Heavy Handed Politics Ruins Charming Film

Dvadtsat shest dney iz zhizni Dostoevskogo

Twenty Six Days from the Life of Dostoyevsky (1981)

Twenty Six Days from the Life of Dostoyevsky

Natalya Uzhviy

Sergei Parajanov

Stalin had been dead for six years when this thirty minute long short was made. Its charming examination of the work of folk artisans, including wood carving, glass blowing, embroidery, weaving, pottery and ceramics is, unfortunately, irreparably blunted by the stern application of the great leader&apos;s concept of &apos;socialist realism&apos;.

Prior to the liberation of the October Revolution, the work of these artisans was shown to have been ruthlessly expropriated by their social and political betters. After 1917, they were finally celebrated, sometimes being awarded the ultimate distinction of the title &apos;People&apos;s Artist&apos;.

The work itself most often depicts the lower orders and their tasks of menial labour: sowing grain, harvesting, building rude huts, working on bridges. This is line with the Soviet mystique of glorifying the proletariat. Other than these works, I found a lot of the ceramic and other folk designs rather too busy and ornate.

Parajanov fell afoul of the authorities and was for a time dealt with by their customary response to individualism: he was confined to a mental institution.

It is highly doubtful that this film was the cause, as it is a true expression of orthodox political correctness for the time.

Stalin had been dead for six years when this thirty minute long short was made. Its charming examination of the work of folk artisans, including wood carving, glass blowing, embroidery, weaving, pottery and ceramics is, unfortunately, irreparably blunted by the stern application of the great leader's concept of 'socialist realism'.

Prior to the liberation of the October Revolution, the work of these artisans was shown to have been ruthlessly expropriated by their social and political betters. After 1917, they were finally celebrated, sometimes being awarded the ultimate distinction of the title 'People's Artist'.

The work itself most often depicts the lower orders and their tasks of menial labour: sowing grain, harvesting, building rude huts, working on bridges. This is line with the Soviet mystique of glorifying the proletariat. Other than these works, I found a lot of the ceramic and other folk designs rather too busy and ornate.

Parajanov fell afoul of the authorities and was for a time dealt with by their customary response to individualism: he was confined to a mental institution.

It is highly doubtful that this film was the cause, as it is a true expression of orthodox political correctness for the time.

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Natalya Uzhviy

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