern musical theatre or the "musical". In the early decades of the 20th century, the operetta continued to exist alongside the newer musical, with each influencing the other; the main difference between the two genres is that most operettas can be described as light operas with acting, whereas most musicals are plays with singing and dancing. This can be seen in the performers chosen in the two forms. An operetta's cast will consist of classically trained opera singers. A musical may use actors who are not operatically trained, the principals are called upon to dance.
These distinctions can be blurred: Ezio Pinza, Paulo Szot, Renée Fleming and other opera singers have appeared on Broadway and Broadway musicals have been remounted in opera houses. There are features of Hammerstein's Show Boat, among others; the characters in a musical may be more complex than those in an operetta, given the larger amount of dialogue. For example, the characters in Lerner and Loewe's musical My Fair Lady – based on George Bernard Shaw's 1914 play Pygmalion – are unchanged from those in Shaw's stage work, because the musical version is quite faithful to the original to the point of retaining most of Shaw's dialogue. Man of la Mancha, adapted by Dale Wasserman from his own ninety-minute television play I, Don Quixote, retains much of the dialogue in that play, cutting only enough to make room for the musical numbers which were added when the play was converted into a stage musical. Operetta grew out of the French opéra comique around the middle of the 19th century, to satisfy a need for short, light works in contrast to the full-length entertainment of the serious opéra comique.
By this time, the "comique" part of the genre name had become misleading: Georges Bizet's Carmen is an example of an opéra comique with a tragic plot. The definition of "comique" meant something closer to "humanistic," meant to portray "real life" in a more realistic way, representing tragedy and comedy next to each other, as Shakespeare had done centuries earlier. With this new connotation, opéra comique had dominated the French operatic stage since the decline of tragédie lyrique. Most researchers acknowledge that the credit for creating the operetta form should go to Hervé, a singer, librettist and scene painter. In 1842 he wrote the little opérette, L'Ours et le pacha, based on the popular vaudeville by Eugène Scribe and X. B. Saintine. In 1848, Hervé made his first notable appearance on the Parisian stage, with Don Quichotte et Sancho Pança, which can be considered the starting point for the new French musical theatre tradition. Hervé's most famous works are the Gounod-parody Le petit Mam ` zelle Nitouche.
Jacques Offenbach further developed and popularized operetta, giving it its enormous vogue during the Second Empire and afterwards. Offenbach's earliest one-act pieces included Les deux aveugles, Le violoneux and Ba-ta-clan, his first full-length operetta success was Orphée aux enfers; these led to the so-called "Offenbachiade": works including Geneviève de Brabant 1859, Le pont des soupirs 1861, La belle Hélène 1864, Barbe-bleue and La Vie parisienne both 1866, La Grande-Duchesse de Gérolstein 1867, La Périchole 1868 and Les brigands 1869. Offenbach's tradition was carried on by Emmanuel Chabrier, Robert Planquette, André Messager, others. What characterizes Offenbach's operettas is both the grotesque way they portray life, the frivolous way this is done bordering on the pornographic. Émile Zola describes the back-stage and on-stage situation in the Théâtre des Variétés during the Second Empire in his novel Nana, which takes place in late 1860s and describes the career of operetta diva/courtesan Nana.
The character was modeled after Offenbach's female star Hortense Schneider, Offenbach's librettist Ludovic Halévy gave Émile Zola the details. Considering how Zola's Nana describes an Offenbach-style operetta performance in Paris, it is not surprising that the male, upper-class audience crowded the various the
Seekers of Happiness
Seekers of Happiness is a Soviet propaganda film from 1936 trying to attract Jews for the Jewish Autonomous Oblast in the far east of the USSR. Alternative name: A Greater Promise The film tells the story of a Jewish family relocating to the JAO. "The plot lays out a successful solution to the "Jewish Question" through two love stories and a crime" in the JAO. The love stories and crime provide a narrative basis to demonstrate how several obstacles are overcome: The end to impoverishment of the Jewish population. In the first sequence of the film we see the migrant family, consisting of Dvoira, her two daughters and Basya, her son Lyova, Basya's husband Pinya travelling to Birobidžan, first by ship and by train; the point of origin is unclear. While some identify the United States as the family's origin, Alexander Senderovich in his Dissertation states that the family were “repatriates to Soviet Union from Palestine.” Arriving in the JAO, despite difficulties in the beginning, the whole family adjusts to the new way of living at the collective farm “Red fields” – except for Pinya.
While everyone else is excited to start working in the collective, Pinya only agreed to accompany the family after he read in a newspaper article that someone had found gold near the farm. Refusing to do hard physical work, he manages to be assigned to garden work, which gives him the opportunity to sneak away to a small river bank, where he searches for gold. Caught doing so by Lyovka, Pinya offers him half of the gold, but when Lyovka threatens to hand over the gold to the collective, Pinya hits Lyovka on the head with a shovel. Believing Lyovka to be dead, Pinya attempts to flee over the border to China, but gets caught and arrested. After arriving at the collective, the daughter, meets Korney a young fisherman's son, they fall in love with each other. Dvoira is not a Jew. In a short conversation between mother and daughter, Rosa asks rhetorically: “I don't know who's better … The Russian Korney or the Jew Pinya?” Because Korney is found with Lyovka's body, the collective suspects him to be the murderer, arrests him.
Only when Lyovka somewhat miraculously awakes, points to Pinya as the guilty, is Korney's name is cleared. The movie ends with the marriage celebration of Rosa and Korney and the last still showing Dvoira praising their bond and the government for providing Jews with a home country of their own: “Pour some wine and we'll drink to our motherland and to those who gave us such a good life!” Basya, the second daughter has fallen in love with Natan, the chairman of the “Red Field” collective. But becoming a couple is not possible as Basya is married to Pinya, she is unhappy in her marriage because Pinya has refused to assimilate. However, Pinya's arrest clears the path for the two, after Dvoira's blessing, they are shown dancing at Rosa's wedding celebration; the JAO experiment arose from different tendencies and conflicts in the broader discourse on the so-called “Jewish question” in Russia of the early 20th century and shifts in the national policies of the post-revolutionary society. The puzzling question is why the Bolshevik soviet government, committed to internationalism, at some point and pushed forward the establishment of a Jewish national project on the territory of the USSR.
The phenomena of the JAO stands both in the context of the Zionist idea of Jewish Statehood and the history of the Jews in the Soviet Union, hence under consideration of the changing governmental policies on the matter and on the question of national policies in general. Before the October Revolution there were three main positions on the Jewish side on the matter of the “Jewish question”. Two within Zionism, one outside of it; the Zionist movement was split into those who aimed to establish a Jewish State on the territory of Palestine, the territorialists for whom Palestine was only one of several options. A third position was held by the Bund who promoted the idea of a national cultural autonomy in a multi-ethnic State; this notion of nationality was not bound to the existence of a national territory, but imagined an administrative unit for cultural issues independently from the place where someone lived. The Bund, in the pre-revolutionary time, pictured the future State as a federative System of culturally independent units without territorial binding.
In the beginning of the 20th century, before the October Revolution, a tense conflict between the Bund and the Iskra-group around Lenin broke out. The Bund called for the federal restructuring of the Russian Social Democratic Labor Party, the recognition of Jews as a nation. Both claims where rejected by the Iskra-group as being separatist and backward. For the Bolsheviks the Jewish people couldn't be a nation, because they lacked one fundamental component: an own territory. In 1913 Stalin, who between 1917-1923 held the position of the Commissariat for Nationalities Affairs, published an article on the point of view on nationhood by the social democratic party
A film called a movie, motion picture, moving picture, or photoplay, is a series of still images that, when shown on a screen, create the illusion of moving images. This optical illusion causes the audience to perceive continuous motion between separate objects viewed in rapid succession; the process of filmmaking is both an industry. A film is created by photographing actual scenes with a motion-picture camera, by photographing drawings or miniature models using traditional animation techniques, by means of CGI and computer animation, or by a combination of some or all of these techniques, other visual effects; the word "cinema", short for cinematography, is used to refer to filmmaking and the film industry, to the art of filmmaking itself. The contemporary definition of cinema is the art of simulating experiences to communicate ideas, perceptions, beauty or atmosphere by the means of recorded or programmed moving images along with other sensory stimulations. Films were recorded onto plastic film through a photochemical process and shown through a movie projector onto a large screen.
Contemporary films are now fully digital through the entire process of production and exhibition, while films recorded in a photochemical form traditionally included an analogous optical soundtrack. Films are cultural artifacts created by specific cultures, they reflect those cultures. Film is considered to be an important art form, a source of popular entertainment, a powerful medium for educating—or indoctrinating—citizens; the visual basis of film gives it a universal power of communication. Some films have become popular worldwide attractions through the use of dubbing or subtitles to translate the dialog into other languages; the individual images that make up a film are called frames. In the projection of traditional celluloid films, a rotating shutter causes intervals of darkness as each frame, in turn, is moved into position to be projected, but the viewer does not notice the interruptions because of an effect known as persistence of vision, whereby the eye retains a visual image for a fraction of a second after its source disappears.
The perception of motion is due to a psychological effect called the phi phenomenon. The name "film" originates from the fact that photographic film has been the medium for recording and displaying motion pictures. Many other terms exist for an individual motion-picture, including picture, picture show, moving picture and flick; the most common term in the United States is movie. Common terms for the field in general include the big screen, the silver screen, the movies, cinema. In early years, the word sheet was sometimes used instead of screen. Preceding film in origin by thousands of years, early plays and dances had elements common to film: scripts, costumes, direction, audiences and scores. Much terminology used in film theory and criticism apply, such as mise en scène. Owing to the lack of any technology for doing so, the moving images and sounds could not be recorded for replaying as with film; the magic lantern created by Christiaan Huygens in the 1650s, could be used to project animation, achieved by various types of mechanical slides.
Two glass slides, one with the stationary part of the picture and the other with the part, to move, would be placed one on top of the other and projected together the moving slide would be hand-operated, either directly or by means of a lever or other mechanism. Chromotrope slides, which produced eye-dazzling displays of continuously cycling abstract geometrical patterns and colors, were operated by means of a small crank and pulley wheel that rotated a glass disc. In the mid-19th century, inventions such as Joseph Plateau's phenakistoscope and the zoetrope demonstrated that a designed sequence of drawings, showing phases of the changing appearance of objects in motion, would appear to show the objects moving if they were displayed one after the other at a sufficiently rapid rate; these devices relied on the phenomenon of persistence of vision to make the display appear continuous though the observer's view was blocked as each drawing rotated into the location where its predecessor had just been glimpsed.
Each sequence was limited to a small number of drawings twelve, so it could only show endlessly repeating cyclical motions. By the late 1880s, the last major device of this type, the praxinoscope, had been elaborated into a form that employed a long coiled band containing hundreds of images painted on glass and used the elements of a magic lantern to project them onto a screen; the use of sequences of photographs in such devices was limited to a few experiments with subjects photographed in a series of poses because the available emulsions were not sensitive enough to allow the short exposures needed to photograph subjects that were moving. The sensitivity was improved and in the late 1870s, Eadweard Muybridge created the first animated image sequences photographed in real-time. A row of cameras was used, each, in turn, capturing one image on a photographic glass plate, so the total number of images in each sequence was limited by the number of cameras, about two dozen at most. Muybridge used his system to analyze the movements of a wi
The Children of Captain Grant (film)
The Children of Captain Grant is a 1936 Soviet adventure film directed by Vladimir Vaynshtok and David Gutman and starring Nikolai Cherkasov, Ivan Chuvelyov and Yuri Yuryev. It is an adaptation of the novel In Search of the Castaways by Jules Verne; the film was popular on its release, was followed in 1941 by another Verne adaptation Mysterious Island. In the 1860s, two Scottish children go on a global search for their missing father, the sailor Captain Grant; the crew of the Duncan yacht belonging to Lord Glenarvan, catches a shark in the waters of Scotland. When cutting the carcass, a bottle is found inside the fish, in which a request for assistance is written in three languages from a victim of a shipwreck; the documents have been spoiled by water, however they manage to decipher that Captain Grant's ship has crashed on the 37th degree south latitude. It is not possible to determine the longitude of the crash site. Glenarvan goes to London to organize a rescue mission, but the government denies him, citing the vagueness and inadequacy of information.
The implicit cause of the rejection was Captain Grant being a Scottish patriot who dreamed of independence for Scotland. Moreover, the main purpose of his voyage was to establish Nova Scotia. During the absence of the Lord, Captain Grant's children and daughter came to the boat in the hope to learn something about their father; when Glenarvan returns home, his wife persuades him to go in search of the captain on the Duncan. The travelers move by land and sea, cross Patagonia by the 37th parallel, visit the islands of Tristan da Cunha, Amsterdam, pass by the south-eastern Australia and New Zealand. Having experienced many dangerous adventures, they find Captain Grant on the small island of Tabor, located at the 37° south latitude. Nikolai Vitovtov as Edward Glenarvan Mariya Strelkova as Elen Glenarvan Nikolay Cherkasov as Jacques Paganel Yakov Segel as Robert Grant Olga Bazarova as Mary Grant Mikhail Romanov as Captain John Mangles David Gutman as MacNabs Ivan Chuvelyov as Ayerton Yuri Yuryev as captain Tom Grant Nikolai Michurin as Innkeeper Nikolay Adelung as Talkav Iona Byi-Brodsky as consul In the film there are two songs composed by Isaak Dunayevsky based on the lyrics of Vasily Lebedev-Kumach: "Song of the Captain", performed by Nikolai Cherkasov.
For the film was written "Song of the Captain", performed by Nikolai Cherkasov himself. Robert Grant's role was planned for another actor. During filming on location in Nalchik, it became clear that the child playing the role of Robert Grant was afraid of horses. After this, Yakov Segel who passed the audition was called up for the filming of the main role. According to Yakov Segel's recollections he was taught how to ride a horse in only one night by cinematographer Alexander Ptushko who served in the First Cavalry Army. In the cameo role of Captain Grant starred the famous stage actor, honored artist of the Imperial Theatre, Stalin Prize winner and the future People's Artist of the USSR Yuri Yuriev, it was one of the few appearances. The 45th year anniversary of the film was celebrated in the "Drummer" state cinema, it was attended by three of the surviving members of the film's cast: assistant director Leonid Knyazhinskiy, who played one of the main roles, Yakov Segel and the assistant makeup artist N. Maslennikov.
In 1986 a new film adaptation was released. Evgeny Dobrenko & Marina Balina; the Cambridge Companion to Twentieth-Century Russian Literature. Cambridge University Press, 2011; the Children of Captain Grant on IMDb