Grigorii Aleksandrov

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 It might be outdated or ideologically biased.

Aleksandrov, Grigorii Vasil’evich

 

(pseudonym of G. V. Mormonenko). Born Jan. 10 (23), 1903, in Ekaterinburg (now Sverdlovsk). Soviet film director; People’s Artist of the USSR (1948). Member of the CPSU since 1954. Hero of Socialist Labor (1973).

In 1921, Aleksandrov became an actor in Proletkult’s first workers’ theater in Moscow. He took part in plays staged by S. M. Eisenstein. He began working in the film industry in 1924. In the films Battleship Potemkin (1925), October (1927), and The Old and the New (1929), directed by Eisenstein, Aleksandrov worked as both an actor and a codirector; in the latter two he was also a coauthor of the screenplays.

In 1934 he directed the film Jolly Boys, a musical comedy in which he employed eccentric stunts, circus devices, and techniques from the music hall, operetta, and musical sideshow. In further works he continued to develop the genre of eccentric musical comedy: he made the comedy films The Circus (1936), Volga-Volga (1938), The Blazing Path (1940), and Spring (1947). These films are filled with buoyant music composed by I. O. Dunaevskii, and they express an optimistic tone. The actors’ performances are of a high level (L. P. Orlova, I. V. Il’inskii, and V. S. Volodin). Aleksandrov filmed Meeting on the Elbe (1949), which was about the events of the first days after the conclusion of the Great Patriotic War, the biographical film The Composer Glinka (1952), and the experimental films Man to Man . . . (1958) and Russian Souvenir (1960). He wrote a number of film scripts.

Aleksandrov has taught in the All-Union State Institute of Cinematography. He twice received the State Prize of the USSR (1941 and 1950). He has been awarded two Orders of Lenin as well as other orders and medals.

WORKS

“Oktiabr’ (stsenarii).” Iskusstvo kino, 1957, no. 10. (Jointly with S. M. Eisenstein.)
The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
Rimgaila Salys, The Musical Comedy Films of Grigorii Aleksandrov: Laughing Matters.
Along with his assistant Grigorii Aleksandrov and cameraman Eduard Tisse, Eisenstein had been sent abroad in late 1929 on a mission to study sound film in the West.
Following Eisenstein's return to the USSR with his collaborators, his assistant Grigorii Aleksandrov struck out on his own, within a short time becoming one of the most celebrated directors of the 1930s.
Haynes's two major chapters are devoted to the twin juggernauts of Stalin cinema, Grigorii Aleksandrov and Ivan Pyriev, whose musical comedies came to epitomize the fraudulence of Soviet culture of the 1930s and early 1940s.
Composed by Isaak Dunaevskii (with lyrics by Vasilii Lebedev-Kumach), as a score for Grigorii Aleksandrov's 1936 musical film Circus (Tsirk), the Song of the Motherland praised the Soviet Union as a unique territory: 'Wide is my native country (...) I know no other country, where man can breathe so freely.' [10]
(10.) Tsirk (1936), directed by Grigorii Aleksandrov, screenplay by Grigorii Aleksandrov, cinematography by Vladimir Nil'sen and Boris Petrov (Mosfil'm).
The preface to that edition, signed by Grigorii Aleksandrov, explained Johnston's appointment as the head of the MPAA as an action contributing to the "first stage in the fascistization of American cinema." (81) Kalatozov's The Face of Hollywood derided Johnston as a "latter-day savior of Hollywood," who "turned the MPAA into an official organ of American reactionary propaganda." (82) Even though these denunciations were comparatively mild by Stalinist standards, they signaled the end of the Stalinist bureaucracy's interest in negotiations with the American film industry.
(36) Grigorii Aleksandrov, "Sovetskie fil'my na zarubezhnykh ekranakh," in Tridsat' let sovetskoi kinematografii (Moscow: Goskinoizdat, 1950), 199.
(88) In August 1944 the film's director and Orlova's husband, Grigorii Aleksandrov, had asked for delivery of the makeup, including "one individual set (in a personal case)" at the pre-production stage, when the project carried a Hollywoodesque title of Star of the Screen (GARF f.
Sometimes, indeed, American equipment, acquired by fair means or foul, was instrumental in creating the effects in Soviet films, from the cameras used onkey Cold War films to the Max Factor makeup which, Kapterev reveals, Grigorii Aleksandrov ordered in an attempt to conceal his wife Liubov" Orlova's advancing years in the close-ups in Vesna (Spring, 1947).
Miller broadens his analysis of the cinema of the 1930s in his Politics and Persuasion under Stalin, which also looks in detail at such films as Grigorii Aleksandrov's Tsirk (Circus, 1936), Pyr'ev's The Party Card, and Ermler's Velikii grazhdanin (The Great Citizen, 1937 and 1939).
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