This Is How Dovjenko Was Established As A Director
A visionary mentor can turn meeting a young filmmaker into a moment of artistic consecration if he succeeds in discovering and encouraging his hidden potential.
The active and combative spirit that characterized the Russian director Sergei Eisenstein was manifested not only in his own creation, but also in his responsible attitude towards the entire cinematography of his homeland. Dovjenko's case is instructive. A year after the film "Potemkin" was released, when it had already become famous in the world, Eisenstein receives a call from the representative of the Ukrainian film office: "Please come. Please come and see the movie that was sent to me. It's called Zvenigora and nobody understands anything."
Eisenstein leaves. A lot of people. In a rush, he shakes the director's hand. He finds out that his name is Alexandr Dovjenko. The projection begins, and the screen reflects an opera about which Eisenstein thinks: “Holy God! What can't you see here!"Then he cringes at the thought that after the movie is over, he'll have to find something clever to say.
But he's starting to like the movie. He likes it more and more. He is now certain that a new filmmaker has been born. The light comes on. Eisenstein is with Pudovkin. When Dovjenko comes up to them with a shy smile, he is rewarded with a warm and sincere handshake in a burst of joy. Eisenstein rejoices with all his heart.
After watching, run through the foyer from one group to another to praise the film. This is how Dovjenko was established as a director. Eisenstein's enthusiasm, which helped the new filmmaker enormously, does not stop. Arriving home, he burst into his friend Strauch's room: "What a formidable boy came from Ukraine! What a wonderful film he showed me!”
How can the initially incomprehensible projection of your creation become an opportunity for the discovery of a unique vision?
Eisenstein's active and combative spirit turned him into a mentor who not only perfected his creation, but also became a fervent supporter of the entire cinema in his homeland. More than once, his responsible attitude made him a source of help for young filmmakers. In this regard, Dovjenko's case is instructive: after the screening of the film Zvenigora, which no one seemed to understand, Eisenstein discovered a unique vision in his work, revealing the exceptional talent of a new star in cinematography. Isn't that right? In every new artist discovered is a reflection of the legacy of those who guided him.
In the end, the meeting with Dovjenko became a joyous experience, in which Eisenstein, enthusiastic and impressed by the young man's talent, began to praise his creation wholeheartedly, thus ensuring Dovjenko's consecration. And his enthusiasm did not stop there: when he got home, passionately sharing the news with his friend, Eisenstein described himself as a genius discoverer. It is understood from this that Eisenstein was not only an outstanding creator, but also an active supporter of the fundamental values of cinema, his spirit helping to promote and encourage a new wave of artistic talent. Two of these values are: artistic innovation and narrative coherence.
Every creator is a star in the making, and those who discover them are the artisans of the cultural sky. In other words, in the cinematic universe, the active and combative spirit of experienced masters can identify the birth of a new talent by careful observation of the screen. Initially, Zvenigora's projection seemed unclear, but gradually Dovjenko's artistic brilliance began to reflect more and more intensely a deeply original vision. In turn, the film community, through Eisenstein's responsible eyes, watched that discovery with rapt attention, and the confirmation of a formidable new director became a moment of collective celebration. Extraordinary moment, isn't it?
Like an astronomer spotting a new star, Eisenstein ran enthusiastically to promote that wonderful appearance in the artistic firmament, receiving the shy smile of the new creator with a warm handshake. And if the joy of discovery shone like the light of a nova, then Eisenstein, as a seasoned observer, assumed the role of enshrining and supporting Dovjenko's newly identified talent. Therefore, any talent recognized at the beginning of the journey becomes a bridge between personal aspirations and the echoes of a community that supports it.
The moment of artistic consecration arises from the enthusiastic support of a creative vision, correlating with the impact on the entire cinematographic community.
This is how Dovjenko was established as a director, in a gesture of sincere recognition on Eisenstein's part, knowing that genuine talent must be unreservedly supported so that new cinematic voices can flourish. Therefore, one can talk about an exemplary artistic mentorship, in the form of disinterested and enthusiastic support, admitting the fact that great talents are born from the encouragement of those who discover them.
* Note: Ion Barna - Eisenstein, Tineretului Publishing House, 1966.
