[MOVIE]
Ass. R.: A. Hohlova; Scen.: G. Munblit, V. Sklovskij, L. Kulesov; F.: K. Kuznecov; Mo.: K. Skomorovskaja, K. Blinova; Scgf.: S. Kozlovskij, D. Cereks, P. Portone; Mu.: D. Blok; Su.: L. Obolenskij, V. Gladkij, N. Ozornov; Labo.: K. Burmistrov, N. Komarov; Int.: N. Batalov (Gorizont), E. Kuz’mina (Rosie), M. Doronin (Zio Digorizont), M. Doller (Smith), D. Kara- Dmitriev (L’orologiaio), P Podobed (Dan), I. Bobrov (Il Sovrintendente), K. Hohlov (Il Produttore), A. Gorcilin (Monja), D. Zol’c (Clark), P Galadzev (Il Rabbino), E. Seremet’eva (La Ragazza), N. Gladkov (Il Monello), D. Dmitriadi(Giuseppe), N. Akimov (Partigiano), S. Komarov (Sottufficiale); Prod.: F. Akimov, N. Alekseev, S. Skvorcov, A. Kapustjanskij, A. Torre Per Mezrabpomfil’m; Pri. Pro.: 30 Gennaio 1933 35mm. L.: 2782 M. D.: 102′ A 24 F/S.
Gorizont is Kuleshov first sound film. Incidentali this is also the first film, in which the leading roles were played by invited actors (Nikolaj Batalov and Elena Kuz’mina), rather than the students of Kuleshov’s school. Despite the brilliant dialogues written by Viktor Sklovskij, the film ’s story tries to cover too much for it to have a sense of unity. Now it is yet another Kuleshov’s film about the Civil War in Russia – then its action shifts to the United States and is about Jewish émigrés from Russia. Kuleshov appears to have been more interested in exploring expressive possibilities of sound in cinema, than in pursuing the MeZrabpomfil’m Studio commission to make a political film on a topical “international issue.”
Ekaterina Hohlova
