简介：卡拉托佐夫与乌鲁谢夫斯基的第一次合作,片子感觉一般不如两年后的<雁南飞>好,乌鲁谢夫斯基当时还没有完全形成后来著名的手持摄影情绪摄影的风格,但已有初步的实践. InoneofthestepperegionsofKazakhstanarrivesonatripKomsomolyouthsquad.Severespringfrostsandflowsofmud,debilitatingworkisnotonspecialtycomplicatethealreadydifficultlivesofarrivals.AgainstthebackdropofsuchalifeisatouchingromanceSecretaryKomsomolorganizationandtraktoristkiAnna... In1954,thefamousSovietoperatorYuriEkelchikusuggested-thefirstoftheSovietoperators-toholdexperiencedwidesurvey.Thechoicewasanunusuallyhappy:widescreenasifcreatedspecificallyforEkelchikaonhisconstantdesire"togobeyondtheframe","declaredneobyatnoe".Butthenewformathasbroughtnewproblems.Ekelchikobsessinglookingforwaystofeedthemostexpressiveactor,checkswiththepossibilityofshootingmotion.Experimentsandreceiverealgoal-alongwithdirectorMikhailKalatozovEkelchikbeginspreparationsfortheshootingofthefirstSovietwidescreenmovie"Tselina"byNikolaiPogodinscenario.Unfortunately,thefilmhadtowithdrawanormalscreen.ButlaborEkelchikanotgoneandexperiencedshooting,andtakenonawidescreenactingsampleswerecarefullyandwithgreatbenefitoperatorsstudied,followedbyEkelchikomabsorbthenewformat."Thefirstechelon"(underthenameofthefilmcameoutonthescreen)againdemonstratedtheabilitytochangeEkelchika,findingnewmeansofexpressionfornewcontent.Butthesignificanceofthefilminthedevelopmentofcarrier-artdoesnotstopthere.It'sreally,itseems,hasnotyetbeenassessed.Thereasonisthatindividualelementsofsyntheticartofcinema,ascorrectlynotedarthistorianA.Kamensky,have"acertainautonomydevelopment".Sheandmanifestedinthe"firstline"-wentfineinterpretationofafewmoreofscenarioanddirectorsolutions.Afilmimportance,placeinthehistoryofcinemaisdefinedasarule,theoverallassessment.ForKalatozova(as,indeed,andforcinemaingeneral)"Thefirstechelon"hadatransitionalfilm:hebegantogetridofthisperiodmalokartinyamanycanonsandonlynaschupyvalastylethathasmadehisnextmovie-"TheCranesAreFlying"(1957)eventnotonlytheSoviet-ofworldcinema. http://www.domashnij.ru/cinema/cconception/10298/ http://www.filmreference.com/Writers-and-Production-Artists-Ta-Vi/Urusevsky-Sergei.html SergeiUrusevsky(1908-1974) SergeiUrusevskystartedasanpainterandphotographerstudyingunderthegreatgraphicartistVladimirFavorskyattheInstituteofFineArtinMoscow.Bringingapictorialtraditiontocinema,UrusevskystartedhiscareerwithMarkDonskoionSelskayauchitelnitsa(TheVillageSchoolteacher,1947),VsevolodPudovkinonTheReturnofVasiliBortnikov(1953),andGrigoriChukharionSorokpervyi(TheForty-First.1956).UrusevskyalsoservedduringWorldWarIIasacameramanonthefrontlines. WithTheFirstEchelonhecombinedhismarvelousvisualsensewithKalatozov'sbreathtaking technicalskills—apartnershipthatmadeTheCranesareFlying,TheLetterNeverSentandIamCubalandmarksinthehistoryofcinematography.UrusevskyandYuriIlyenko(cinematographerofShadowsofForgottenAncestorswhoalsobecameadirector)hadprofound influencethroughouttheSovietfilmindustry—notsincethe1920shadSovietfilmstylebeenacclaimedthroughouttheworld.Hispoeticcamerawork,nomatterhowdaring,wasalwaysanorganicsearchintotheemotionalpossibilitiesofthescript.In1969UrusevskydirectedTheAmbler'sRace,adaptedfromtheKirghizwriterChinghizAitmatov'sshortnovel.UrusevskyfollowedthisupwithSingYourSong,Poet(1971)basedonthepoemsofSergeiYesenin. Urusevsky'sothercinematographycreditsincludeTheLandoftheBlueMountains,AlitetLeavesfortheHills,CavalieroftheGoldenStar,andLessonofLife.…