Svinarka I Pastuch

Ivan Pyr'ev

T. int.: Swineherd and Shepherd [La guardiana dei porci e il pastore]. Scen.: Viktor Gusev. F.: Valentin Pavlov. Mo.: Anna Kulganek. Scgf.: Artur Berger. Mu.: Tichon Chrennikov. Su.: Vjacˇeslav Lešcev. Int.: Marina Ladynina (Glaša Novikova), Vladimir Zel’din (Musahib Gatuev), Nikolaj Krjucˇkov (Kuz’ma Petrov), Nikita Kitaev (Ivan Ivanovicˇ), Vladimir Ural’skij (l’automobilista), Osip Abdulov (il barista), Ekaterina Šastlivceva (la nonna di Glaša). Prod.: Mosfil’m. Pri. pro.: 7 novembre 1941 35mm. D.: 85’. 

info_outline
T. it.: Italian title. T. int.: International title. T. alt.: Alternative title. Sog.: Story. Scen.: Screenplay. F.: Cinematography. M.: Editing. Scgf.: Set Design. Mus.: Music. Int.: Cast. Prod.: Production Company. L.: Length. D.: Running Time. f/s: Frames per second. Bn.: Black e White. Col.: Color. Da: Print source

Film Notes

Pyr’ev wasn’t the first to make a musical comedy set on a kolchoz – Igor Savcˇenko’s splendid Garmon (1934), for instance, precedes Pyr’ev’s first essay in this sub-genre by three years. But: Pyr’ev was the one who really made the kolchoz musical comedy his own. It was easy for him – people say that the only things Pyr’ev loved as much as operetta were cinema and women… With Bogataja nevesta (1937), he hit the ground running. Traktoristy (1939) shows Pyr’ev refining his aesthetics. With the all-blank-verse Swineherd and Shepherd, he finally knew exactly what he wanted from the genre and how to get it. Here we find again the strong contrast between Moscow – this time presented as a High Socialist Realist vision – and the different kinds of rural backwoods (the north, with Glaša, a woman who tends pigs; the south, with the shepherd Musahib). Combined with that is a subtly nagging sense of unease – maybe the USSR is too big for the good of its people who have trouble even communicating with each other… But things work out in due time somehow, the mood becomes joyful and spirited, sweet-natured and naïve in the most commendable fashion – yet that sense of an almost crushing vastness remains. Let’s end this note appropriately: for some souls in love, the shepherd’s letters to the woman who tends pigs are the apex of erotic poetry.

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