Making Films In Latvia - First Motion
Making Films In Latvia - First Motion
Making Films In Latvia - First Motion
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<strong>In</strong>stead of promised atmospheric traditional wedding they found a rich elderly groom<br />
with golden teeth, crying bride and tables placed under the rubber shelters. So they<br />
persuaded parents of another couple to allow their children to get married soon<br />
although they were supposed to do it only after bride would graduate from<br />
university. 28<br />
44<br />
Editing was done by director and script writer. 29 Final version of the film<br />
corresponded to initial conception and had thirteen parts. It was screened at the film<br />
theatre „Rossija” during USSR anniversary celebration, at Leipzig film festival and<br />
served as Brauns graduation project for Highest Courses of Film Directing. After a<br />
while USSR Film Committee requested to re-edit the film. Brauns had to cut out De<br />
Gaulle’s visit to Moscow, earth quake in Tashkent, some too naturalistic episodes of<br />
human life etc. 30 Documents available at Riga Film Museum’s archive testify that<br />
length of the original version was 3495 meters. After first re-editing it got shortened<br />
to 3155 meters. Length stated in the official film rent and screening permission issued<br />
by USSR Film Committee on the 13 th of March 1968 was 2033 meters. Film<br />
Committee was not eager to give information about the distribution of the film and<br />
director never got a chance to learn also about the ways of his first short films and<br />
fiction feature “Motorcycle summer” (1975). 31<br />
Frank, Brauns, Vertov<br />
Herz Frank (1926) wrote that Uldis Brauns (1932) introduced Vertov’s poetics<br />
into <strong>Latvia</strong>n non-fiction cinema through his approach towards capturing reality.<br />
Unexpected casual details make his films alive and function in recreation of facts into<br />
characters. 32 Brauns assured that back in sixties he knew about Vertov’s personality<br />
and films, but never had a real chance to see them. 33 Although, Frank´s own<br />
contribution to introduction of Vertov´s esthetics in “235 000 000” 34 can´t be<br />
underestimated. <strong>In</strong> published excerpts of Vertov’s diaries, texts, schematic drawings<br />
and creative ideas (that also served as a base of the “Combat manual”) several aspects<br />
28<br />
Author´s interview with Laima Žurgina, 16.02.2011, unpublished<br />
29<br />
Франк, Герц, «Карта Птолемeя», p. 43<br />
30<br />
Author´s interview with Uldis Brauns, unpublished<br />
31<br />
„Motociklu vasara” (1975)<br />
32<br />
Франк, Герц, «Карта Птолемeя», p. 43<br />
33 Author´s interview with Uldis Brauns, unpublished<br />
34 Starting from the level of basic film´s conception.