Posle Smerti [After Death]
A titan of the early Russian cinema, Evgenii Bauer was born in Russia in 1865. His father was a renowned zither-player, while his sisters became actresses. Bauer graduated from the Moscow Institute of Painting, Sculpture and Architecture. Over the years, he was an amateur actor, a caricaturist for magazines, a newspaper satirist, a theatrical impresario, and an artistic photographer. He was especially recognized for designing sets for theatrical productions, a talent that eventually brought him into the cinema when he designed the sets for Drankov and Taldykin’s commemorative historical film, Trekhsotletie Tsarstvovaniya Doma Romanovykh (The Tercentenary of the Rule of the Romanov Dynasty), released in 1913. Encouraged by Drankov and Taldykin, Bauer, then 48 years of age, graduated to directing for their company. After making four films for them, he went over to Pathe’s Star Film Factory for whom he made an additional four films. Then in late 1913, he moved to the Khanzhonkov company where he remained for the rest of his career. As an artist, he quickly came to the fore, with his films proving very successful with Russian audiences and critics. He worked in a variety of genres including comedies, patriotic subjects, social dramas, and tragedies of psychological obsession.
Posle Smerti (After Death), also produced in 1915, was adapted from Turgenev’s story, “Klara Milich.” It deals with a man who becomes obsessed with an actress he casually meets several times.
In Posle Smerti, Bauer continually tracks with the camera to depict the crowded reception in which the hero first meets the female protagonist. Later, when he attends her dramatic recital, Bauer intercuts long-shots of the theatre with close-ups of the hero and heroine, including a huge close-up of her face filling the entire screen.
499MB | 46m 00s | 576×432 | avi