Marina Goldovskaya is a Russian writer, documentary filmmaker, author of such films as Arkady Raikin, Arkhangelsk Man, Power Solovetskaya and The Bitter Taste of Freedom.
Biography
Marina Goldovskaya was born in Moscow in the family of a scientist and inventor. After graduation, she entered the VGIK, the camera department. Came to television in the early sixties. For some time she worked as an operator. But she soon began to create her own films. Marina Goldovskaya is a director who is called the master of documentary films. She has created more than thirty paintings. Goldovskaya is also engaged in teaching: lectures at the Faculty of Journalism at Moscow State University.
Marina Goldovskaya, whose biography and career began long before the perestroika era, is perhaps the only Russian filmmaker known in the West. Her films received positive reviews from foreign critics. In the homeland, Marina Goldovskaya was awarded the state prize for the painting “The Arkhangelsk Man”. According to her work, students of US universities study the history of Russia of the XX century.
Features of creativity
At the beginning of her career, Marina Goldovskaya used methods previously unknown to Soviet filmmakers. As a cameraman, she worked in 1968 on the film Weaver. This is a so-called observation method when a person enters the frame in his natural, laid-back state. “Weaver” is a film dedicated to the workers of one of the Soviet factories. Work on the film was suspended during the filming period. But later, as a director, Marina Goldovskaya’s methods were always true to this.
Filmography
- "Raisa Nemchinskaya."
- "Yuri Zavadsky."
- "Arkady Raikin."
- "Test".
- "Arkhangelsk man."
- "The power of Solovetsky."
- "Mikhail Ulyanov."
- "Taste of freedom."
- "From the abyss."
- "Prince".
The genre of a film portrait occupies a special place in the work of Goldovsky. In creating her paintings, she was ahead of many colleagues. She used the latest technological achievements in her work, which she later wrote about in the book “Technics and Creativity”.
Among her projects there are several works dedicated to prominent figures of cultures and art. Among the created Goldovskaya movie portraits: “Mikhail Ulyanov”, “Oleg Efremov”, “Anastasia Tsvetaeva”.
Restructuring
For these years, so important in the history of the country, the peak of the popularity of Goldovskaya films came. Soviet people finally got the opportunity to know the truth about themselves and the state in which they live. The finest hour of Goldowska has come. It was at this time that the painting "Arkhangelsk peasant" was created.
In 1988, the film “Solovetskaya Power” was released, telling about the formation of one of the first camps in the USSR. The premiere of the picture was a real event. Previously, such films were not shot in the country.
IN THE USA
In the early nineties, Marina Goldovskaya, whose photo is in the article, went to California to teach. But even in these years she shot documentaries. Films such as “Lucky to Be Born in Russia” and “Shards of the Mirror” were created. Perhaps, on an emotional, spiritual level, these documentary films are the most terrible and frank, but at the same time bright story, telling about the tragedy of ordinary people in the difficult perestroika era - not the heroes of the time, but ordinary citizens. The films created by Marina Goldovskaya in the last decade of the last century are realistic stories about how the inhabitants of the post-Soviet space survived, preserved their humanity and loyalty to their ideals.
In the paintings of this director there are revelations of people. The stories are told in an unusual cinematic language. Heroes seem to live several days of their lives in front of the camera. This is a kind of condensed chronicle of the everyday life of people who in the early nineties were forced to adapt to capitalism, which turned out to be more terrible for them than war, natural disasters.
"Prince"
The paintings of Marina Goldovskaya can not leave anyone indifferent. In 1999, the famous film “The Prince” was released. In the first minutes, a generalized image of the country appears in front of the viewer. And against the background of the endless Russian winter landscape, a gloomy funeral procession is shown. Goldowskaya used these episodes as a metaphor - sad, tragic. Despite this, “Prince” is a film that, along with a few in Goldovskaya’s work, can be attributed to light, even somewhat optimistic cinema. This picture introduces the Russian viewer to the land on which he lives. When viewing, it seems as if the film arose on its own. And the director only had to follow his heroes with the camera.
