A blog formerly known as Bookishness / By Charles Matthews

"Dazzled by so many and such marvelous inventions, the people of Macondo ... became indignant over the living images that the prosperous merchant Bruno Crespi projected in the theater with the lion-head ticket windows, for a character who had died and was buried in one film and for whose misfortune tears had been shed would reappear alive and transformed into an Arab in the next one. The audience, who had paid two cents apiece to share the difficulties of the actors, would not tolerate that outlandish fraud and they broke up the seats. The mayor, at the urging of Bruno Crespi, explained in a proclamation that the cinema was a machine of illusions that did not merit the emotional outbursts of the audience. With that discouraging explanation many ... decided not to return to the movies, considering that they already had too many troubles of their own to weep over the acted-out misfortunes of imaginary beings."
--Gabriel García Márquez, One Hundred Years of Solitude

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Thursday, October 9, 2025

Brief Encounters (Kira Muratova, 1967)

Vladimir Vysotskiy and Kira Muratova in Brief Encounters

Cast: Kira Muratova, Nina Ruslanova, Vladimir Vysotskiy, Lidiya Bazilskaya, Olga Viklandt, Aleksey Glazyrin, Valeri Isakov, Tatyana Midnaya, Kirill Marinchenko, Svetlana Nimolyaeva, Grigoriy Kogan. Screenplay: Kira Muratova, Leonid Zhukovitsky. Cinematography: Gennady Karyuk. Production design: Aleksandra Konardova, Oleg Perederiy. Film editing: O. Kharakova. Music: Oleg Karavaychuk. 

Kira Muratov's first feature, Brief Encounters, is a deftly handled romantic drama about a middle-aged woman, Valentina (Muratova), her not-so-faithful husband, Maksim (Vladimir Vysotskiy), and a pretty young woman, Nadya (Nina Ruslanova), whom Valentina hires as a housekeeper. What neither Valentina nor Nadya realizes when the hiring takes place is that Nadya and Maksim have already met. The process of discovering that fact and dealing with it constitutes the plot. In the meantime, we see the satire-tinged portrait of Valentina's life as a bureaucrat in the city of Odesa, dealing with contractors who cut corners and people anxious to occupy the apartment houses they're building. Muratova wittily fragments the narrative, with flashbacks to the on-the-road encounter of Nadya and Maksim, who is a geologist exploring the rural Ukraine that Nadya is eager to leave. It's the kind of movie whose narrative technique demands attention, but it's also engaging enough that you want to go back and watch it again once you've sorted out the relationships of the characters. 

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