Fridrikh Ermler

The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Ermler, Fridrikh Markovich


Born May 1 (13), 1898, in Rezhitsa (present-day Rēzekne), Latvian SSR; died July 12, 1967, in Leningrad. Soviet motion-picture director. People’s Artist of the USSR (1948). Member of the CPSU from 1919.

From 1923 to 1924, Ermler studied in the acting department of the Leningrad Institute of Screen Art. During the 1920’s he released a number of films, the most important of which was Fragment of an Empire (1929). In 1932 he made a sound film with S. I. Iutkevich, Counterplan, which was one of the first films to deal with the working class and the first five-year plan. His most ambitious work as a director was A Great Citizen (1938–39), which was dedicated to the memory of S. M. Kirov.

The theme of the Communist Party as a guiding force, an important motif in Ermler’s films, is reflected in Peasants (1935). The films She Defends Her Country (1943), and The Great Turning Point (1945) are based on the Great Patriotic War. Ermler’s other films include Unfinished Story (1955) and Let History Judge (1965).

Ermler received the State Prize of the USSR in 1941, twice in 1946, and in 1951. He was awarded the Order of Lenin, the Order of the Red Banner of Labor, and various medals.


Samoilov, A. Fridrikh Ermler. Leningrad, 1970.
Fridrikh Ermler: Dokumenty, stat’i, vospominaniia. (Collection.) Leningrad, 1974.
The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
Sepman, ed., Fridrikh Ermler: Dokumenty, stat'i, vospominaniia (Leningrad: Iskusstvo, 1974), 10.
Fridrikh Ermler, 1949), and Shtein, Court of Honour (Sud chesti, dir.
The leading directors of popular cinema Youngblood treats -- Iakov Protazanov, Boris Barnet, and Fridrikh Ermler -- came under fire for promoting bourgeois, western, and subjective values.
Although some of them--for example, Fridrikh Ermler and Mikhail Romm in political spectacles of the 1930s had experimented with deep-focus photography and deep-space staging, there is no doubt that Welles's film--and, before it, Wyler's The Little Foxes impressed the Soviet film community by its inventiveness and its impressive demonstration of American cinema's technical potential (proof of this is contained in Eisenstein's letter to Welles, in which he praises the American director's film in spite of Welles's "nasty" (according to Eisenstein) evaluation of Ivan (GARF f.
The Rainbow is just one of a number of Soviet war films concerned with female partisan heroines, a genre that includes, amongst others, Fridrikh Ermler's Ona zashchishchaet rodinu ('She Defends the Motherland', 1943), Lev Arnshtam's Zoia (1944), and Vera Stroeva's Marite (1947).
Andrey Shcherbenok's study of Fridrikh Ermler's Krest'iane (Peasants) and Ivan Pyr'ev's Partiinyi bilet (The Party Card) offers an incisive example of the approach in which the analysis of individual films can enhance our understanding both of their directors' overall concerns and evolution and of the mentality of the society in which they are produced.