![RUSSIAN CINEMA – GARIN, Erast Pavlovich (1902-1980). The complete shooting script for the lost film Zhenitba [The Wedding], together with a group of documents relating to its production and scenography, Russia, 1935.](https://www.christies.com/img/LotImages/2015/CKS/2015_CKS_10455_0113_000(russian_cinema_garin_erast_pavlovich_the_complete_shooting_script_for065625).jpg?w=1)
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RUSSIAN CINEMA – GARIN, Erast Pavlovich (1902-1980). The complete shooting script for the lost film Zhenitba [The Wedding], together with a group of documents relating to its production and scenography, Russia, 1935.
The group comprises: two mimeographed copies of the script, oblong folio (c. 300 x c. 420mm), in original self-wrappers, one of these annotated in ink with the chronology throughout, the other with corrections in manuscript to the title page (the first with wear at the spine and extremities, some neat marginal repairs throughout, the second with some wear at the spine and a tear repaired with tape); a typed and annotated contract and inventory, 7 pages, 4to, between the producers Lenfilm and the Leningrad Museums Fund for the rental of various items of furniture (one page lacking the top half, some tears); 9 gelatin silver prints, most annotated on the verso in purple ink, relating to the scenography; 14 leaves, 8vo, of manuscript notes in pencil and ink relating to the production (some wear).
AN EXTRAORDINARY SURVIVAL: the film was banned and no copy is known to have come through the destruction of the Second World War. In 2006 a reconstruction was made based on stills shot during the filming, but without the benefit of this archive; no other copy of the script is known. This comedy based on a story by Gogol was the directorial debut of Erast Garin, one of the leading lights of Russian cinema. Garin both started in the role of Podkolesin, and directed in collaboration with his wife Khesia Lokshina. Zhenitba was Garin’s favourite of his own films, and was praised by Kol’tsov, Pudovkin, Iutkevich, Eikhenbaum and others. However this outstanding adaptation of Gogol for the screen was swiftly banned for alleged ideological weakness and formalist affectation, probably as part of a campaign to counter and contain the influence of Vsevolod Meyerhold, in whose company Garin was a leading actor. Despite this repression the film was shelved, rather than wiped, and a copy was known to exist as late as August 1941, but none survived the war.
The group comprises: two mimeographed copies of the script, oblong folio (c. 300 x c. 420mm), in original self-wrappers, one of these annotated in ink with the chronology throughout, the other with corrections in manuscript to the title page (the first with wear at the spine and extremities, some neat marginal repairs throughout, the second with some wear at the spine and a tear repaired with tape); a typed and annotated contract and inventory, 7 pages, 4to, between the producers Lenfilm and the Leningrad Museums Fund for the rental of various items of furniture (one page lacking the top half, some tears); 9 gelatin silver prints, most annotated on the verso in purple ink, relating to the scenography; 14 leaves, 8vo, of manuscript notes in pencil and ink relating to the production (some wear).
AN EXTRAORDINARY SURVIVAL: the film was banned and no copy is known to have come through the destruction of the Second World War. In 2006 a reconstruction was made based on stills shot during the filming, but without the benefit of this archive; no other copy of the script is known. This comedy based on a story by Gogol was the directorial debut of Erast Garin, one of the leading lights of Russian cinema. Garin both started in the role of Podkolesin, and directed in collaboration with his wife Khesia Lokshina. Zhenitba was Garin’s favourite of his own films, and was praised by Kol’tsov, Pudovkin, Iutkevich, Eikhenbaum and others. However this outstanding adaptation of Gogol for the screen was swiftly banned for alleged ideological weakness and formalist affectation, probably as part of a campaign to counter and contain the influence of Vsevolod Meyerhold, in whose company Garin was a leading actor. Despite this repression the film was shelved, rather than wiped, and a copy was known to exist as late as August 1941, but none survived the war.
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