Semen Aranovich - Biography, Date of Birth, Place of Birth, Filmography (Read)

Semyon Aranovich - biography, date of birth, place of birth, filmography, clips.
Director, screenwriter, producer.
July 23, 1934, Derazhnya station, Khmelnytsky region, Ukrainian SSR, USSR - September 8, 1996, Hamburg, FRG.
Honored Artist of the RSFSR (1988). People's Artist of the RSFSR (11.01.1994) .
Graduated from the Rostov Naval Aviation Mine Torpedo School (1955), the directing department of VGIK (1965, workshop of Roman Karmen).
There were many Aranovichs: documentary filmmaker, gamer, functionary, friend-enemy of Herman ... He asked a lot of riddles: why is he suddenly, in the midst of perestroika, betraying openly anti-capitalist, overflowing with sore cliches "The Great Game" - why? what for? after all "left" like, after all "our"? And the "Year of the Dog"? - what did he want to say here? Yes, and "Confrontation" is the same - not a single critical article has appeared about this film, but it was filmed after "Torpedo Bombers", when Aranovich was already in the first place, and everyone was looking forward to his new work, and the green street was was already provided ... And a film appeared - and a zone of emptiness formed around it. She was always around Aranovich. His films are about her. For some reason, watching them is uncomfortable, and sometimes even scary. Take at least the same series "Confrontation" - after all, a detective like, TV genre, it would seem to sit with a cup of tea, but watch the ups and downs ... But, by God, it somehow becomes not up to tea when this is on the screen ... But, actually, what? Death. It is not a person who creates the world here in his own image and likeness, but the world, environment, space devours him, makes him live according to his own laws and as a result kills, dissolves, neutralizes, introduces him into the death zone. Moreover, we have before us not metaphysics, not aesthetic bells and whistles, but tough, clear, energetic realism ... For example, the guys from Arkhangelsk went somewhere to the northern islands to equip food bases for the sailors in distress on the Summer Trip to the Sea. And they ended up in some strange place, already overflowing with death and war, already grinning, alert ... Although completely empty, naked. And not a man, but it dictates its laws here. And now the characters of the heroes disappear, conflicts dissolve, any relationships disappear altogether - no, not even a struggle for survival begins, but a gradual merger with the space of nothingness, with the state that the whole country will soon live in. The action takes place in the fall of the 41st. The picture will end when the heroes of the film aim at a wounded German who happened to be on the island. In the finals of almost all of Aranovich's next films - death. And the feeling of some kind of understatement. Almost all the heroes of "Torpedo Bombers" and "The Great Game" die, Rafferty dies, the hero of "Year of the Dog" dies ... But again, why? Is there an artistic pattern in this? But this question was not asked by anyone, and the answer hung in the air. Nobody knew by what category to count these disturbing, catching, nervous, evil pictures. "Summer Trip to the Sea" was recognized as a failure, everyone grimaced from the "Big Game", the rest of the films were simply passed over in silence. Lucky only "Torpedo bombers" - after all, this tape destroyed the usual myth about the war. But other paintings by Aranovich also destroyed the Myth. The myth of the hardening of the young Soviet soul in the struggle against adversity ("Summer trip to the sea"), the myth of the Soviet detective ("Confrontation"), the myth of the Soviet political film ("The Big Game"). It is no coincidence that they were often put side by side - Herman and Aranovich - alas, more often just for life than for the similarity of creative principles. Yes, they really had a complex relationship, but that's not the point - the main thing is that they both destroyed the Myth by hyperrealistic entry into it. Only Herman thought in historical categories, Aranovich in metaphysical ones. And he always left, left, left his heroes, when their soul entered the circle of Hell. He was generally not interested in people and their relationships. However, no, they were interested - but only in relation to the space in which they exist. He came to fiction from documentary and by nature has always remained a documentary filmmaker. He was not so much thinking as recording. With ruthless accuracy he recorded the stages of the death of the soul.

All Information About: Semen Aranovich - Biography, Date of Birth, Place of Birth, Filmography.
Author: Jane Watson