Inside the Vladimir Vysotsky Museum

Some acquaintances took us to see the Vladimir Vysotsky Museum today, near the Taganka theatre. It was just fascinating, everything from Vysotsky's guitar to his childhood letters to his mother and earliest school excercise books, furniture from his dacha, a model of his apartment, postcards from France, America, and other travels, clips of his films, videos of his songs. Imagine Elvis, Bob Dylan, John Lennon, Marlon Brando, and Frank Sinatra all rolled up into one, and you'll begin to get someone like Vysotsky. He's in the tradition of the Russian "Bard" and that of Pushkin, as well. He died tragically young, during the 1980 Moscow Olympics. His funeral crowds stretched for blocks. His history is the history of Russian culture, dissidence, poetry, song, theatre, and film. Technology played a role, as samizdat tape recordings spread his fame throughout the former USSR. There were even some photos of Vysotsky on tour in Tashkent, with some comrades from the Taganka theatre, including Vysotsky's director Lubimov, who returned to Russia from exile in Paris during Perestroika, and still is working at the age of 87 (this year is the 40th anniversary of the theatre). We bought tickets to see his rock musical version of Dr. Zhivago next week (we kid you not, as Jack Paar used to say...). Don't miss cases devoted to Vysotsky's Hamlet and his performance in The Cherry Orchard, incredible versatility as an actor and performer--as well as perhaps best representing the sufferings of the Russian soul. Our tour guide explained that Vysotsky's distinctive voice was the sound Gulag prisoners. When half the country returned from imprisonment, and heard Vysotsky, they heard themselves and what they had suffered, she explained. There were crowds in the museum this afternoon, so his popularity is still evident, twenty-five years after his death.

Why is Vysotsky not very well-known in the West, except among students of Russian culture, Russian emigrants, and Russophiles? Perhaps because of years of cultural indifference to those who suffered under Communism. Ironically, the most authentic and most enduring voice of protest from the 1960s may have belonged to a protester against the totalitarian system in the USSR: Vladimir Vysotsky. FIVE STARS *****.

Bernard Weinraub's Hollywood Ending

Reading this story from last Sunday by The New York Times Hollywood correspondent reminded me that Bernie Weinraub covered the Washington, DC premiere of my film "Who Shall Live and Who Shall Die?" At the time, Weinraub was White House correspondent for the Times. It was during the Reagan administration. He didn't know me, and his story was perfectly fair and factual. In fact, we became sort of friendly acquaintances after the screening, and sort of stayed in touch. I found him to be an honest reporter, and a perfectly decent person. He said Reagan was more complicated than people thought, and that the Central American situation was not so simple as administration critics were claiming. I thought Weinraub seemed thoughtful and intelligent, reasonable and sensible.

I never understood the venom directed against him, in print, nor the ridiculous "conflict-of-interest" charges in the press. Anyone who knows Hollywood knows that the only reason to cover it is a "conflict of interest"--to be discovered as a writer, to make some money, to get your dream onscreen. Why else put up with show-biz nonsense, except for fun or profit?

Weinraub covered Vietnam, Central America, the White House and other big stories. I think assignment Hollywood meant a change of pace. Perhaps he went through a mid-life crisis, that led to the move from covering the serious to writing about the ridiculous.

I know he has a serious streak. At one time, Weinraub discussed writing a novel set in the period covered in my film, about Ben Hecht, Peter Bergson, Franklin Roosevelt and the work of the Emergency Committee to Save the Jewish People of Europe during WWII. At the time, I advised him not to publish about the topic, if he wanted to keep his day job. (He had already published a roman a clef about the New York Times, and was not afraid of anything). Discretion won, and Weinraub has had a good run covering Tinsel Town.

Now that Weinraub's quit the Times, I am looking forward to see what he does next. He's a good writer, and I hope one of his projects might be the historical novel we discussed some twenty years ago...

Kvartirniki

On Wednesday evening, I got a peek at my own university's contribution to the Moscow Contemporary Art Biennale:Apartment's Exhibitions
Yesterday and today. 1956-2005. The show featured recreations of Moscow apartments where dissidents held art exhibitions, called "Kvartirniki"-- in opposition to the approved art of cultural officials displayed in museums and galleries.

Сurators Julia Lebedeva and Oksana Sarkisyan have done a good job of recreating not only the hanging of pictures on the walls, but also the spririt of defiance of authority that lay behind the projects. In addition to the show at Russian State Humanitarian University, they have arranged some of the art around town in private apartments, just like the old days. So, if you happen to be in Moscow this month, you can book a private viewing through the exhibition website.

It is nice to see modern art defying cultural officialdom, and a visit to the recreated apartments does give one some inspiration that individuals can eventually prevail over bureaucracy, in keeping with the title of this year's Moscow Biennale of Contemporary Art, "Dialectics of Hope."

From the catalog description:

Apartment exhibitions ("kvartirniki") emerged in Soviet times as an answer to the necessity of presenting informal art. They embodied hopes of their participants for freedom of creativity and were part of dissident opposition to officiality.

Apartment exhibitions brought together artists who shared the same views. Owners of the «living premises» formed a certain movement. Svjatoslav Rikhter demonstrated the works of Dmitry Krasnopevtsev, «lianozovtsi» gathered in Oscar Rabin's barrack and young conceptualists were shown in the workshop of Mikhail Odnoralov and Leonid Sokov.

As part of private life the non-official art came hand in hand with conversations on art and the artistically active way of living through the Soviet reality. The experience of apartment exhibitions was diverse - from private club personal exhibitions to group actions and total installations. Quite often they turned into performances and visits to such exhibitions merged on a radical demarche.

Today this art has acquired a museum status and is shown in the world famous museums. Russian State University for the Humanities displays one of the best collections of non-conformist art of 1950-1980 (Leonid Talochkin's «Other art» collection).

The purpose of the exhibition is to reveal the dialectics of informal art development by using apartment exhibitions as an example. It presents the museum works in their original authentic environment drawing a parallel with similar phenomena on the contemporary art stage.

Inside the Lenin-Komsomol Theatre

Last night, finally made it inside the LENKOM(Lenin-Komsomol) theatre, to see Eduardo de Filippo's comedy "City of Millionaires" (not the Italian title), which might be called Philomena in the original . The program notes pointed out it was made into a movie twice--one version is well known in America: Marriage, Italian Style. de Filippo is apparently not the only Italian playwright popular in Moscow. Comedies by Carlo Gozzi are performed frequently as well. Gozzi, a contemporary of Goldoni, is not as well-known in the US. Certainly, there aren't any Gozzi shows running on Broadway or in the West End of London right now.

The LENKOM theatre, despite its rather Soviet name, is a lovely middle-class theatre company. The theatre is a converted merchant's club, a pre-revolutionary design from about 1905, that looks a bit like New York City's Grand Central Station. The acting style, as far my pidgin Russian could be relied upon, was naturalistic. Stanislavsky would approve of this production,certainly. The set was a beautiful reconstruction of a Neapolitan apartment, the costumes were lovely, the lighting excellent.

A beautiful show, in a gorgeous theatre. If you do happen to find yourself in Moscow a visit to the LENKOM is highly recommended.

American Escapes Moscow Kidnappers

Stories like this report in yesterday's Moscow Times are a reminder that Russia still isn't exactly like America, and there still is some work to do to make Moscow a real tourist-friendly place:

Yesterday, American John Lazoriny escaped from an apartment where he had been handcuffed to a radiator for five days. He was held for ransom by two men from the North Caucasus, who demanded a large sum for his release. Their American captive managed to escape when his kidnappers were out of the apartment. He somehow slipped out of his handcuffs and jumped out of a third-story window. Lazoriny broke his pelvis in the fall, and was taken to City Hospital Number 7. The hospital informed the police, which is how the story made it to the Moscow Times.

The American victim was held in a southern district of Moscow, and normally lives in a far-away southwestern neighborhood, at the end of one of the metro lines. However, he was kidnapped near the center of town--at a cafe outside the Novoslobodskaya metro station on January 15th. That is the metro station for our university! We go there all the time.

The American victim went with his kidnappers because they invited him to their home after having some drinks together. According to police report in the Moscow Times, "he might have thought it was in line with traditional Russian hospitality."

Police have started an investigation, and the American Embassy is reportedly following the case. So, when a friendly Russian man came up to chat with us last night in English at a local restaurant, we were just a little bit wary...

Andrew Sullivan on the Iraq Election

From www.AndrewSullivan.com - Daily Dish:

TO SUM UP: Two years ago, the West liberated Iraq. But yesterday, the Iraqis liberated themselves.

A HUGE SUCCESS: The latest indicators suggest a turnout of something like 60 percent. We'll have to wait for precise numbers and ethnic/regional breakdowns. But if I stick to my pre-election criteria for success, this election blows it away: '45 percent turnout for Kurds and Shia, 25 percent turnout for the Sunnis, under 200 murdered.' Even my more optimistic predictions of a while back do not look so out of bounds. But the numbers don't account for the psychological impact. There is no disguising that this is a huge victory for the Iraqi people - and, despite everything, for Bush and Blair. Yes, we shouldn't get carried away. We don't know yet who was elected, or what they'll do, or how they'll be more successful at controlling the insurgency. There are many questions ahead. And I don't mean to minimize them. But I'm struck by some of the paradoxes of all this. We're too close to events to see them clearly. But the timing of this strikes me as fortuitous. Why? Because by the time of the elections, the insurgents had been able to show themselves as a real threat to the democratic experiment and to reveal their true colors - enemies of democracy, Jihadist fanatics and Baathist thugs. The election was in part a referendum on these forces. And they lost - big time. Their entire credibility as somehow representing a genuine nationalist resistance has been scotched. If the election had happened earlier - say a year sooner - it might not have registered the same impact, because the insurgency would not have been so strong or so defined...

Novodevichy Cemetery

Yesterday we went to visit the Novodevichy Convent and Cemetery, final resting place of notable Russians from the Soviet era and before.

There's nothing quite like it in the USA, maybe it is comparable to Highgate Cemetery in London. David Oistrakh, Kruschev, Ilyushin, Tupolev, Glazunov, Prokofiev, Gogol, Stanislavsky, and Chekhov like close together in what really is a very small brick yard behind the convent where Peter the Great imprisoned his sister, Regent Sofia, for her entire life.

The cemetery is especially pretty in the snow, the sculptures and busts decorating the tombs like real works of art. My favorite grave was that of Anton Chekhov, small, beautiful, graceful, just like his writing. There are some striking tombstones, such as a Soviet military leader remembered forever with telephone in hand, a composer memorialized by music running around his grave in cast iron, and a young television journalist's memorial. His craggy tomb, made out of angled granite blocks in the constructivist style, featured photos of the deceased reporting from Nicaragua and Afghanistan among other hot spots.

In the convent grounds one can find a hero of Russia's battle war with Napoleon, dramatized in Tolstoy's War and Peace, General Davydov. His likeness stares out from a bust atop the plinth on his grave.

There were a couple of nice exhibits in the museum buildings, one of missionary work by Russian orthodox priests in the Far East, including China and Japan. Even something about the Metropolitan for America, who returned to become a major church figure in Moscow. Until seeing the exhibit, I didn't realize that the Russian Orthodox church had any missionaries...

Roger L. Simon on the Iraq Election

Roger L. Simon: Mystery Novelist and Screenwriter describes American television coverage of the Iraqi election, interesting reading, especially since we see less of this story over here in Russia...

Coppola Gets His Russian Oscar

Last night I saw Francis again. This time I watched from bed as he received his "Golden Eagle," Russia's Academy Award. It was well past midnight, and for some reason, I hadn't been invited to the ceremony held on a converted soundstage at Mosfilm Studios. Since it was minus 12 degrees and snowing heavily, I'm not insulted. Bed was warmer and more convenient.

Like the Oscars, the seemingly endless Golden Eagle show ran way past midnight and had a lot of ads. It wasn't as tacky as Hollywood, and not as exciting--considering the Oscars are boring to begin with.

There were tributes to old troupers, honorary awards, sentimentality, a rapper instead of Robin Williams and a rock band that seemed to be called "Uma Thurman" (is this legal? Uma, call your agent!) playing theme songs of nominated films. The role that used to be played by Jack Valenti was taken by Nikita Mihailov, the famous Russian film director. In addition to heading the Russian Academy, he sort of hosted the show, and appeared with a clipboard at various moments to hurry the presenters along, to sing a song with a Caucasian chorus in tribute to an old actor, and to fuss at Francis when he forgot his stage directions. Mihalov's stage act at the Golden Eagle ceremony sort of reminded me of the fussy bureaucrat's in Eldar Ryazanov's Carnival Night.

For those of our readers who follow Russian cinema news, the winner for best picture was "72 Meters," a dramatization of the Kursk submarine disaster that looked a little like "The Perfect Storm" meets "Titanic." The other big winner, sweeping the other appeared to "Svoi," a WWII melodrama. Best actor prize went to a Russian version of Leonardo de Caprio, named Bezrukov.

Surprisingly, considering Sofia Coppola had worked on the picture, Bill Murray's "Lost in Translation" lost the best foreign film prize to Mel Gibson's "The Passion of Christ." When "The Passion" was announced, they cut to Francis for a reaction shot. He looked a little cross.

As the show dragged on, the cameras cut to Francis for other reaction shots. At one point it looked like he was leaning over talking to someone, looking at his watch, and asking, "How much longer is this going to go on?"

Francis had to wait for Italian composer Ennico Morricone, who won his own a special award--the Italian composer did the score for "72 Meters" and presented a prize for best sound recording. Morricone's speech was tearful, noting that he had been afraid that his plane wouldn't make it to landing because of the blizzard in Moscow, and he was happy to have made it alive to the ceremony. That seemed heartfelt, since the snow is very heavy here right now, it's the third day.

Francis also had to wait for some TV awards, including best TV mini-series, as well as best TV series, two different categories (in the USA, we keep TV and movies separate).

After hours had gone by, Francis at last made his way to the stage to get his own Golden Eagle. Channel One showed a montage of clips from his films, beginning with the Ride of the Valkyries montage from Apocalypse Now. Seeing it on Russian TV, the famous "Kuleshov Effect" kicked in to reveal Francis' message: that Americans are Nazis.

No wonder the Russians liked it!

Then some clips from Rumblefish, incomprehensible, and Godfathers I & II. Those evil Americans again! A country run by the Mafia.

Uh, oh, I'm beginning to see why the transition to capitalism here may have gotten mixed up.

Of course, when Francis was introduced, it was officially all about his artistry. Francis buttoned his jacket, straightened his coat, and proceeded to the stage. He was wearing a bow tie, which was a nice touch. Then he gave a short speech in which he got his good friend Nikita Mihalov's name wrong (the translator fixed it), paid tribute to the Soviet Union as well as Russia, and personally thanked Vladimir Putin (the translator skipped those items, just saying thank you to the Russian Academy).

Indeed, Francis had a personal audience with Putin, who congratulated Francis on winning the Golden Eagle--before Francis had received it. So maybe Francis knew what he was doing.

Francis told Putin he looked younger in person, and congratulated him on his speech at Auschwitz. Putin in turn complimented Francis on his show-biz family (perhaps Putin thinks Coppola heads a Russian-style "clan"?) and basically asked Francis to make movies in Russia.

Very flattering Francis, I'm sure, despite the sting of Mel Gibson beating out your daughter Sofia.

Still, one wonders, would Francis warmly thank President Nixon for his "Godfather" Oscar? After all, Patton, which Francis wrote, was Nixon's favorite movie.

Somehow, Francis, I don't think so...

Theo van Gogh Murder Trial Begins

Thanks to a tip from Roger L. Simon, I found DutchReport: Murder trial Theo van Gogh. It has pretty complete coverage of the case:

"Today was the first pro-forma trial day of Mohammed Bouyeri, the terrorist who slaughtered Theo van Gogh on 2 November. This high profile trial was held in Amsterdam Osdorp in the extra secure court..."

My Night At The Bolshoi With Francis Ford Coppola

Just got home from seeing Glazunov's ballet "Raymonda" at the Bolshoi Theatre with Francis Ford Coppola... Well, actually he was sitting in a box next to the stage with his entourage, and we were sitting in the back of the theatre. But still, as we were both in the same opera house, at the same performance, I think I can honestly say that tonight I was at the Bolshoi Ballet with Francis Ford Coppola.

He looked just like he did on television last night. And I got a good look at him, too--though unfortunately, I didn't rent the famous Bolshoi binoculars from the lady in the cloakroom. Too bad that I didn't run into him in the lobby during intermission. It is a shame, because I remembered that both Coppola and myself are UCLA Film School Alumni, and that maybe if I had a chance to mention the "old school tie", perhaps he might have agreed to come to talk to my American Studies class, after all? Then again, maybe not.

Francis--I'm told that his friends call Coppola that--seemed to enjoy the ballet. He stayed for all three acts, the last of which dispensed with plot altogether. He didn't fall asleep, even though the first act was a little slow. The plot is something about the Crusades, that "Clash of Civilizations" that people around these parts seem to remember, especially because the Catholic knights pillaged Christian Constantinople, which is one reason Moscow became what they call the Third Rome. (Rome itself, being Catholic, doesn't count).

Anyway, the ballet Raymonda was about a triangle between the French Crusader knight Jean de Brienne, the Saracen Abderame, and Raymonda. Actually, I think Abderame seemed more attractive, but he was killed in a duel.

The second act reminded me of Uabekistan. Mark Peretokin, the powerful dancer playing a very dynamic Abderame wore a costume that looked like it came from Amir Timur's official Tashkent wardrobe. The Bolshoi set was straight from a 1960's Ptushko movie, some of the choreography was a little stilted, and Raymonda as played by Bolshoi prima ballerina Nadezhda Gracheva (herself a native of Kazakhstan, she had some vocal supporters in the audience) seemed a bit butch and stilted. At least compared to some dancers we saw a couple of years back at the Mariansky Theatre in St. Petersburg, who really were breathtakingly graceful. I wish I could have seen Raymonda danced by Anastassia Volochkova, who was let go in a famous scandal over her extra weight. I've only seen the dazzling Anastassia on quiz shows and talk shows, never dancing (she does look pleasingly plump on TV, but the camera adds 10 pounds, they say).

Anyhow, there was plenty of leaping around at the Bolshoi tonight. Ruslan Skvortsov's Jean de Brienne was a good Russian male dancer, and the music was pleasant. I'm sure Francis, sitting practially in the dancer's laps, had fun.

The Bolshoi is really big, as its name indicates. It was built in 1856, during the time of serfdom. The former Tsar's box has a hammer and sickle displayed prominently (there was one over the top tier of Coppola's box, too). The proscenium curtain also features woven hammers and sickles, red stars, and the letters CCCP (USSR in Cyrillic). In fact, the atmosphere remains quite Soviet. The buffet had the crummy quality of pre-capitalist Russia--especially compared to the charming Novaya Opera buffet, it was expensive, and overall, the performance lacked some zest and charm. Maybe if they invested in some new decorations and lost the Soviet symbols, it might liven up the joint.

Still, the Bolshoi is the Bolshoi, and it was a night to remember, especially since we shared it with Francis--along with a couple of thousand other people.

BTW, Francis is still getting his wish for Russian winter. Here in Moscow it is now ten below, and snow, snow, snow...

Hollywood North

Yesterday, Russian television broadcast Francis Ford Coppola's arrival at Moscow's Demedovo Airport. His small orange private jet came in during our latest blizzard. The temperature was -16 degrees celsius, wind gusts of 20 mph, snow blowing everywhere. Coppola's flight looked like a tiny orange dot in a blur of white. He gave a press conference, announced that it was his lifelong dream to experience Russian Winter. Well, his dream has come true. Coppola is in town for some sort of Russian film award. I guess he'll be too busy to come speak to my American culture class. But everyone certainly knows The Godfather. In Tashkent, too. That is the image of America--Al Capone, Don Corleone, etc. Probably inspiration for the Russian mafia. Sometimes I wish Coppola would make a flm about Rudy Giuliani, to show the other side of the coin.

On Wednesday I took the Mosfilm Studio Tour. It's not quite like the Universal Tour in Hollywood. One of the mothers of the schoolchildren in the group to which I was attached had been to Universal and thought that Hollywood was better. I don't know, I enjoyed Moscow more. But they are certainly different. There are no rides at Mosfilm. Only history. And Mosfilm, like Hollywood studios after the 1948 consent decree, mostly rents out its studios and lot to independent producers. It seemed busy. They shoot 100 movies and TV shows a year.

Of course, this being Russia, the Mosfilm tour not open to tourists, unless they make special arrangements for a minimum group of 20. You can't just show up and get a ticket. Secondly, it's not in English. Thirdly, there is no trolley, you have walk around a studio back lot the size of the Vatican in sub-zero cold trudging across snow (luckily it was brilliant sunshine that day, and as Pushkin said, "Cold and sunny--wonderful!"). But the price is right: 50 roubles, about 2 dollars.

Well, if you can't get a ticket, how did I do it?

That is one of the interesting things about being in Russia, at least for an American. Since many things that we take for granted seem to be impossible, there is a special satisfaction in achieving anyting.

I took the Mosfilm tour due to the kindness of a stranger named Alina. She didn't know me, we had never met, yet she took pity on a visiting American. When I called the studio tour number, to inquire in my fractured beginner's Russian, after a few moments of mutual incomprehension, the tour office transferred my call to an English speaking person. She turned out to be a wonderful, kind woman, the chief editor of the script department. She didn't know that I had my MFA and PhD in Film/TV studies, that we read Pudovkin and Eisenstein's theories of montage at UCLA Film School, that Dziga Vertov's Man with a Movie Camera was part of our curriculum for documentaries, that the entire Soviet agitprop operation, the claim that "cinema was the most important art," as Lenin purportedly said, that the rolling movie theatres in specially converted railway cars were highlights of our movie history courses. Or that I had worked as a student intern on the lot at Columbia Pictures and Warner Brothers studios. (Warner's my favorite Hollywood Studio, because of Bogart's Casablanca, and the ghost of Ronald Reagan on their back lot) None of that, of course. Thank goodness! As Don Rumsfeld might say...

Probably because I seemed like a clueless childlike American, this kind stranger made some calls and got back to me (imagine any Hollywood executive doing that for a stranger, say from Russia, on the phone?). I could join a tour for schoolchildren on Wednesday. Meet at the cinema museum...

It was just terrific. Of course, even with permission, it wasn't that easy to get in. Like Hollywood, there is a front gate with a lot of security. Evereyone has to get a pass, even the actors. We watched as Russian film stars lined up a tiny windows to get in to work. My Russian teacher, who was acting as my translator, recognized some of them. "Oh, look at him, he always plays criminals. Doesn't he look like a criminal? Frightening!" Of course I still don't know who. But I can say that Russian film stars sort of look and dress like Hollywood actors. They even walk and carry themselves the same ay, the same blow-dried hair,too

Going with third graders was great. They oohed and ahhed at the cars, sleighs, and model boats and planes in the cinema museum. The special effects display, after a dancing skeleton, had a scene from Ptushko's version of Ruslan and Ludmilla. Two dolls suspended in mid-air--Ruslan about to cut off the evil wizard Chernomor's beard. And the third graders recited aloud the verse from Pushkin's poem, in unison. Their teacher beamed with pride! Maladets!

We saw lots of props and one real item--the tandem bicycle belonging to Lenin and Krupskaya. Why and how it got to Mosfilm, I still don't know. But it was interesting to imagine Lenin and his romantic companion riding on a bicycle built for two. Something very different. The kids loved the old Nazi motorcycles and jeeps, and the 1941 BMW, brought back from Germany as war booty. A lot of them cruised the streets of Moscow after the war, apparently, part of Russia's reverse Marshall Plan.

On the back lot, there was a complete 19th Century Moscow--like the Old New York set on 20th Century Fox's back lot, from Hello Dolly!. But this one was different, for a movie about Terrorism in the 19th century called "A Rider Named Death" based on the Russian novel of the same name.

And for its outdoor sets, Mosfilm doesn't use false fronts painted to look like stone, brick, or whatever. As Ludmilla, our excellent tour guide, pointed out, at Mosfilm Studios they make the sets completely out real materials--real stone streets, real concrete buildings--and when we went on to the set for "Wolf Killer" a blockbuster set in pre-Christian "Rites of Spring" days, there was an entire Russian village constructed of wooden logs, real giant logs. It took 2 1/2 months to put together. Of course, now they need to shoot a few sequels. Big, heavy, giant sets. Very Russian. Perhaps they do look more real on camera than our flimsy false fronts...

Highlight was the make-up department, where the kids got to meet a make-up artists and be photographed in latex masks. They oohed and aahed. And what was piled on the make-up table? A number of bloody human heads, veins and arteries dangling, eyes staring with death's horrible gaze. The tour guide picked up a latex human hand. On another table were piled bloody stumps of arms and legs. Moms took pictures of their kids holding some heads. We all laughed (the make-up artist was wearing a mask, a cross somewhere a monkey and a space-alien). Outside was a display of wigs in a glass case from the film "A History of Poisoning."

Beyond that, past the case with the 4 Mosfilm Oscars, the Silver Bears, the Golden Lions, the Palme D'Ors and other festival awards (cutest one looked like a glass Penguin, maybe a souvenir of the Antarctica Film Festival?), down a long corridor, towards the production korpus, was a case with an artificial eternal flame containing photos of the dozens of Mosfilm employees killed in World War II.

Past this display was Alina's office. She was, as in a movie script, a beautiful blonde, with kind eyes and a nice smile. I thanked her for perhaps the most interesting and thought-provoking studio tour I had ever taken. It was true.

BTW, did you know that Eisenstein reportedly wanted to defect to America, that he travelled to Hollywood in order to do so, that he only returned to Russia because Stalin was holding his mother hostage?

That pile of severed heads on the Mosfilm make-up room table sticks in one's mind...

Moscow Modern Art Biennale Opens

The Art Newspaper reports that Moscow's answer to the Venice biennale has begun, like everything else that happens, with the support of Putin's government. According to Sophia Kishovsky's account, the reason is p.r.:

"The Russian government apparently also has a real interest in the biennale, underscoring its political significance as an image booster for Russia, which has been slammed for backsliding into Soviet ways...Mr Backstein said he had had difficulties in persuading the Pushkin Fine Arts Museum's formidable director, Irina Antonova, of the necessity of the biennial, but convinced her by arguing that support for this kind of art fully accords with the Russian concept of intelligentnost or 'culturedness.' Mrs Antonova's most (unintentionally) conceptual exhibition hitherto had been a large show of Gina Lollobrigida's sculptures in 2003."

Modern art was banned by Stalin and modern artists were shot or sent to the Gulag. There is only one modern art museum in Moscow, a personal project of the controversial sculptor Zurab Tsereteli, who based it on his personal collection and included many of his own sculptures, including a giant Jesus and memorials to Anna Ahmatova and Vladimir Vysotsky, among others.

I went there the other day, a couple of days after visiting the stark and depressing Sakharov Memorial Museum, with its rows of KGB files and maps of the Gulag, a few weeks after visiting the Meyerhold house museum, where Meyerhold was actually arrested and killed on Stalin's orders.

So, while I find some American modern art museums off-putting, and American contemporary art not too appealing, strangely I discovered my trip to the Moscow Museum of Modern Art to be deeply moving, and would recommend it to anyone coming to Moscow.

Russia Commemorates 60th Anniversary of Auschwitz Liberation

And according to the Federation of Jewish Communities of the CIS, Russia's chief rabbi, Beryl Lazar, will present Putin with a medal to commemorate the event, which will be held tomorrow at the former death-camp:

"'Soviet soldiers played the most important part in liberating the prisoners of Auschwitz. We will always remember how they saved our brothers,' Rabbi Lazar stressed.The 60th anniversary of the Auschwitz liberation on January 27 is not just an important date for Jews, he said. 'If we remember what happened, we can prevent the repetition of the merciless elimination of not only Jews, but others as well,' Rabbi Lazar said. Rabbi Lazar also compared the Nazi's with terrorists. 'Terrorists want to conquer the whole world just like the Nazis. They also eliminate anyone who disagrees with them, twisting any ideology to hide their own agendas,' Rabbi Lazar said."

This event is part of this year's continuing celebration in Russia of the 60th anniversary of the 1945 Allied victory over the Nazis. The festivities began with Novi God re-enactments of the battle of Moscow. There are WWII-era posters up in our local Hermitage park, and several other celebrations are planned.

Mapplethorpe at the Moscow House of Photography

Just when you think the Wicked Witch is dead, here she comes again.

The Guggenheim Foundation is sponsoring Robert Mapplethorpe and the Classical Tradition: Photographs and Mannerist Prints at the Moscow House of Photography. It's all over The Moscow Times, "Afisha" magazine, and other media. The usual pathetic attempt to show his work in tandem with the great masters to claim he is a great artist, something other than a society photographer, fashion magazine hack, and celebrity pornographer. I thought we left Mapplethorpe behind in the 1990s...

Looking at the photos in this latest Mapplethorpe show, I could not help but think of the tortured suspects in American and English prisons seen in newspaper photos--the same men in dog collars, men tied up, men being sexually abused in strange positions. Perhaps there is some link, somewhere, between the intellectual climate that creates a market for Mapplethorpe (he died a multi-millionaire) and one that permits torture of helpless prisoners.

A better title for the Moscow House of Photography exhibit might be: "Robert Mapplethorpe: Inspiration for Abu Gharib?"

BBC Interview: Kanan Makiya

Heard a very interesting interview with Kanan Makiya on theBBC World Service yesterday morning. The hostess was hostile, quoting Edward Said's attacks, grilling Makiya about his ties to "Volfovitz", apparently trying to get Makiya to confess that his support for the Iraq war was wrong. He didn't give an inch, and didn't get upset (I might have lost some of my cool under her relentless grilling, I think), and in the end had a chance to explain the purpose of his Iraq Memory Foundation. It's well worth listening to at this link (could only find the audio, not a transcript)--especially for Makiya's analysis of how backing the Palestinian cause hurt Arab societies--something he realized after 10 years of his own work on behalf of the Palestinians!

John Lewis Gaddis on George Bush's Second Term

Writing in Foreign Affairs, John Lewis Gaddis has some thoughtful advice for US Foreign Policy during George Bush's coming four years as President:

Second terms in the White House open the way for second thoughts. They provide the least awkward moment at which to replace or reshuffle key advisers. They lessen, although nothing can remove, the influence of domestic political considerations, since re-elected presidents have no next election to worry about. They enhance authority, as allies and adversaries learn--whether with hope or despair--with whom they will have to deal for the next four years. If there is ever a time for an administration to evaluate its own performance, this is it.

George W. Bush has much to evaluate: he has presided over the most sweeping redesign of U.S. grand strategy since the presidency of Franklin D. Roosevelt. The basis for Bush's grand strategy, like Roosevelt's, comes from the shock of surprise attack and will not change. None of F.D.R.'s successors, Democrat or Republican, could escape the lesson he drew from the events of December 7, 1941: that distance alone no longer protected Americans from assaults at the hands of hostile states. Neither Bush nor his successors, whatever their party, can ignore what the events of September 11, 2001, made clear: that deterrence against states affords insufficient protection from attacks by gangs, which can now inflict the kind of damage only states fighting wars used to be able to achieve.

In that sense, the course for Bush's second term remains that of his first one: the restoration of security in a suddenly more dangerous world. Setting a course, however, is only a starting point for strategies: experience always reshapes them as they evolve. Bush has been rethinking his strategy for some time now, despite his reluctance during the campaign to admit mistakes. With a renewed and strengthened electoral mandate, he will find it easier to make midcourse corrections. The best way to predict their extent is to compare what his administration intended with what it has so far accomplished. The differences suggest where changes will--or at least should--take place.

Leon Aron on Vladimir Putin

Leon Aron has some choice words on Putin's choices:

But the Kremlin's authoritarian project--while deplorable in its own right--carries even greater risks than commonly appreciated. Although officially justified as necessary to 'strengthen' state and society, these policies in fact are likely to do the very opposite, destabilizing Russia's politics, economy, and national security. In evaluating the current situation, some leading analysts in Moscow privately spoke last fall of a 'GKchP-2 scenario,' a reference to the unsuccessful August 1991 hardliner putsch, whose perpetrators sought to prevent the breakup of the Soviet Union but instead brought about its speedy collapse.

The cumulative effect of Putin's re-centralization has been to raise the center of political gravity to the very top at precisely the time when the Russian state will need every available ounce of stability and maneuverability to absorb severe shocks and navigate sharp turns. The regime's course is made even more perilous by its efforts to remove or obscure the road signs of societal feedback, which Russia's increasingly emaciated democratic politics and constrained media are less and less capable of providing.

I think the "Babushka revolution" is evidence that the authoritarian path Putin seems to be following has a dangerous element of cutting off too much needed feedback, as Aron suggests...

Russia's "Babushka Revolution"

The Turkish Press calls it the "Babushka Revolution." We discovered it shortly after returning to Moscow--a series of protests, sit-ins, and complaints by pensioners outraged that Vladimir Putin was cutting their free transportation on public transit and other benefits, replacing them with a lump-sum not sufficient to even buy metro tickets, some 200 roubles a month (a little more than $6.00). This would be akin to ending Social Security benefits and senior citizen discounts in the USA and replacing them with a lump sum.

The Communist Party immediately took advantage of this, organizing mass rallies, shutting down traffic on the main road to Moscow airport, Nevsky Prospect in St. Petersburg, etc. Putin backed down somewhat at a press conference, but that it happened at all shows a lack of the intelligence that Putin is famous for.

Russian "Babushkas" are all over the television, the most dominant figures in media, portrayed as pushy, determined, and fearless. I wouldn't want to mess with them, myself...

Ann Coulter on the CBS Rathergate Coverup

Ann Coulter is in fine form about the CBS report on AnnCoulter.com (it helps that she's a lawyer). Some excerpts:

Dan Rather and his crack investigative producer Mary Mapes are still not admitting the documents were fakes. Of course, Dan Rather is still not admitting Kerry lost the election...

Proving once again how useless 'moderate Republicans' are, The CBS Report -- co-authored by moderate Republican Dick Thornburgh -- found no evidence of political bias at CBS.

This isn't a lack of "rigor" in fact-checking, as the CBS report suggests. It's a total absence of fact-checking. CBS found somebody who told the story they wanted told — and they ran with it, wholly disregarding the facts.

If Fox News had come out with a defamatory story about Kerry based on forged documents, liberals would be demanding we cut power to the place. (Fortunately, the real documents on Kerry were enough to do the trick). But the outside investigators hired by CBS could find no political agenda at CBS.

By contrast, the report did not hesitate to accuse the bloggers who exposed the truth about the documents of having 'a conservative agenda.' As with liberal attacks on Fox's 'fair and balanced' motto, it is now simply taken for granted that 'conservative bias' means 'the truth.'