By the bluest of the seas von Boris Barnet auf DVD

Darauf hinzuweisen ist es nie zu spät: Anfang des Jahres hat RUSCICO den Film “U samogo sinego morya” (У самого синего моря) (By the bluest of the seas) (Am Rande des blauen Meeres) als Hyperkino-Edition auf DVD veröffentlicht. Boris Barnet, der sowjetische Jean Vigo, hat 1936, mitten im stalinistischen Terror, ein Werk der Menschlichkeit geschaffen, das in der Filmgeschichte ziemlich einzigartig dasteht.  Dieses “Wunderding” der Lebenslust ist so wenig bekannt wie die meisten Filme von Boris Barnet, aber von den Kritikern und Filmemachern, die ihn sehen konnten, immer bewundert worden.

“In the far-removed world of By the Bluest of Seas, the fate of the human heart proves infinitely more consequential than the abstract good of the collective. Life is about love, not labor – just as By the Bluest of Seas is itself about the “love of life.” [8] Accordingly, Barnet’s picture consistently manifests joy across these many emotional pitfalls. By the Bluest of Seas is musical-comedy not only in form, but also in tone. This is to say that while melancholy may be present (and real) in Barnet’s film, it is worn as lightly as the film’s dissent; each remains hidden beneath the film’s shimmering, sun-dappled surfaces. Call it the Barnet touch.

In spite of everything that has been said, By the Bluest of Seas nonetheless remains a surprisingly difficult film to champion, let alone to write about, no doubt because its pleasures are so pure. To any detractors that it may have, present or future – and these fictional “detractors” would argue undoubtedly against its greatness, not its goodness – let us invoke our same original authority, Jacques Rivette, in the context of his remarks on one-time neglected giant of the cinema, Howard Hawks: “the evidence on the screen is the proof of [his] genius.” [9] In the example of By the Bluest of Seas, a better way to state it might be to say simply: the evidence is on the screen. That is, whether one cites the filmmakers’ land and seascape photography, the bodily and performative representation of desire and feeling or the emotional stakes for which the protagonists are playing, the unadulterated pleasures of Barnet’s film are there for those with eyes to see and hearts to feel. This is a film with which to fall in love.” (Michael J. Anderson, Tativille)

Da der Barnet-Touch nicht vollständig in Worte zu fassen ist, schaut man sich am besten die kurze Filmanalyse  von Nicole Brenez an, um den materiellen Charakter seines Films zu verstehen, der auch ein Akt des Widerstands gegen den Terror war.

Die Hyperkino-Edition von Milena Musina bietet ein Fülle von Informationen zum Film und zu den Umständen seiner Produktion:

“In the case of By the Bluest of Seas, all additional notes were text only, but that doesn’t prevent a wealth of information being revealed. Here we find anecdotal notes taken from cast and crew reminiscences and biographies, not to mention analysis of key moments, a highlighting of technical devices and reference to the reaction of critics, audiences and Barnet himself, who reportedly hated all of his films and apologised for them regularly!”  (Hyperkino / The Digital Fix)

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