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Mne dvadtsat let

  • 1965
  • 3h 9m
ÉVALUATION IMDb
7,7/10
1,7 k
MA NOTE
Mne dvadtsat let (1965)
Drama

Ajouter une intrigue dans votre langueFollowing three lifelong friends who return to Moscow after military service, we see their aspirations juxtaposed against everyday life in 1960 Soviet Union.Following three lifelong friends who return to Moscow after military service, we see their aspirations juxtaposed against everyday life in 1960 Soviet Union.Following three lifelong friends who return to Moscow after military service, we see their aspirations juxtaposed against everyday life in 1960 Soviet Union.

  • Director
    • Marlen Khutsiev
  • Writers
    • Marlen Khutsiev
    • Gennady Shpalikov
  • Stars
    • Valentin Popov
    • Nikolay Gubenko
    • Stanislav Lyubshin
  • Voir l’information sur la production à IMDbPro
  • ÉVALUATION IMDb
    7,7/10
    1,7 k
    MA NOTE
    • Director
      • Marlen Khutsiev
    • Writers
      • Marlen Khutsiev
      • Gennady Shpalikov
    • Stars
      • Valentin Popov
      • Nikolay Gubenko
      • Stanislav Lyubshin
    • 10Commentaires d'utilisateurs
    • 12Commentaires de critiques
  • Voir l’information sur la production à IMDbPro
  • Voir l’information sur la production à IMDbPro
    • Prix
      • 2 victoires et 1 nomination au total

    Photos37

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    Rôles principaux47

    Modifier
    Valentin Popov
    • Sergey Zhuravlyov
    • (as V. Popov)
    Nikolay Gubenko
    Nikolay Gubenko
    • Nikolay 'Kolya' Fokin
    • (as N. Gubenko)
    Stanislav Lyubshin
    Stanislav Lyubshin
    • Slava Kostikov
    • (as S. Lyubshin)
    Marianna Vertinskaya
    Marianna Vertinskaya
    • Anya
    • (as M. Vertinskaya)
    Zinaida Zinoveva
    • Olga Mikhaylovna Zhuravlyova
    • (as Z. Zinovyeva)
    Svetlana Starikova
    Svetlana Starikova
    • Vera Zhuravlyova
    • (as S. Starikova)
    Lev Prygunov
    Lev Prygunov
    • mladshiy leytenant Aleksandr Zhuravlyov
    • (as L. Prygunov)
    Tatyana Bogdanova
    • Lyusya Kostikova
    • (as T. Bogdanova)
    Lyudmila Selyanskaya
    • Katya Yermakova konduktorsha
    • (as L. Selyanskaya)
    Aleksandr Blinov
    Aleksandr Blinov
    • Kuzmich
    • (as Sasha Blinov)
    Lev Zolotukhin
    Lev Zolotukhin
    • otets Ani
    • (as L. Zolotukhin)
    Pyotr Shcherbakov
    Pyotr Shcherbakov
    • Pyotr Chernousov
    • (as P. Shcherbakov)
    Gennadi Nekrasov
    • Vladimir Vasilyevich
    • (as G. Nekrasov)
    Nikolay Zakharchenko
    • Drug
    • (as N. Zakharchenko)
    Emma Adamovskaya
      L. Ankudinov
      V. Denisov
      Pavel Finn
      • Gost
      • (as P. Finn)
      • Director
        • Marlen Khutsiev
      • Writers
        • Marlen Khutsiev
        • Gennady Shpalikov
      • Tous les acteurs et membres de l'équipe
      • Production, box office et plus encore chez IMDbPro

      Commentaires des utilisateurs10

      7,71.7K
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      Avis en vedette

      8peapulation

      Communism, youth and adulthood in 1960s Russia

      This film is art. Like the Battleship Potiomkin, this Russian film doesn't aim at being an easy film, made to entertain and to fill people's brains with sugary dullness. It's its credibility, the Soviet neo-realism that it uses, which strikes. The way in which the film aims to show what Russia was like, in the Communist years. It's a situation hard to understand for a Western civilization. Russian patriotism, their intelligentsia and daily reality of work, study and vodka.

      Which is why maybe, seen from a Western point of view, this movie may be not only hard to understand but also hard to follow as far as the concept of time is concerned. It remains a mystery in fact, how the characters find time to do everything or almost everything in one way. How people give strangers none, just by asking. How people seem to be so different, as well as their culture.

      But that's not entirely to hold against the movie. It's the international realism that bites back the improbability of the film. The problems of 20 year olds, the silent struggle for political diversity, shown by the poets and their poems, and the struggle to cross the line to adulthood.

      The photography is sublime. The voice overs that carry the movie away are profoundly extraordinary. Sergej looks at the sky and says "There is so much peace in the cosmos". Or the dance in the dark ballroom, Anja holding the candles which slowly become the only source of light. It's all very artistically deep, and it's strange how this film can hold the test of time.

      Not to mention the chase scene, where Sergej follows Anya, unwilling to accept the fact that their relationship cannot end to being a simple encounter on a bus. Then there's the element of the friendship, challenged by aging.

      It's not Soviet cinema at its best. Occasionally, the movie slows the pace down and becomes too much to bear. For example, the poetry scene is profound and meaningful, but much too long. The silent walks around Moscow are beautiful and suggestive, but again, always too long, although they unfold great and innovative camera work.

      But it's one to see, because regardless of the fact that it's almost too meaningful, it's a good watch that draws you and drives you to thinking.

      WATCH FOR THE MOMENT - When Sergej meets his father, who died in the WWII, and talks to him. The scene involves the atheist beliefs of Communism but at the same time signals to us that some sort of hope is there.
      8MartinTeller

      stunning

      Man, those Russkies sure know their way around a camera. I've come to expect great cinematography from Soviet cinema, but this is the finest I've seen in quite a while. I could make a picture book out of screenshots from this movie, but even that wouldn't capture all the magnificent movement, such gracefully choreographed tracking shots. The movie has a visual energy that captures the hustle and bustle of Moscow, particularly from the perspective of youth. But it also beautifully highlights the quiet moments of the wee hours of the morning. It's gorgeous, breathtaking, exciting photography. And the soundtrack has a lot to offer as well, with interior monologues, heightened sound design, and the use of contemporary tunes (including American rock and French pop), folk songs, classical and moody ambient music. I haven't even gotten to the substance of the film yet. The story follows a young man and his two pals, trying to find their place in life. The narrative has a freewheeling new wave vibe to it, accentuating individual moments rather than grand dramatic arcs. These are the lives of youths unsure of how to live or what to live for, a generation with many left fatherless by the war. Although a rather long film, I can't think of anything that felt superfluous, every scene had its own insights or charms. I'm tempted to give this film a 10, but I'd like to have a second viewing before I jump the gun. It definitely made an impression on me.
      9TermlnatriX

      philosophy and quarter-life crisis

      I've always thought that a lot of films that were made in the Soviet Union got overshadowed by Eisenstein and Tarkovsky, not to mention by European films from France, Italy, by Bergman, by Kurosawa and many others from Japan. I feel sad when I think about that, because there are so many great films that were made there that the general film loving public did not and does not get to see. The only two films that may have broken out of this "embargo", so to speak were The Cranes are Flying and Ballad of a Soldier. Criterion has been doing some good deed and releasing a few of such great films I speak of in the Eclipse Series and I only hope they keep releasing them because there are just too many to list that others must see.

      I Am Twenty is one of those films. It was made during the de-Stalinization period, otherwise known as the Krushchev thaw where people had a short period of freedom of speech, which Hutsiev, the film's director utilized in making of this film, where the story centers on three friends in their 20's going through a sort of a quarter-life crisis in the Soviet Union, worrying about such things as where to live, means of getting money, and exactly what to do with their lives - which at the time was unheard of - one of the reasons for which Krushchev condemned this film during the end of the thaw (when it was being released) and most certainly which contributed to this film's censorship.

      This undoubtedly is the kind of film that speaks the universal language, which I hope would be an intriguing watch for people who can track this film down and watch it (there are English subtitles for it, I checked)

      Shot beautifully, flows poetically, and definitely leaves a mark.

      I loved it [07-22-2011, 08:23 PM]
      7adriennenoracarter

      Lack of Direction for 20 somethings

      Khutsiev's I Am Twenty is a sort of coming of age film—the generation it deals with is those coming of age in the 1960's, the young adults of Khrushchev's thaw. I Am Twenty follows just returned from the army Sergei, his two best friends—Nikolai(Kolia) and Slava, and his eventual love interest, Anya. They all struggle finding their place in the adult world of Moscow 1962 . . . Sergei has just returned from his time in the army and finds it difficult to return home and have the same relations as he did before his time in the army—he's not really sure what he should be doing; Slava has a wife and child, but still tries to hang around with Kolia and Sergei like nothing has changed; Kolia is a hard worker and also quite a flirt; Anya is in the midst of a divorce and is quite an unstable, flighty character for most of the film—her words and actions don't always add up. One theme in the film is the lack of knowledge from one's elders—it also translates into a sort of teenaged/young adult angst feel. Sergei's father, for example, died in WWII at a very young age so he has never been around to give Sergei advice or help him in this transitioning phase. He gives Sergei one word of advice in a dream —'live'. This is very hopeful, but still doesn't give Sergei much direction (he wouldn't however, know how to help Sergei in this transition phase since he himself never got to live through it). One of the technical highlights of I Am Twenty is the way Moscow is shot. It is a truly beautiful city, and this film does a great job of showing that: the shots of the parks of Moscow and the Kremlin for example are beautiful and can show even one who has never been to the city just how magnificent it is.
      5samanthamarciafarmer

      Russia tried to do French New Wave...it's a shame I don't like French New Wave.

      In illustrating the freedom of the Thaw, I Am Twenty meanders along unconstrained, with little resolution, and seems more like a series of vignettes than a coherent story. The camera angles are almost always close-fitting and create a sense of claustrophobia; the frame is surrounded by corners. In the midst of a cultural shift towards a more free nation (in Western terms), there is still a feeling of being enclosed. This makes scenes in which the shot is open seem all the more freeing. For example, when Sergei walks empty city streets in the morning, the sky takes up half the frame. This scene feels fresh and relieving in comparison to the rest of the film. Increased consumerism is clear, as one friend of Sergei's says he has gotten used to consumerism "like crazy". American influences are everywhere: in the music, the advertisements, and the styles of young Muscovites; Russia's character is still very much present, however. St. Vasily's Cathedral is prominent in the background of shots, and it is the famous Russian Alexander Pushkin's "Autumn" that is read aloud over one scene. I Am Twenty is not just a portrait of 1960's Russia, it is specifically a portrait of young Russians, who were the first generation to really live outside of the events of the early Soviet Union and WWII. Khutsiev portrays them is as aimless, but not hopeless. The camera work that encloses them is meticulously constructed and light is smartly utilized in every frame to provide a bright picture, despite the enclosed nature of the shot. The focus seems more on the situational than the psychological, in comparison to Kalatazov's Cranes Are Flying or Tarkovsky's Ivan's Childhood. Overall, I Am Twenty provides a smart and accessible picture of Russian life, albeit a picture that meanders an hour or so too long.

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      Histoire

      Modifier

      Le saviez-vous

      Modifier
      • Anecdotes
        Final film of Tamara Bogdanova.
      • Autres versions
        Zastava Ilyicha (restored version)
      • Connexions
        Edited into Moskovskaya elegiya (1990)

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      FAQ13

      • How long is I Am Twenty?Propulsé par Alexa

      Détails

      Modifier
      • Date de sortie
        • 18 janvier 1965 (Soviet Union)
      • Pays d’origine
        • Soviet Union
      • Langue
        • Russian
      • Aussi connu sous le nom de
        • I Am Twenty
      • Lieux de tournage
        • Red Square, Moscou, URSS(May 1st demonstrations)
      • sociétés de production
        • Kinostudiya imeni M. Gorkogo
        • Pervoe Tvorcheskoe Obedinenie
      • Consultez plus de crédits d'entreprise sur IMDbPro

      Spécifications techniques

      Modifier
      • Durée
        3 heures 9 minutes
      • Couleur
        • Black and White
      • Mixage
        • Mono
      • Rapport de forme
        • 1.37 : 1

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