The Russian poster & art of Sergey Ignatevich Datskevich
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Sergey Datskevich, Фурtуна / Furtuna [Fortune], 1959, offset lithograph poster, 29 x 39 inches. |
1. The Constructivist tradition
Russian movie posters from the 1920s are internationally known for their application of geometric abstraction known as Constructivism, in stark contrast to the rather bland posters coming out of the United States and England during the same period which featured head shots of major players and reproductions of film stills, usually with no artistic element apart from an emphasis on graphic design which tended towards generic (Tupitsyn 2009). Utilising stone lithography, collage and photomontage in dramatic, angular forms, and often utilising close-up, deformed, despairing or glamorous facial features, Russian movie posters are now seen as masterpieces of graphic design and greatly valued by collectors and cultural institutions alike (Pack 2017). As one commentator has noted:
Constructivist artists were committed to complete abstraction with a devotion to modernity. Their themes were often geometric, experimental and rarely emotional. They were also quite minimal, where the artwork is broken down to its most basic elements (DiMarco 2015).
The application of such a theoretical and avant-garde art to the traditionally pictorial movie poster was a radical change brought about, in part, by the Russian Revolution of 1917 and the support initially given artists by the new Bolshevik regime. Alexander Rodchenko (1891-1956) and the Stenberg brothers were some of the most well-known producers of movie posters in this style during the 1920s, however it was widely applied by their fellow graphic artists and copied, especially in Eastern European countries (Baburina 2001). The utilisation of various forms of abstraction in movie poster art, alongside elements of Dada and Surrealism, also took hold in countries such as Czechoslovakia and Poland. This followed on the Russian lead and mass migration of artists as a result of the upheavals associated with World War I (1914-18) and political instabilities prior to the onset of World War II in 1939.
Whilst the application of Constructivism diminished during the 1930s - posters were no longer designed or constructed; they were mostly drawn or painted in the traditional manner - Russian posters from the years after the defeat of the Nazis in 1945 were similarly distinctive in style, though not as radical in regards to form and content. A new movie poster art developed, and if you were to describe those from the 1950s and 1960s in broad terms, you would refer to their use of flat blocks of colour, stark design elements, drawn and painted content rather than photographic or collaged, and the highlighting of human figures, whether in close-up or silhouette. The palette was limited and muted, with a general absence of bright colour and printed in their thousands on a low grade, creamy, non-glossy paper stock.
These simple graphic designs were both artistic and practical, seeking to catch the attention of theatre goers whilst adhering to the constraints imposed by the Communist authorities. They reflected the harsh elements of the Cold War period in Eastern Europe, though perhaps not meaningfully so. The political and propaganda nature of many of the Soviet Block films of the time often forced the hand of artists commissioned to produce promotional material for their release. The posters were a far cry from the loud, gaudy, Hollywood equivalent, or even the Russian posters of the 1920s. The radical graphic design of that period was replaced after the Second World War by a conservatism which, on occasion, was subverted by the artistry of the individual work. The move from lithography - in which the original artwork was often drawn on stone by the artist and printed by hand in limited editions - to the machine-based photographic offset lithograph process, involving the artist to a lesser degree, was also a significant element in the move away from Constructivism. Despite this, one carry-over from the earlier period was the hand-drawn or painted basis for much of the graphic art seen in later movie posters, against the prevailing Hollywood trend towards photographic-based imagery such as scenes from films and photographic close ups of stars.
2. Фуртуна / Furtuna
A good example of this new style is the movie poster designed by Sergey Ignatevich Datskevich (1919-1977) for the historical feature Furtuna [Fortune]. Released during 1959, it dealt with Albanian resistance to the Italian and German occupation during the latter part of World War II. Written and directed by Kristaq Dhamo and Juri Ozerov, this 106 minute Romanian / Russian / Albanian co-production featured Arben Ashiku, Filika Dimo, Lazer Filipi, Naim Frasheri and Pjeter Gjoka.
Writer and director Kristaq Dhamo was born on 20 April 1933 in Fier, Albania, and subsequently worked as an actor and film director in both his native country and Russia. He was later awarded the People's Artist of Albania medal. Yuri Ozerov, film director and screenwriter, was born in 26 January 1921 and died on 16 October 2001. In 2001 he received the Russian President Award for his contribution to the development of the national cinema.The content of the film poster, reproduced at the head of this article, is based on a scene from the film, a still of which is reproduced below.
With Furtuna the production team sought to reflect a wider view of the National Liberation War and its relationship to Albania. The National Liberation Movement was a world-wide Marxist movement which began between the wars, growing after 1945 in support of national self-determination for the colonies of the imperialist powers. The National Liberation Movement arose out of the resistance of workers in the colonies in the wake of the Russian Revolution, generally inspired and led by the Comintern. It swept across the “Third World” following the Second World War, culminating in the defeat of the United States in Vietnam in 1975.
The film begins with the Italian fascist occupation of Albania in 1939 and ends with the liberation from Nazi forces in 1944 and the rejection of British occupation. It presents audiences with a stand against the collaborationist forces, including the National Front and the British allies, and glorification of the Soviet mission in support of the Albanian freedom fighters. The opening scene starkly and dramatically presents a scene of an Italian firing squad carrying out its deadly work upon members of the local Albanian resistance. A closeup is presented of the last man standing, with a somewhat peaceful look on his face as he ponders past Albanian freedom fighters and falls to the ground dead, next to his compatriots.
The film's male and female leads Zana and Beni act throughout the movie in different situations, such as being part of the underground resistance, in prison, and then in the mountains, where their love prevails. In one of the opening scenes Beni murders the general at the head of the Italian occupation forces. The barbaric treatment of men and women by the Nazis is also highlighted, as is their indiscriminate burning of an Albanian village. Though couched in pro-Soviet, Communist ideology, the movie presents a vivid portrait of life under occupation and the reason for resistance to the Italians, Germans and, finally, the British. The movie of course fails to mention atrocities carried out by Russian troops during this same period.
3. Furtuna posters
A number of posters are known for the movie, originating from countries outside of Russia, but generally part of the Soviet Block. Two of these are reproduced below, with one from Poland and another from Russia.
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| Polish poster for Furtuna, n.d. |
The Polish poster is closer in theme and colour to the aforementioned Russian version, comprising a simple drawing of two resistance fighters utilising black and dark orange inks. The second Russian poster emphasizes the romantic elements of the movie.
4. The film
Directors: Kristaq Dhamo, Yuri Ozerov.
The film is available online via YouTube in a low grade form. The original Russian version ran for 106 minutes, however the online versions only comes in at approximately 99 minutes, most likely as a result of censorship over the years. Though filmed in black and white, one of the YouTube versions has purple tints due to the deficiencies of the copying and digitisation process. They nevertheless provides an opportunity to view this rare film.
The following is the text from the Albanian Film Culture site:
Furtuna - Film Shqiptar me Titra Anglisht
The Storm - Albanian Movie with English Subtitles
"Furtuna" is a feature film, a joint Soviet - Albanian production, filmed in 1959 by directors Yuri Ozerov and Kristaq Dhamo. One of the first feature films co-produced by the USSR and the People's Socialist Republic of Albania and the fourth film shot in Albania in the post-war period. The authors have attempted to reflect a broad epic of the National Liberation War. The film begins with the Italian fascist occupation and ends with the liberation of Albania. The film focuses on collaborationist forces such as the National Front and the British allies, and glorifies the Soviet mission. Zana and Beni are the characters who act throughout the film in different situations like in illegality, in prison and then in the mountain where their love triumphs The film was filmed in the vicinity of the port of Durres and in Romania . Soldiers of the Albanian People's Army and sailors of the Black Sea Fleet of the USSR acted as extras.
Language: Albanian, Russian
Release Date: Moscow, 26 November 1959
Genre: Historical, War
Director: Yuri Ozerov, Kristaq Dhamo
Writer: Yuri Ozerov, Kristaq Dhamo, Fatmir Gjata
Music: Gavrill Popov
Stars: Naim Frasheri, Ariadna Shengelaya, Mario Ashiku, Anatoly Kuznetsov, Pieter Gjoka, Vangjel Heba.
5. Release titles
| East Germany | Die Helden vom Adlerpaß | |
| Soviet Union (Russian title) | Фуртуна | |
| World-wide (English title) (literal English title) | Fortune | |
| World-wide (Foreign title) | Furtuna | |
| World-wide (English title) (literal English title) | The Storm / The Tempest |
6. The movie posters of Sergey Ignatevich Datskevich
Undoubtedly the most accomplished of the known Furtuna posters is the original Russian release version by Sergey Datskevich. Reproduced at the head of this article, it was printed in distinctive red, black and cream - colours which hark back to the origins of the Constructivist tradition and dominate much Russian graphic design. Datskevich's simple graphic style presents us with the image of a couple on the run. A man leans against a wall, his shadow large, and above the two figures the roughly drawn movie title appears as if a piece of graffiti. This poster is a classic of the genre, in its simplicity, use of color, distinct graphic design elements and clear indication of the film's theme of revolutionary resistance. The poster is one of many by the artist Sergey Datskevich.
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| Sergey Ignatevich Datskevich 1919-77. |
Known examples number more than 100 and some are included below, largely sourced from Bruce Hershensen's emovieposters archival website. The posters cover the period 1951 to 1973. Datskevich's earliest work reflects Constructionist influences, especially in relation to the large, blocky, 3-dimensional font of the movie title, as seen on In the Circus Arena from 1951, though he also comes back to it with Alpiyskaya Ballada in 1966. By 1954 his painterly style was evident, as in Brave Reconnaisance and Furtuna from 1959. The posters identified as by Datskevich reveal the scope and intensity of his professional work over more than two decades. He frequently made use of the red and black palette so often seen in Communist propaganda graphics, and especially those from Russia and China. His initial use of landscape format for his posters was replaced by works in portrait. The quality of his work varied - as it did with most professional poster artists - from the mundane to the outstanding and innovative, though of course such assessments are often based on the personal taste of the observer. In the case of the current writer, Furtuna is a standout work amongst Datskevich's large portfolio of movie posters.
* Three Girls from Rome 1952.
* Spring in Moscow 1953.
* Volki Ovtsy 1953.
* Stolen Happiness 1953.
* Naukari 1954.
* Stojan Mutikasa 1954.
* White Mane 1954.
That Hamilton Woman 1956.
* Krutye Gorki 1956.
* My Son Don't Turn Around 1956.
* Spring on Zarechnaya Street 1956.
* House I Live In 1957.
* Nevesta 1957.
* Sasha Vstupayet v Zhizn 1957.
* Sisters 1957.
* Son of a Fisherman 1957.
* Gerak Family 1958.
* Magic of the Kite 1958.
* My Dear Fellow 1958.
* Esimese Jargu Kapten 1959.
* Home for Tanya 1959.
* House Opposite 1959.
* Room at the Top 1959.
* Wind 1959.
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| Marty 1959. |
* America as Seen by a Frenchman 1960.
* Fortunate 1960.
* Krotkaya 1960.
* Resurrection 1960.
* Wait for Letters 1960.
* Bitvav Ptui 1961.
* Enclosure 1961.
* Judgement at Nuremberg 1961.
* Mishka, Serega I Ya 1961.
* Proshchayte, Bolubi 1961.
* Sandu Follows the Sun 1961.
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| Our Common Friend 1961. |
* 49 Day 1962.
* Ach du Frohliche 1962.
* After the Wedding 1962.
* Four Winds of Heaven 1962.
* Komandirovka 1962.
* Our Common Friend 1962.
* Postman's Knock 1962
* Telephonist 1962.
* Tobacco 1962.
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| Nakhalyhonok 1962. |
* Kaloyan 1963.
* Laugh with Max Linder 1963.
* Passenger 1963.
* Sinful Angel 1963.
* How Are Things Young Man 1964.
* Marie 1964.
* Novels of Red House 1964.
* Sekretar Obkoma 1964.
* Akvalangi Na Dne 1965.
* Light of a Distant Star 1965.
* Loneliness 1965.
* Sergei Yesenin 1965.
* Three Sisters 1965.
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| Judgement at Nuremberg 1965. |
* Elder Sister 1966.
* Mother's Heart 1966.
* Skies of Our Childhood 1967.
* Vzorvannyy Ad 1967.
* Babye Tsarstvo 1968.
* Groza Nad Beloy 1968.
* Sixth of July 1968.
* Sluzhili Dva Tovarishcha 1968.
* Nest of Gentry 1968.
* They Shoot Horses Don't They? 1969.
* Direction of the Main 1971.
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| Kalina Krasnaya 1974. |
Baburina, Nina, The Silent Film Poster - Russia 1900-1930, Art-Rodnik, Moscow, 2001, 192p.
Digital Soviet Art [website]. Available URL: https://www.digitalsovietart.com/.
DiMarco, Paula, Russian Constructivism [webpage], California State University, 2015, available URL: http://www.csun.edu/~pjd77408/DrD/Art461/LecturesAll/Lectures/lecture07/Constructivism.html.
Furtuna, DokuFest: International Documentary and Short Film Festival [website], 2015, available URL: http://www.dokufest.com/2012/?cid=2,81,115.
Furtuna, Internet Movie Database [website], 2015, available URL: http://www.imdb.com/title/tt0173871/. Accessed 17 September 2015.
Furtuna 1959, Youtube [online video], 100 minutes, available URL: https://youtu.be/Rr2ql9Z1xbk. Accessed 17 September 2015.
Furtuna, Wikipedia [webpage], 2015, available URL: https://sq.wikipedia.org/wiki/Furtuna. Accessed 17 September 2015; https://ru.wikipedia.org/wiki/%D0%A4%D1%83%D1%80%D1%82%D1%83%D0%BD%D0%B0_%28%D1%84%D0%B8%D0%BB%D1%8C%D0%BC,_1959%29?oldformat=true.
Pack, Susan, Film Posters of the Russian Avant-Garde, Taschen, 2017, 511p
Russian Movie Posters of the 1920s, Off the Mainstream [blog], 21 February 2013, available URL: http://orwellwasright.co.uk/2013/02/21/russian-movie-posters-of-the-1920s/.
Tupitsyn, Margarita, Rodchenko & Popova: Defining Constructivism, Tate Publishing, London, 2009, 190p.
Last updated: 17 July 2023
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