Eisenstein, Pudovkin, Dovzhenko, Vertov: these Soviet film directors are acknowledged to be among the greatest in the history of cinematography. To Eisenstein we owe such films as Battleship Potemkin and October; to Pudovkin Mother and The End of St Petersburg; to Dovzhenko Earth and Zvenigora; and to Vertov The Man With a Movie Camera and The Three Songs of Lenin. Herbert Marshall knew each of them personally, both as artists and as friends, and shared their cinema world when he was a student at the GIK (The Moscow State Institute of Cinematography) in the heady years following the Revolution into the period of the first Five Year Plan. His material is culled from personal recollections, diaries, notes, unpublished and published biographies, letters, press cuttings, articles and books in various languages, but mainly from Soviet sources and the Soviet cinema world. Taking the subjects one by one, this indispensible book discusses their major films including an account of their creation and reception in the USSR and abroad. It shows the tragedy of these four Soviet artists who were lucky enough not to be arrested or deprived of their limited freedom, yet who nevertheless ended up with 'crippled creative biographies'. The author then examines the changed viewpoint in the climate of 1983 when the book was originally published.

Eisenstein, Pudovkin, Dovzhenko, Vertov: these Soviet film directors are acknowledged to be among the greatest in the history of cinematography. To Eisenstein we owe such films as Battleship Potemkin and October; to Pudovkin Mother and The End of St Petersburg; to Dovzhenko Earth and Zvenigora; and to Vertov The Man With a Movie Camera and The Three Songs of Lenin. Herbert Marshall knew each of them personally, both as artists and as friends, and shared their cinema world when he was a student at the GIK (The Moscow State Institute of Cinematography) in the heady years following the Revolution into the period of the first Five Year Plan. His material is culled from personal recollections, diaries, notes, unpublished and published biographies, letters, press cuttings, articles and books in various languages, but mainly from Soviet sources and the Soviet cinema world. Taking the subjects one by one, this indispensible book discusses their major films including an account of their creation and reception in the USSR and abroad. It shows the tragedy of these four Soviet artists who were lucky enough not to be arrested or deprived of their limited freedom, yet who nevertheless ended up with 'crippled creative biographies'. The author then examines the changed viewpoint in the climate of 1983 when the book was originally published.

Diverse essays on the life and career of one of the greatest tragic actors of the nineteenth century. Ira Aldridge -- a black New Yorker -- was one of nineteenth-century Europe's greatest actors. He performed abroad for forty-three years, winning more awards, honors, and official decorations than any of his professional peers. Billed as the "African Roscius," Aldridge developed a repertoire initially consisting of Shakespeare's Othello, melodramas about slavery, and farces that drew on his ability to sing and dance. By the time he began touring in Europe he was principally a Shakespearean actor, playing such classic characters as Shylock, Macbeth, Richard III, and King Lear. Although his frequent public appearances made him the most visible black man in the world by mid-nineteenth century, today Aldridge tends to be a forgotten figure, seldom mentioned in histories of British and European theater. This collection restores the luster to Aldridge's reputation by examining his extraordinary achievements against all odds. The early essays offer biographical information, while later essays examine his critical and popular reception throughout the world. Taken together, these diverse approaches to Aldridge offer a fuller understanding and heightened appreciation of a remarkable man who had an exceptionally interesting life and a spectacular career. Contributors: Cyril Bruyn Andrews, Nikola Batusic, Philip A. Bell, Keith Byerman, Ruth M. Cowhig, Nicholas M. Evans, Joost Groeneboer, Ann Marie Koller, Joyce Green MacDonald, Herbert Marshall, James J. Napier, Krzysztof Sawala, Gunner Sjoegren, James McCune Smith, Hazel Waters, and Stanley B. Winters. Bernth Lindfors is Professor Emeritus of English and African Literatures at The University of Texas at Austin.

Collection of feature films inspired by the Great War. In 'I Was a Spy' (1933), Martha Cnockhaert (Madeleine Carroll) works as a spy in a German hospital, acting for the allies. Aided by orderly Stephan (Herbert Marshall), Martha plots to blow up a German ammunition dump. When Martha accompanies a German Commandant to Brussels, a change in the Kaiser's movements inadvertently reveals Martha's true purpose. '1914 All Out' (1987) is a made-for-TV drama set during World War I in a quiet Yorkshire village. While the locals are enjoying a Bank Holiday cricket match, their fun is cut short when war breaks out and the men go off to fight for their country. Set in the Scottish Orkney Islands during the First World War, 'The Spy In Black' (1939) tells the story of three German spies plotting to sink the British fleet. When U-Boat Captain Hardt (Conrad Veidt) makes contact with his beautiful co-conspirator (Valerie Hobson), he falls in love with her, but she is already having an affair with the third spy in their group, Royal Navy traitor Lieutenant Ashington (Sebastian Shaw).

In World War One, Martha Cnockhaert (Madeleine Carroll) works as a spy in a German hospital, acting for the allies. Aided by orderly Stephan (Herbert Marshall), Martha plots to blow up a German ammunition dump. When Martha accompanies a German Commandant to Brussels, a change in the Kaiser's movements inadvertently reveals Martha's true purpose.

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