Stalin follies. An example of a Soviet musical
DOI:
https://doi.org/10.6093/sigma.v0i5.8774Keywords:
Grigorij Aleksandrov, Russian cinema, totalitarian cinema, musical cinema, Veselye rebjataAbstract
Russian musical comedies between 1936 and the early 1950s are characterised by a strong emphasis on the propagandistic and ideological content. The definition of totalitarian cinema (and in this sense of totalitarian musical comedy) seems to be appropriate to describe them. Today, those musical comedies, with the exception of Veselye rebjata (1934), are all unbearable if one analyses their content as a product of the Stalinist myth of the Soviet Union. One important element must be stressed, however: Aleksandrov’s great professionalism. A pupil of Ejzenštejn, he worked with professionals in music (Lebedev-Kumač-Dunaevskij) and dance and with well-known performers such as Ljubov’ Orlova.
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