A ‘Playhouse Presents’ Production, ‘A Young Doctor’s Notebook,’ Based on Mikhail Bulgakov’s ‘Notes from a Country Doctor’
I was not sure what to expect from a British TV production of a series based on the semi-autobiographical sketches of Mikhail Bulgakov, written in the mid-1920’s in Russia (see earlier post—‘Harry Potter and Don Draper do Bulgakov’). This four-part Playhouse Presents production, ‘AYoung Doctor’s Notebook’, was initially aired at the end of 2012 on Britain’s Sky Arts network. On viewing the first episode, I was not surprised to find it to be very British in many ways, but with an impressive stock of allusions to Russian literature and culture. A great deal of effort seems to have been spent to get a lot into the seemingly simple story of the arrival at an isolated, seriously understaffed rural hospital, of a newly graduated medical student from Moscow. Continue reading →
A Look Back at Abram Room’s Classic Film, Третья Мещанская: a picture of life in Moscow after Lenin, but before the full force of Stalinism.
The focus of my Russia studies has recently turned, through no conscious design of my own, to the period between the two World Wars, in the first half of the twentieth century. This may be no accident, though, as I am deeply fascinated by the unprecedented levels of dynamism, change, brutality and vision of Russian society in the decades after the Revolutions of 1917. My translations of Bulgakov and Mandelstam, my examination of the Soviet Five Year Plans, and my review of Douglas Smith’s book Former People all relate to this era when the revolution was still finding its way (see earlier posts- ‘The Old-Timers of Moscow Will Remember,’ ‘Leningrad,’ ‘All According to Plan,’ ‘Former People’). Deciding to continue in this direction, I thought I should take another look at a Russian silent film from 1927, variously called ТретьяМещанская (Tret’ya Meshchanskaya), Любовьвтроём (Lyubov’ Vtroyom), Three in a Basement (in Germany) and Bed and Sofa (in English speaking countries). I was introduced to this film as an undergraduate in a class on Soviet film, but watching it again, investigating its history and looking at some of the reviews published in Russia when it first came out, highlight for me the tasks Russians faced in trying to create a new society after the shattering of old social conventions, and the efforts of the Communist Party to define new ones. With this in mind I will offer my own review. Continue reading →
In 1946, George Kennan argued that the “ideology, and the circumstances of power” inherent in the Soviet regime required the Communist Party to have enemies to point to in order to legitimize its exercise of complete and exclusive control over the economic, political and social life of all citizens of the U.S.S.R. Kennan believed that by the end of World War II, it had become increasingly difficult to target internal “enemies of the revolution”—the purges of the 1930s could hardly have been more effective at eliminating them. But the war, and the subsequent competition among the victors for regional and global influence, allowed the Party to point to external enemies: the capitalist regimes of the West. Thus, with Kennan’s help, the Cold War was initiated.
But who were these “enemies” within the Soviet Union prior to the Second World War? Douglas Smith goes a long way to bring home the reality of one group of these “counter-revolutionaries”—the so-called “former people.” Continue reading →
As I was translating a passage from Master and Margarita, it dawned on me that what I was reading was the author’s own reflection on the kinds of changes that Moscow had gone through during the two decades that saw World War I, revolution, the end of Tsarism, the establishment of Communist Party rule, Civil War and the creation of the Union of Soviet Socialist Republics. Given what I know of Russian history, I found this little aside in chapter V to be enormously interesting, bold and insightful. Continue reading →
In an earlier post, The “Foreigner”, I wrote about my fascination with finding what looked like a Russian critique of an especially Russian view of outsiders. Much has been made in the Western media recently about attempts by the Putin government to blame domestic political unrest on foreign influence; Notably, the signing of a law in July labeling Russian NGO’s that receive money from abroad as “foreign agents”, and the expulsion in October of the United States Agency for International Development (USAID). These actions are described in the West as efforts by the Putin government to curb protests against alleged fraud in recent elections, and to repress dissent generally. I will argue that this reporting is somewhat unbalanced, but first I would like to briefly examine the history of Russia’s approach to the outside world, highlighting some of those things that have contributed to Russia’s reputation in the West as xenophobic and inherently distrusting of foreigners. Continue reading →
In a previous post I commented about use of comedy, satire, absurdity and fantasy in Russian literature to mask political or social commentary, and hopefully avoid censorhip. I found in the first chapter of Master and Margarita what could be read as a critique of policies that were at the foundation of the Communist Party’s attempt to realize a socialist/non-capitalist economy in the Soviet Union—the Five Year Plans.