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film made for Russian tv with support of
the ministry of culture of the Russian federation

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Studio MIR presents:

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Masters of russian animation

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Valentina and Zinaida Brumberg
A portrait against the background of their time

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Valentina Brumberg

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- I'm wildly jealous that I'm not there.
Behind that door they had  laughter, uproar
[Zinaida Brumberg]

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Oh my God, how nice, how cheerful,
What a - completely different life.
It makes one laugh [Eduard Nazarov]

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Seeing the tape I had the same feeling,
wildly jealous of everyone present there ...
[Fydor Khitruk]

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- That's it ...
Who could enter there without any
causes or occasions

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and sit there sipping
tea and bawl with Zina.

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The Brumberg sisters' room
was a center of warmth and wit.

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- I love their movies. Little Red Riding Hood,

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Puss in Boots - in fact,the first musicals ...

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I still remember all these tunes.
I even have here, I could show you,

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cassettes of them. I can't sing.
But, Puss in Boots ...:

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sings -go, my daughter,
for a journey on the river to the river bank ...
no, first was. Princess:

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- On the maps I wonder
something I need ..., then ...

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-Learn now wish ... who is my dear friend.

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[Puss in boots - 1938]

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They're very well incorporated
in the environment, in the atmosphere,

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in the action that was
typical for the 30's.

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From the end of the twenties, to the thirties.
They were part of this,

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I would even say, polyphonic action.

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Valentina and Zinaida Brumberg were born
in Moscow, to an educated Jewish family.

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Their dad, Simon, was a physician and
served in the First World War.

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Mom, Cecilia, was a music teacher.
The family had four children.

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In 1898 - Valentine and Alexander,
In 1900- Zinaida

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and in 1903, Daniel was born.

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At the age of 4 years,
all the children could read well.

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Their mother taught them
drawing, dancing, German, music

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The girls did brilliantly in school.
And in 1916, finished their Gymnasium
diploma as first of the class.

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The revolution had begun. Valentina and
Zinaida in 1918 went to VHUTEMAS

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- The higher art technical workshops.

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Zinaida S. wrote about this time.
"VHUTEMAS, where we followed

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workshops led by Mashkov,
Konchalovsky, Lentulov, Falk.

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Our teachers were far from academic norms.
The Sculpture Department had lessons
Greek-Roman Wrestling.

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Mashkov began his classes with gymnastics.We
did not have the right to use the word "can't."

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On the wall hung a poster:
"Being sick is strictly prohibited."

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The play of the young Eisenstein
"Even a Wise Man Stumbles"

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surprised the young sisters for the free
interpretation of the classics. They write:

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"It was an exciting performance, but seeing in
this eccentric, the future author
of the  "Battleship Potemkin"

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we then could not." The authority of
those years was Vsevolod Meyerhold.

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This is the layout of the Meyerhold Theater,
which was never built.
In its place is now the Tchaikovsky hall.

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Students did not miss a single premiere.
Hutemasovtsev's idol was Mayakovsky.

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He even came to Myasnitskaya
to see paintings of the Brumberg sisters.

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There came a new kind of art-animated films.
Zinaida wrote:"Young artists, that is, us,

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were invited to come to the SCC -ARMENIAN
STATE film college to do this amazing thing.

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We went to the Leningrad road,
to the premises of the former restaurant Yar.

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The founders of the experimental animation
workshop,Olga and Nikolai Khodataeva,
Yuri Merkulov

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and Zenon Komissarenko initiated
a feature film: "China in flames."

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This film became a kind of school for us.

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Movies counted as coursework. We met with
the technology of animation at the time:
[China in flames 1925]

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Out of construction paper, figures were cut;
their limbs fastened with wires.

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All were painted in black & white.
There wasn't a specific cameraman,

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everyone took his turn.
We all filmed on a hunch.

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Later we made with Olga and Nikolai
Khodataeva the film "Samoyed boy."

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The plot of the film is simple.
It's the history of a Nenets-boy.

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Northern episodes were styled after Nenets
woodcarving, and in the Leningrad
graphic style of Dobuzhinskiy.

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- They were, -how to say it-

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like two poles of plus and minus. Opposites.
Precisely because of their character differences

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they had that spark. When they argued,
everything shook.
They would squeal arguing with each other.

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But when Ivan Ivanov-Vano would come,
it was already a polyphonic quarrel
near to hystery.

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Why, then all their disputes would end with:
"Vanya, do not get angry with us please ..."

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Together with Ivanov-Vano we did the Tale of
Tsar Durandae.
The film was graphic, black and white,

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based on the figures of Pokrovsky.

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The war began, Soyuzmultfilm studio
was evacuated to Samarkand.

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This cartoon was drawn on the train,
at the studio's evacuation.

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Here you see the sisters and Lev Atamanov
and inside the carriage Ivanov-Vano.

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This sister with the actor Gotovtsev,
who played the king in The Tale of Tsar Saltan.

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The storyboard was scribbled on a map that all
studied to get what they should focus on.

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In Samarkand,wrote Zinaida Brumberg,
at first we were not up to the tales.

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But it became clear that we should stick to this
genre. The method used on
"The tale of Tsar Saltan" was Eclair.

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In essence it means that actors play out scenes
in front of a camera, often in costume
and full makeup.

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-On an island lies a city rising high above
the sea

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A fir grows in front of the palace,
it has a crystal squirrel house.

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A squirrel lives there ever so playful,

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Does it sing songs, and nibbles nuts.

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No ordinary nuts, mind you, the shells are gold,
the hearts pure emerald ...

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- Here is a art of animation making that was
created,at that time
by the ensemble of these people.

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To leave anyone out was impossible,
they all contributed,they each created a part ...
It was a very integrated art.

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Though they worked together
Ivan Petrovich was

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one kind of artist but Lev Atamanov
a completely different one,

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The Brumberg sisters, it is peculiar,
were very different as artists too.

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But their films were a unity
because they were all over the working floor.

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Zinaida wrote:"It is now clear that the eclair
material, can only be the starting point
for the imagination of the artist.

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But at first, many took the path
of just redraw the acted performance.

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For the authenticity of the dances in "The Lost
Letter" Igor Moiseyev was consulted.

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He said:"Let your imagination float,
cartoon characters have possibilities
unthinkable for the human movement apparatus.

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Eclair only reigned briefly.
It is now seen as disastrous naturalism,

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but it still put a stamp on the film "The Tale
of a Soldier" where the leading role
was played by Michael Yanshin.

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May I beg for a little food?

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I'll break it in half and give him the left
It doesn't break...I'll give him all!

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And then, somehow,  I'll manage ...

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They hadn't forgotten their past at VHUTEMAS.
Generally spoken that's an interesting subject:

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someone who follows their development,
should be sure to pay attention to
that they came

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from a very formalistic view on the medium
that reigned at VHUTEMAS

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"Fyodor Zaitsev" - is a landmark film. It broke
the dominance of social realism & eclair.

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And it was good in every aspect. A magnificent
scenario by Nikolai Erdman and Mikhail Volpin

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wonderful music, voiced by
Erast Garin and Michael Yanshina,
Brilliant art direction by Anatoly Sazonov.

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Dot, dot, comma, minus, curve ...
stick, stick and egg-shape,
ready the little man is

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Aesthetic smuggling
that's what they were doing.

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And they were right  being more afraid of the
State Committee for Cinematography than fire.

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They from the start, that's something I
remember discussed this Aesthetic smuggling!

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And this little man! I know where he came from.
So spoke the editor of the state fund (Goskino).

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This is not wine, but only ink
that Gavrilo pours out here in the morning.

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We will drink the ink in these glasses

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in honor of the pure conscience
in adults and boys

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He even said: "I know your language
is like these Aesopian fables -

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I's a cloak, you trying to mislead me with
I'm already figuring out this Aesopian language..

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He warned us all the time.
He panicked at this Aesopian language

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and most importantly, he was afraid
he would miss something.

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And, of course: he missed it.
Go like the wind, my eight-legged horse,
I'm full of hope and anxiety.

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I can't believe Zaitsev will trait his friend
I believe that children are good

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I know that Zaitsev has at least
some conscience and honor.

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Probably, however, as it goes, our animation
art also has its periods and epochs,

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when the time comes to an end
and it already has,

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Fyodor Zaitsev, I'm sure, will be
eternal as Michael Angelo's Moses.

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My acquaintance with the sisters Brumberg

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was in prehistoric times, in 1948. I graduated
from the State Institute of Cinematography -

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Art Department and had been appointed,
at first part-time, at studio Soyuzmultfilm.

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Artist/art-director
Lana Azarkh

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In the room where I met the head of
the personnel department sat the Brumbergs,

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In the narrow room were two
very simular looking ladies,

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but one was big and the other one small.

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When the chief HR said that I would
work for them in the role of art assistant,

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there was a friendly cry.
"We do not want one, we do not want one!"

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So since 1955, and

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until the death of Valentina S.,
I have always worked with them.

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In the animation "The Island of errors" the
cow and horse were voiced by brilliant actors -

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Serafima Birman and Vladimir Gribkov.
- Excuse me, but who are you?

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We used to be the cow and the horse

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From task 118,
But after a certain shameless boy

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Crossed us,
we became... what you see now.

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Many have drawn caricatures of the Brumberg.
Especialy sarcastic is this one
from Grigory Kozlov.

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Yes ... Some people in our time were heroes.

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It's very touching to remember them ...
Why - also because of being

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extremely jealous. They very much liked,
actually,I do not know, maybe
somewhere on their own,

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in the silence of the night, they somehow
behaved differently, but when in public,

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They just loved their work, loved their pictures.
That's why besides the envy,
I needed to learn from them.

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Their temperaments were different, V
alentine was so explosive,
Zinaida S. was more impulsive.

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more relaxed.
Nicholas R. Erdman, their screenwriter and

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a long-term friend, always said:
"These different sisters!"

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One, he's talking about Valentina,
- acting as Courtesan racing in

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nightly walks along restaurants and the other,
Zinaida S., sits at home and eat noodles.

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They were very cultured people and good
artists. When Valentina S. went abroad

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She always took a travel notebook
to draw in. The drawings were great.

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Zinaida S. is a outstanding watercolor artist.

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These sketches for the film "The time machine"
are surely inspired by journeying Tunesia.

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The film was written by
Lana Azarkh and Valentina.

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From the notes of Zinaida Semyonovna:

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I'm so happy that before directing
"The Canterville Ghost"

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my sister and I went to England as tourists.
In the Tower of Menzies castle,

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consisting of huge stones and spiral staircases,
we could visualize our eccentric hero.

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When we worked we had a lot of fun.

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Valentina S. had the firm conviction
that work should be fun.

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So there was a lot of laughter. It didn't mean
we got distracted from work. It accompanied it.

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An hour before the rendez-vous (1965)

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On the whole, it was our second home.
Maybe even the first one.

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They were very kind to their artists.

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They vey well understood the merit
of background artists and animators.

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As their animators also
very much appreciated their directors.

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Through their creative they bonded
in friendships, despite the age difference.

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I must say that the voice actors we
recorded always were outstanding.

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At one time Mikhail Yanshin directed the actors.

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He was accompanied, in my opinion,
by the entire theater-institute.

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The launch of the country's first satellite
marked the era of the Khrushchev thaw.

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For a period the totalitarian regime
became liberal.

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It became possible to make funny,
satirical films on contemporary themes.

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The Brumberg Sisters wrote: "Big Troubles"
was very dear to us,
it brought us nothing but joy.

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When the script
was brought over by Slovodskoi,

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in the script itself lay the key
to how to graphically approach this,

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because the little girl was telling the story.

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And that's why I made the first sketches,
like the first drawings children make.

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I made them on brown paper,
with watercolors, and thick black outlines,

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and the figures I made alike well, incidentally,
they move as if they're not moving ... because

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children draw often in profile.
So they move accordingly.

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The animators really
had to deal with some technical issues here.

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This is me.
This is my complete family.

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Papa had to carry the entire household
It wore him out and made him fold

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Left direction* he decide to go, *(Black market)
To fire* refrigerators in a row. *(Sell illegal)

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but as they to the left did pace,
they seemed to have left a notable trace.

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In his heart this fear now crept
that it would cause him to get swept*
*(Arrested)

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Here is a qualified
non-realistic style, for me,

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already settled into this blatant realism

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- I was not able to master this style,
so I felt like I shouldn't be in the credits.

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Now I'll tell you about Kapa
She looks like mama, not like papa

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Kapa is a well shaped girl
Kapa has no need to be a working pearl

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Kapa doesn't have a need to study
Kapa can live happy-go-lucky

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Animated scenes of rock 'n' roll
by Marina Vaskanyants.

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She was dancing herself and was the best for
executing the dance scenes in the animation.

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We had this, so to speak, salon,

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because people went there with something on
their mind, or without, for ,say, a good laugh.

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So, one day, I was sitting there alone,

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the door opened quietly in the evening
and in came the general manager.

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Such a gray shadow.
he greeted me and said:

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"You know, Lana A., from all groups
I know, what's happening on the inside,

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but about your group, I don't know anything.

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Well, I said to him.

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- "What is for you a good relationship?
What questions do you have?"

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Well, I told him, that if something occurs

201
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we solve it successfully
because we have a great mutual understanding.

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And so, I never received a good rating
and left the studio.

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The sisters had close relations
with the author Yuri Olesha.
[Three fat men 1963]

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At that time they lived under poor conditions.
Yuri Olesha's wife Olga Gustavovna Swauk,

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the main character was named after her,
was forced to sew, and the famous writer

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appeared summer and winter at the studio

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00:23:36,586 --> 00:23:41,070
in the same coat.
But always brilliant and witty.

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00:23:42,106 --> 00:23:47,050
Without this fuss, the bustle, they could not live,

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00:23:47,050 --> 00:23:51,100
for them, it would be equivalent to death;
I am absolutely convinced of it.

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Equivalent to physical death,
and I remember it well,

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00:23:54,813 --> 00:24:00,220
I remember, I do not recall which Czar,
that is, which manager

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00:24:00,475 --> 00:24:04,850
posed the question, if they
shouldn't send them in honorable retirement.

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00:24:05,025 --> 00:24:12,150
They broke out in tears, but I was then who?
- I was chairman of the creative board,

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00:24:12,240 --> 00:24:17,870
We too were like bosses, Fedenka, well,
we make sure that we did not fire them.

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00:24:17,933 --> 00:24:23,820
Valentina S. died
due to the fact that they were denied work.

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00:24:23,880 --> 00:24:28,220
They were still in their forces
and, be sure, COULD still work.

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00:24:28,220 --> 00:24:32,900
Holy smoke, parenting isn't easy
We had us Gaidar and Tolstoy!

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00:24:32,900 --> 00:24:37,625
who were teaching us,
that we have mind and logic!

219
00:24:37,666 --> 00:24:42,070
Nightingale, nightingale, sing while you can,

220
00:24:42,146 --> 00:24:46,680
Every era gives birth to it's own masterpieces,
that, without fail, will remain

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00:24:46,740 --> 00:24:51,666
And of those are many, many
by our dear sisters Brumberg.

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00:24:51,706 --> 00:24:56,906
Valentina S. who knew three languages,
began to study Spanish.

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00:24:56,960 --> 00:25:01,370
When I asked: why you need it,
she said: "I believe in an afterlife ..."

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At the film worked
Writter and director: Irina Margolina, camera:
G Lyahobetski, sound V tarassov, I Voronin

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Montage: D Zhigunov, K Lunkin

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00:25:17,586 --> 00:25:19,480
Music K Bodprv, E Vorohovski
Consultant G Borodin

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00:25:19,613 --> 00:25:21,680
Text reader: Eduard Nazarov

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00:25:21,786 --> 00:25:24,093
Historic material was used from
The gosfilmfund etc, and archives
from Marka Lyakhovetsk, Lev Atamanov

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00:25:24,226 --> 00:25:26,360
Filmfragments were shown from
«China in flames(Hands off from China)» (1925)

230
00:25:26,453 --> 00:25:28,546
«THE BOY FROM SAMOED» (1928)

231
00:25:28,546 --> 00:25:30,540
«THE TALE ABOUT TZAR DURUNDAI» (1934)

232
00:25:30,640 --> 00:25:32,540
«THE CAT IN BOOTS» (1938)

233
00:25:32,640 --> 00:25:34,666
«THE TALE ABOUT TSAR SALTAN» (1943)

234
00:25:34,773 --> 00:25:36,893
«A DISAPPEARED DIPLOMA» (1945)

235
00:25:37,000 --> 00:25:38,890
«THE TALE ABOUT THE SOLDIER» (1948)

236
00:25:38,986 --> 00:25:40,890
«FEDIA ZAITSEV» (1948)
«AN ISLAND OF MISTAKES» (1955)

237
00:25:40,973 --> 00:25:43,200
«BIG TROUBLES» (1961)
«THREE FAT MEN» (1963)

238
00:25:43,333 --> 00:25:45,573
«AN HOUR BEFORE THE RENDEZ-VOUS» (1965)
«ABOUT THE CRUEL STEPMOTHER» (1966)

239
00:25:45,666 --> 00:25:47,570
«THE CANTERVILLE'S GHOST» (1970)

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00:25:48,960 --> 00:25:51,466
General Producer Irina Margolina

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00:25:52,226 --> 00:26:00,560
The End
Subs by Alevtina & Eus, April- June 2015
Film produced by Studio MIR 2013