Korolevstvo krivykh zerkal
- 1963
- 1 घं 15 मि
IMDb रेटिंग
7.2/10
1.5 हज़ार
आपकी रेटिंग
अपनी भाषा में प्लॉट जोड़ेंOlya and Yalo save the people of the looking glass from lies.Olya and Yalo save the people of the looking glass from lies.Olya and Yalo save the people of the looking glass from lies.
Olga Yukina
- Olya
- (as Olya Yukina)
- …
Tatyana Yukina
- Yalo
- (as Tanya Yukina)
- …
Tatyana Barysheva
- Babushka
- (as M. Barysheva)
- …
Ivan Kuznetsov
- Bar
- (as I. Kuznetsov)
- …
Tamara Nosova
- tyotushka Aksal
- (as T. Nosova)
- …
Anatoliy Kubatskiy
- Yagupop 77-oy
- (as A. Kubatskiy)
- …
Arkadi Tsinman
- Abag
- (as A. Tsinman)
- …
Andrey Fayt
- Nushrok
- (as A. Fayt)
- …
Lidiya Vertinskaya
- Anidag
- (as L. Vertinskaya)
- …
Georgiy Millyar
- Naiglavneishiy tseremonimeyster
- (as G. Millyar)
- …
Pavel Pavlenko
- Glavneishiy tseremonimeyster
- (as P. Pavlenko)
- …
Aleksandr Khvylya
- Korolovskiy Ober-povar
- (as A. Khvylya)
- …
Valentin Bryleev
- Tambur-Mazhor
- (as V. Bryleyev)
- …
Vera Altayskaya
- Asyrk
- (as V. Altayskaya)
- …
Aleksandr Alyoshin
- Ensemble
- (as A. Alyoshin)
कहानी
क्या आपको पता है
- ट्रिविया"Who's Afraid of the Big Bad Wolf" by Frank Churchill (with additional lyrics by Ann Ronell) are hummed several times throughout the film by members of the cast.
- कनेक्शनFeatured in Rasskazyvayet pezhissor Andrey Stapran, ispolnitel' roli Gurda (2000)
फीचर्ड रिव्यू
Although "Kingdom of Crooked Mirrors" is transparently Soviet propaganda, the mirror motif is intriguing and potentially undermining of its own message. And while one might rightly expect such a fairy tale clearly inspired by Lewis Carroll's "Through the Looking Glass" to be utterly contrariwise to that book's brilliance, there is some cleverness here. Sure, the breaking of the fourth wall to advise one to "look at yourself with other people's eyes" is blatant collectivist lecturing, the children break into patriotic song at the end, and one of the girls even proclaims when asked from whence she came, "From the best country. There's no country better in the world!" As nauseating as all of that is, the production design isn't bad, albeit childish. Moreover, when the blonde girl, like Alice, follows her cat into the mirror, she meets her own reflection (as played by real twins). Everyone from this looking-glass land has a name that spells another word backwards. The twins, for example, are called Olya and Yalo, or the king is revealed to be the pesky parrot from the world outside the mirror when his name is reversed. The wordplay doesn't get any more clever than that, let alone does it come near approaching Carroll's wit, but in addition to all these doppelgängers and semordnilaps, there's something to the crooked-mirrors business, including as it relates to cinema.
Indeed, the picture begins with a film-within-the-film (a foreign, Italian one, "Abracadabra" (1952)). We don't see the actual film, although many of the town's children do despite a sign stating that no one under 16 is to be admitted. This recalls the beginning of "Alice in Wonderland," with the reading and complaint of books without pictures or conversations. Moreover, film is already strongly associative with mirrors, and their placement beside each other here only suggests that the filmmakers understand that and leverage it. In the fairy tale, there are the crooked mirrors that distort reality and straight ones whereby people see the truth, but the film never really exits the fantasy. Even in the land outside of the mirror, cats and jars of jam move backwards in time and a character makes an address directly to the camera. In its entirety, the film itself is a kingdom of crooked mirrors. The outward politics of it, of submitting to the conformity of others' "eyes," is quite stupid, but the inward reflexivity of a film about films as metaphorical mirrors is rather intelligent. It's actually about examining oneself by looking within--not from without.
Indeed, the picture begins with a film-within-the-film (a foreign, Italian one, "Abracadabra" (1952)). We don't see the actual film, although many of the town's children do despite a sign stating that no one under 16 is to be admitted. This recalls the beginning of "Alice in Wonderland," with the reading and complaint of books without pictures or conversations. Moreover, film is already strongly associative with mirrors, and their placement beside each other here only suggests that the filmmakers understand that and leverage it. In the fairy tale, there are the crooked mirrors that distort reality and straight ones whereby people see the truth, but the film never really exits the fantasy. Even in the land outside of the mirror, cats and jars of jam move backwards in time and a character makes an address directly to the camera. In its entirety, the film itself is a kingdom of crooked mirrors. The outward politics of it, of submitting to the conformity of others' "eyes," is quite stupid, but the inward reflexivity of a film about films as metaphorical mirrors is rather intelligent. It's actually about examining oneself by looking within--not from without.
- Cineanalyst
- 19 अग॰ 2020
- परमालिंक
टॉप पसंद
रेटिंग देने के लिए साइन-इन करें और वैयक्तिकृत सुझावों के लिए वॉचलिस्ट करें
विवरण
- रिलीज़ की तारीख़
- कंट्री ऑफ़ ओरिजिन
- भाषा
- इस रूप में भी जाना जाता है
- Kingdom of Crooked Mirrors
- उत्पादन कंपनियां
- IMDbPro पर और कंपनी क्रेडिट देखें
इस पेज में योगदान दें
किसी बदलाव का सुझाव दें या अनुपलब्ध कॉन्टेंट जोड़ें
टॉप गैप
By what name was Korolevstvo krivykh zerkal (1963) officially released in Canada in English?
जवाब