Savva Kulish - Biography, Date of Birth, Place of Birth, Filmography (Read)

Savva Kulish - biography, date of birth, place of birth, filmography, clips.
October 17, 1936, Odessa - June 9, 2001, Yaroslavl.
Writer, director, actor, cameraman, producer.
Honored Artist of the RSFSR (1984). People's Artist of the Russian Federation (19.10.1995) .
Graduated from the camera department of VGIK (1959, workshop of Lev Kosmatov), ??the directing department of the theater school named after B.V. Shchukin (1968, course by Boris Zakhava).
He worked as an operator in cinema and TV. After graduation, together with V. Zheleznyakov, he shot (as a cameraman) the first Soviet television film "A Special Approach" (1958, directed by Mikhail Grigoriev, Yalta). Director-trainee on the film "Ordinary Fascism" by Mikhail Romm. Co-author of scripts for the films "Entertainment for Old Men", "Fuete". Staged radio performances, a performance at the Theater-Studio of the film actor "The Carriage of the Holy Gifts" .
VGIK teacher, professor (1986). Secretary of the Investigative Committee of Russia. President of the Moscow Guild of Film Directors. 1996-2001 - President of the International Market-Film Festival "Window to Europe" in Vyborg. Gruvemuvestart Savva Kulish occupies a special place in the national cinema. This director cannot be ranked either among the "first" echelon, nor among the "second", nor among traditionalists, nor among innovators, nor among realists, nor among avant-garde artists. His films are much more complex in form and style than the "film story" beloved by the sixties, and they are not very realistic. There are no hidden allusions in them, mysterious "carnivals" inherent in the seventies.
Kulish also did not fit into perestroika with his "Tragedy in the style of rock". It did not fit into our time either: his four-hour epic "Iron Curtain" was awarded two or three indistinct notes and quietly disappeared from the field of view of the cultural community. “I am interested in Utopia as a spiritual space,” said Kulish.
The entire liberal intelligentsia of the 1960s unconsciously sought this Utopia of theirs as a salvation from the System. And I found it. It became the very ideology of the sixties. But no one perceived it as another Utopia. They did not realize it even after many years. When you exist in a situation of struggle, there is no time for self-reflection. Kulish refused to fight the system initially. If there are any social conflicts in his films, then they are rather embedded in the storyline than embodied in the plot. In the early 1970s, it became completely unclear in which direction to move. Someone goes to collage (Elem Klimov), someone to documentary (Grigory Chukhrai, Marlen Khutsiev), the majority - to the party-state genre. Kulish's films "The Committee of 19", "Takeoff" and even "Tales ... Tales ... Tales of the Old Arbat" will become an almost unconscious, but surprisingly accurate reflection of the spiritual situation of those years, combining a certain epic pomp with a painful search for contacts with Being and a cry for uncreated harmony. Hence - the epic character of his films, their globalism - overwhelming and even annoying. Space is a bright idea lighting up the 1960s; a bright, free future, which is at the same time here, next to us; a space cleared of lies, where Peace and Trust in man reign! Here are the roots of the 1960s utopia. This desire to embody his spiritual homeland on the screen will haunt Kulish all his life (he will even shoot a documentary short film about space - "First Starts"). After all, then all meanings will gather in a single transcendental space, and the Main Truth will come to light, and a feeling of boundless creative freedom will arise, thanks to which, in many ways, the “Dead Season” took place .
On June 1, 2001, Kulish suffered a deep stroke. On the night of June 9, he died without regaining consciousness.

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Author: Jane Watson