Top 6 Russian Directors
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The most famous Soviet film-maker since Sergei Eisenstein, Andrei Tarkovsky (the son of noted poet Arseniy Tarkovsky) studied music and Arabic in Moscow before enrolling in the Soviet film school VGIK. He shot to international attention with his first feature, Ivan's Childhood (1962), which won the top prize at the Venice Film Festival. This resulted in high expectations for his second feature Andrei Rublev (1966), which was banned by the Soviet authorities for two years. It was shown at the 1969 Cannes Film Festival at four o'clock in the morning on the last day, in order to prevent it from winning a prize - but it won one nonetheless, and was eventually distributed abroad partly to enable the authorities to save face. Solaris (1972), had an easier ride, being acclaimed by many in Europe and North America as the Soviet answer to Kubrick's '2001' (though Tarkovsky himself was never too fond of his own film nor Kubrick's), but he ran into official trouble again with Mirror (1975), a dense, personal web of autobiographical memories with a radically innovative plot structure. Stalker (1979) had to be completely reshot on a dramatically reduced budget after an accident in the laboratory destroyed the first version, and after Nostalghia (1983), shot in Italy (with official approval), Tarkovsky defected to Europe. His last film, The Sacrifice (1986) was shot in Sweden with many of Ingmar Bergman's regular collaborators, and won an almost unprecedented four prizes at the Cannes Film Festival. He died of lung cancer at the end of the year. Two years later link=Sergei Parajanov dedicated his film Ashik Kerib to Tarkovsky.- Director
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The son of an affluent architect, Eisenstein attended the Institute of Civil Engineering in Petrograd as a young man. With the fall of the tsar in 1917, he worked as an engineer for the Red Army. In the following years, Eisenstein joined up with the Moscow Proletkult Theater as a set designer and then director. The Proletkult's director, Vsevolod Meyerhold, became a big influence on Eisenstein, introducing him to the concept of biomechanics, or conditioned spontaneity. Eisenstein furthered Meyerhold's theory with his own "montage of attractions"--a sequence of pictures whose total emotion effect is greater than the sum of its parts. He later theorized that this style of editing worked in a similar fashion to Marx's dialectic. Though Eisenstein wanted to make films for the common man, his intense use of symbolism and metaphor in what he called "intellectual montage" sometimes lost his audience. Though he made only seven films in his career, he and his theoretical writings demonstrated how film could move beyond its nineteenth-century predecessor--Victorian theatre-- to create abstract concepts with concrete images.- Actor
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Nikita Mikhalkov is the son of the famous communist poet Sergey Mikhalkov, who wrote the lyrics of the Soviet national anthem and had strong connections to the Communist Party. Nikita Mikhalkov's mother, Natalya Petrovna Konchalovskaya, was also a poet and daughter of famous painter Pyotr Petrovich Konchalovsky and his wife Olga Vasilievna Surikova, and by her the great granddaughter of another great painter Vasily Surikov. And then last, but not least, Nikita Mikhalkov is the brother of Andrey Konchalovskiy, also a distinguished film director who, unlike Nikita, has worked in the USA.
Not only did Mikhalkov direct the Academy Award-winning film "Burnt by the Sun" but he is also well-known as a versatile actor, having appeared in over 40 films, including the role of the Russian Tsar Alexander III in his own "The Barber of Siberia" (1998).
Mikhalkov has an impressively long list of wins at the most prestigious film festivals, like Cannes, Venice, Moscow or Karlovy Vary.
Following his movie's Oscar win for Best Foreign Language Film, Nikita Mikhalkov won a parliamentary seat in the then Prime Minister Victor Chernomyrdin's party.
He is always in the spotlight, especially in Moscow, where he resides.- Writer
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The Russian theatre and film director Andrei Konchalovsky is an elder brother of Nikita Mikhalkov, born August, 20, 1937. As a youngster he planned to pursue a career of a musician and learned to play piano but his love for cinema outweighed and he entered VGIK-the major state film school where he studied under Mikhail Romm. At VGIK he met Andrei Tarkovsky, they collaborated on Ivan's Childhood (1962) and Andrei Rublev (1966). For his feature debut The First Teacher (1965), he chose the book by Chingiz Aitmatov about the post-1917 Revolution period in the southern Russia. His next film Istoriya Asi Klyachinoy, kotoraya lyubila, da ne vyshla zamuzh (1966) although made in 1966 was not released until a decade later because it failed to comply with the strict requirements of the Russian censorship of the period. A Nest of Gentry (1969) - a study of the 19 c. aristocracy - was praised for its visual beauty but attacked by critics as mannered. Konchalovsky's powerful Uncle Vanya (1970) from the play by 'Anton Chekhov_ is regarded by many people as one of the best films in the Russian language ever. Siberiade (1979) - a dramatic and realistic story of the lives of the people of Siberia - was internationally acclaimed and brought Konchalovsky to the attention of American and European producers. From then on-wards his career has been international in scope. Pleasing critics and audiences worldwide, he made the English language films Maria's Lovers (1984), Runaway Train (1985), Duet for One (1986) (praised for Max von Sydow's brilliant performance), and the award-winning Homer and Eddie (1989) starring Whoopi Goldberg. Konchalovsky moved to the mainstream territory with the action packed Tango & Cash (1989). Charasteristically he still insists that this work is no less laudable than any of his others. He also directed plays and operas in a number of European cities. In the early 1990s he returned to Russia and directed several theatre productions most notably "The Seagull" by Chekhov and "Miss Julie" by August Strindberg. Residing in Moscow Konchalovsky sometimes makes short excursions to Hollywood to make mainstream TV productions like the Emmy-winning The Odyssey (1997) and The Lion in Winter (2003) in which Glenn Close gave an award-winning performance. His Russian-French co-production House of Fools (2002) - a story set in an asylum that stands on the border between Russia and Chechenya during the war in Chechenya - was warmly received in Europe and won an honor at the 2002 Venice Film Festival. However the film antagonized the critics in Russia. In the very beginning of his career he was credited as Mikhalkov- Konchalovsky. Later he adopted his mother's maiden name to distinguish himself from his younger brother, Nikita Mikhalkov, who was rapidly becoming a famous filmmaker himself. For his last feature film The Postman's White Nights (2014), shot digitally in his home country Russia, Andrey Konchalovsky won the 'Best Director' award at the 'Venice International Film Festival' in 2014.- Director
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Leonid Iovich Gaidai was born on January 30, 1923, in the town of Svobodny, Amur region of Siberia, USSR. He was the third child in the family of a railroad worker. His father, named Iov Isidorovich Gaidai, was exiled to Siberia from Poltava, Ukraine. His mother, named Maria Ivanovna Lubimova, came from the Russian city of Ryazan. In 1930 the family moved to the Siberian city of Irkutsk. There Gaidai went to school and graduated in June of 1941.
In 1941, during the Nazi occupation of Russia in the Second World War, Gaidai was drafted in the Red Army. He was assigned to the front-line Army intelligence at the Kalinin Front near Moscow. Because he spoke German, he was involved in clandestine intelligence operations against the Nazi invaders. In 1943 he was seriously wounded, when he stepped on a land mine. He became physically handicapped and was decorated for his courage. He was discharged with honors as a disabled veteran of WWII.
Gaidai went back to Siberian city of Irkutsk, There he studied acting at the Drama Studio of the Irkutsk Drama Theatre. He graduated in 1947, and was an actor of that theatre until 1949. From 1949-1955 he studied as film director at State Institute of Cinematography (VGIK) under Grigoriy Aleksandrov, Mikhail Romm and Ivan Pyrev. From 1955 Gaidai was a film director at the Mosfilm Studios under his mentor Mikhail Romm. Gaidai used literary material by Ilya Ilf and Yevgeni Petrov, Mikhail A. Bulgakov, Mikhail Zoschenko, and O. Henry among other writers.
His early films of the 1950's had little success. In the 1960's Gaidai created the "goldmine" with comedians Yuriy Nikulin, Georgiy Vitsin, Evgeniy Morgunov, and Aleksandr Demyanenko. Comedies with those actors were the highest-grossing box office hits ever in the Soviet Union with the attendance of 222,800,000 in the first 15 months. Total admissions of the Gaidai's comedies during the 1960's only in the USSR exceeded 600,000,000 without counting the reruns and the international sales.
During the 1970s and 1980s Gaidai worked with the best comedians of the Soviet cinema, such as Evgeniy Leonov, Leonid Kuravlyov, Archil Gomiashvili, Mikhail Pugovkin, Yuriy Yakovlev and many other renown actors. Alhough the inevitable changes in society during "perestroika" affected the film industry, Gaidai's films still remained on the top. Gaidai's comedies on video even gained popularity after the collapse of the Soviet Union. In a 1995 poll in Russia, 'Brilliantovaya ruka' (1968) was voted the best Russian comedy ever.
Financial success did not reach Gaidai personally, he lived in a co-op flat and had the same one car, "Lada", driven by his wife, actress Nina Grebeshkova for many years. She was the fortress behind his success by being a quiet help and never demanding more than they had. She described her husband, Gaidai, as being similar to the popular character 'Shurik' in his films. Leonid Gaidai died of thrombo-embolic disease and complications of his WWII wounds on November 19, 1993, in Moscow. He was laid to rest in the Kuntsevsky Cemetery in Moscow, Russia.- Producer
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Timur Bekmambetov is a Kazakh-Russian film director known for vampire franchise Night Watch (2004) and Day Watch (2006).
He was born Timur Nuruakhitovich Bekmambetov on June 25, 1961, in Guryev, Soviet Union (now Atyrau, Kazakhstan). His father, Nuruakhit Bekmambetov, is a manager at Guryev Energy company; his mother, Mira Bogoslavskaya, was a journalist. Young Bekmambetov was raised along the Ural river in Kazakhstan, Soviet Union.
In 1978, aged 17, he moved to Moscow. There from 1978 to 1980 he attended the Moscow Energy Institute, but he was more interested in art and movies. Eventually, he dropped out of college, and joined the cultural milieu around such artists as Anatoli Zverev and Oskar Rabin. Then, from 1982 to 1987 he studied painting at Tashkent Theatrical Art Institute, graduating in 1987 as artist of theatre and film. From 1987 to 1988 he served in the Red Army stationed at artillery division near Ashkhabad, Turkmenistan. Then he worked as set designer at "Ilkhom" Drama Theatre in Tashkent, and at Uzbek Film Studio.
Since 1989 he has been directing commercials. In 1992 Bekmambetov made his directorial and writing debut with Peshawar Waltz (1994), a film about the Soviet war in Afghanistan which received awards at several festivals in Europe. From 1992 to 1997 he made 18 commercials for the Russian bank "Imperial" and was named best young director of 1997 by Russian Film Academy. In 1999 he started his own film company, Bazelevs Production.
His big break came with the success of the vampire franchise Night Watch (2004) and Day Watch (2006), which he directed during 2003 - 2005. Both films became international blockbusters, and received several awards and nominations. The third installment, Twilight Watch (2009), is slated for release in 2009.
Since 2005, Bekmambetov has been working in Hollywood, writing, directing and producing several flicks, such as Wanted (2008), 9 (2009), and The Red Star. Back in Russia, he made another success directing The Irony of Fate 2 (2007), a romantic comedy based on the Soviet era characters and capitalizing on nostalgia among some of the post-Soviet audiences.
Timur Bekmambetov established himself as a master of dense narrative. His films often surprise the viewers with eerie details, hectic pace and unusual twists and turns, and remain a challenge even for experienced audiences.