国家葬礼

《国家葬礼》讲的是斯大L的葬礼，片子早就拍出来了，一直被J着，去年威尼斯电影节才重新放出来。

这片子，拍的跟《意Z的S利》有一拼。摄影剪辑都极富艺术性。素材搁在那里，其实就看你怎么剪了。当时剪和几十年后剪，剪的人什么想法，都能从片子中看出来。

片子记录了葬礼的全过程，开场不久，是各国政要抵达机场。

黑白与彩色胶片混编剪辑，道哥推测，应该是当时两种摄影机拍的，当时彩色摄影机还不是主流机型。就像现在拍纪实新闻，估计很少有人上4K，8K。央视现在不还标清播呢吗。落后几个时代，您细品。

咱国代表团，给的画面是正经不少。当时，关系还不错。后面的事情，对历史感兴趣的都了解。下面这组画面有意思了。

现场的各门类艺术家们，这画面当年估计肯定不让用吧。参加葬礼的群众人山人海。

这个红领巾哭的可以。红场的活动。

活动现场，还有一个领导打喷嚏的画面，也用了进来，用意深远啊！

用蒙太奇手法，表现全苏联的悼念活动。

下面这个画面，是不是很眼熟，影迷们都知道哪部片子吧？

最后，灵柩被抬走。

放哪儿了？百度了一下！

感谢支持！

《国家葬礼》是利用既有影像片段剪辑配音配乐而成的纪录片，导演从找到的36个小时的电影资料中，剪辑了这部2小时15分钟的电影。原片材料是苏联政府找人拍的，当时剪成了一部叫《伟大的告别》（//movie.douban.com/subject/21355972/、//movie.douban.com/subject/4140023/）的片子。黑白与彩色胶片混编剪辑，应该是两种摄影机拍的，当时彩色摄影机还不是主流机型。

全片的最后一首歌曲是Sergei Lemeshev演唱的Lullaby(M. Blanter)。

//www.bilibili.com/video/BV1zC4y1a7WJ/?spm_id_from=333.999.0.0

//www.bilibili.com/video/BV1js411g73r/?spm_id_from=333.999.0.0

"State funeral" by Sergei Loznitsa is entirely collected from the chronicle about the farewell of the Soviet Union to Joseph Stalin. The film itself is made in a straightforward and non-judgmental manner: for two hours we look at the archival footage of the Soviet Union's farewell to its beloved leader Joseph Stalin, fantastic in every sense of the word. At the beginning of the painting, the coffin is brought into the Column Hall of the House of Unions, at the end, after the body is buried in the mausoleum, a solemn salute thunders throughout the country. No violations of the chronology, no comments, except - by the way, absolutely correct and non-judgmental - dates and numbers with the number of victims of the regime before the final credits. A convinced Stalinist can also watch The State Funeral, and it is possible that he will cry.

Tears abound here. Mourners, especially those who manage to approach the coffin in person, do not hold back their emotions, and Loznitsa, with a slight, barely noticeable mockery, emphasizes this offscreen "Lacrimosa" from Mozart's Requiem. To this are added the sensitive Schumann and Tchaikovsky, the ritual-funeral Mendelssohn and Chopin. Music is one of the few open artistic techniques used in the montage films of the conceptualist Loznitsa. The second is the soundtrack, created here with the trademark filigree clarity by Vladimir Golovnitsky, the third is the very arrangement of scenes and frames. At the same time, one hundred percent of the graphic series consists of an archive. Loznitsa also had it in “Blockade”, “Event”, “Trial”.

People, frozen, listen to the message about Stalin's death from the loudspeakers. They read newspaper editorials in all languages of the multinational country, with the same ceremonial portrait. Columns with wreaths endlessly stretch along avenues, streets and squares to the center of the world, where the cherished coffin stands. They enter the Column Hall. The first persons of the state close to the throne are on guard of honor. Panorama of the entire empire: mourning in Tajikistan and Chukotka, in the Donbass and in Latvia, at sea and on land, in the snow and fields. And so on and so forth.

This funeral is a grandiose performance. As they say today, immersive. Spectators are its full-fledged participants, without whom the action would not have taken place. The audience in the hall, where Loznitsa's film is shown, too. Stalin has turned into an artifact, he is about to become a mummy, forever incarnate from a physical object into a symbol. But living people are looking at him, about whom we do not know anything, but whose reality is beyond doubt. Although the motives remain bewitchingly vague: what if they don't really grieve, what if they are inwardly rejoicing? If you say goodbye not to your beloved tyrant, but to the era of tyranny that is leaving without a trace? In the end, we too are hypnotized by this unhurried action, this sacred ritual. We look at the onlookers, coming at last, standing in line. Here it is, the rite sung by Sorokin to line up in single file and endure, endure, endure until we get access to something desired: clothes, sausage, the belt of the Virgin, earthly or spiritual food, the spectacle of the body of the deceased leader.

One of the main effects of "State Funeral" is color: it turns out that a lot of color chronicles were filmed. Particularly impressive is the scarlet red carpet of draperies and banners, bandages on the sleeves, and countless carnations. And since color shots are interspersed with exactly the same black and white, it feels uncomfortable. As if people from 1953 are so absorbed in their black and white picture of the world that they do not see the red that is noticeable to us. As in a horror movie, blood appears on the image as bright indelible spots, recalling the unspoken background of events. Indeed, the film does not even mention the thousands trampled to death at Stalin's funeral - this did not make it into the official chronicle. But the smell of blood is in the air, and its color sets the tone for the spectacle.

There is also another smell - of rotting flowers in which the corpse of the Generalissimo is drowning. They are carried and carried to the coffin by citizens of the Soviet Union. At some point, people completely disappear from the frame, the surreal landscape near Red Square consists of solid mourning wreaths. One involuntarily recalls Dutch painting (one of the co-producing countries - Holland), where flower still lifes reminded of the frailty of life, the inevitability of wilting and death. However, the Soviet flowers are not like that: the offscreen radio voice solemnly broadcasts about "a wreath of stainless steel, bronze and brass."

Stalin, too, will not rust like that very wreath. Announcers and speakers at the funeral meeting repeat incantations about the immortality of the untimely deceased. "Stalin is dead, long live Stalin" is an absurdist formula. When it touched kings, the subjects glorified the heir to the throne - the new king, but one glance at Malenkov, who reads a speech from the Mausoleum, is enough to understand: anyone who replaces Stalin is only a temporary worker, and the generalissimo is truly immortal, as in a terrible tale. His death is hidden in some kind of magic egg that no one can reach.

"State Funeral" is not a replica of Yevgeny Yevtushenko's film "Stalin's Funeral" or "Khrustalyov, My Car!" by Alexei German, but rather a response to the 2017 British comedy "The Death of Stalin" which was banned for rental in Russia, and no clear reason for the ban was ever named by the authorities. Obviously, laughing at the dead Stalin is the best confirmation of the fact of his death; it is also indisputable that the fear and unwillingness to hear this laughter is equal to the refusal to accept the fact of death. Stalin is forever alive, as it was said back in 1953.

One of the subtle author's moves in "State Funeral" is the inclusion of Matvey Blanter's Lullaby on the poem by Mikhail Isakovsky in the soundtrack as the final number. This touching song is known to many, but not everyone has heard its first version (here it is performed by Sergei Lemeshev), where there are the following lines: "Stalin will give you strength, Stalin will show the way with his hand ..." them in the fateful 1937: there, naturally, Comrade Stalin, "the best friend of youth" - the inscription from one of the funeral wreaths in the film, rocks countless cradles with his hand. The image of the sole "father of nations", hugging mothers and nursing children, seemed too frank to the censorship, and Vertov's film was actually banned from showing.

Loznitsa hints that at the time of his death, Stalin underwent an amazing transformation. From a symbolic god-father, he turned into a "sparrow", "son", a "dear bell" from a song. A Soviet man lulls him in the hope that the savior did not die, but only fell asleep for a while. Time will pass, he will definitely wake up, like King Arthur on the island of Avalon, and save us from all misfortunes.

"Спи, богатырь, спи! (Sleep, hero, sleep!)" - as Saltykov-Shchedrin wrote on a similar occasion in one of his non-childish fairy tales.

前苏联一直是我们的VIP，当然了，也是全世界各国的。毕竟人家体量在那里，绝对不容小觑。

很难得的影像资料，能够回望那个特殊时代。甚幸。

更加有意义的是外国视角下，看到当时我们国家领导人。不仅镜头多，而且，还多处于画面C位呢。可见当年两国之间关系之密切/友好。

集权/极权之下的人民，非常“团结”啊。特别是用今天的目光看去，更觉意味深长/发人深省。

那些蔚为壮观的送葬场景，那些颇为动情的凝重表情，那些如丧考妣的恸哭，是不是跟我们当年送别一代伟人毛的情景有一拼？如出一辙，果然有其兄必有其弟啊，啧啧。

对照另一部片子《斯大林之死》看，估计感慨和收获会更多。

片子有点长，不间断看到尾有点费力。纪实片嘛，看一遍够够的，无论如何不乐意重温那种。

有几点一直没弄明白，那些军人手捧的那个小红包裹是什么？送葬现场所有人都左臂一个红箍是俄式葬礼标配？黑白画面频繁切换有何用意？期待热心豆友解惑。先行谢过！

整体观感尚可吧，毕竟纪实为主嘛，也不能妄求其他。

给良好评价，7.9/10分吧。

是利用既有影像片段剪辑配音配乐而成的纪录片，原片材料是苏联政府找人拍的，当时剪成了一部叫The Great Farewell的片子，是那种政治宣传套路典型以苏联旗帜开始以旗帜结束，但是该片只放映了一次就被收回到档案里面禁播了，去斯大林化是1956年才开始的，在这之前为什么决定禁播具体原因导演在Q&A的时候说他也不清楚，但有可能是那时候要将所有责任推到斯大林身上的想法已经初具雏形。

先说一个总体感受，我觉得这个片子导演节奏把握的非常好，有些场景比如说各国领导人到达（走出舱门、脱帽致意、握手、上车离去）整个过程能看到大段的连贯片段，再比如最终葬礼过程（包括卡车送花圈、领导人将棺木抬出来放在车上、跟在车后缓慢前行一直走到红场、民众军队外宾在红场列队入席、领导人系列讲话）的完整保留对于观众来说也算是半浸没式的感受了，其他剪辑也是按照时间顺序把一个完整的故事交代的很清楚。当然纪录片这方面我是外行也说不出太多门道只是觉得观感不错。

Q&A的时候导演说最开始想做一个关于苏联葬礼礼仪的片子能包括列宁赫鲁晓夫等等人还可以对比，但是去到档案馆一看光斯大林的影像材料就有35小时，于是就作罢定了一个具体的主题。剪辑过程中这些影像被剪成18000多个小的片段，工作量之大以至于到了首映威尼斯电影节开幕之后才全部完成。

如果在百度搜斯大林葬礼的话也能找到很多照片，比如说赫鲁晓夫抬棺材什么的都在这个片子里看到了，所有苏联高级领导人都在抬棺材，而且好像也只有他们有资格，站在最前面的人不固定但我记得有几次都是马林科夫和莫洛托夫。片子刚开始有一段是在机场迎接世界社会主义国家领导人的到来，当然我只认得中共领导人周恩来，他一直算站在外宾C位，在红场跟在棺木后面走的时候第一排中央是马林科夫右边就是周恩来。遗体在工会大厦的柱子大厅Hall of Columns陈列三天，拍的瞻仰的人里中国人去的很多的，后来朋友还说看到了郭沫若。片中还给了斯大林女儿和儿子一些镜头，其他的领导人实在是不太面熟认不出。

Q&A 左翻译 中导演 右主持

朋友跟我说听完领导人们（马林科夫、莫洛托夫、贝利亚）讲话很想鼓掌，我很好奇北美土生土长的观众会不会有这种想法。赫鲁晓夫主要是主持人的工作，片中没有他讲话。讲话就站在列宁墓入口上方的平台上，最开始入口处的花岗岩上只有列宁的名字，斯大林死的时候重新做了一个列宁名字在上斯大林在下的，现在依然只有列宁。讲话提到了要继续大力建设集体农场，要警惕社会主义的敌人，要弘扬伟大的战无不胜的列宁斯大林主义。

导演超可爱的，虽然听不懂俄语还是能感觉到他的幽默，观众提问的时候他表现出健谈，慢悠悠一直在说，我坐在第三排能看到主持人开始手指攥拳希望他快点说完能有时间多问几个问题哈哈。有一个观众问他这些民众是自发前来的还是有组织前来的，他的回答翻译是这么说的"Some people came out of wish, some out of fear. Imagine a dead god inside a coffin. There was so much curiosity."翻译说的语法不太对，但我觉得保留原话比较好。

一些未解之谜：当时军队的每个人手里都拿着一块类似红色小枕头的东西，上面还有一个勋章，很想知道这是什么。所有红色旗帜的外沿都有一条黑色我认为是为葬礼专门使用的，但不知道红色棺木是俄罗斯传统还是共产主义传统，民众举的斯大林头像都是同一张，背面也都是红色的，可能是统一的要求。另外俄罗斯礼仪致敬的时候好像是只要求男士脱帽的，记得看到进入柱子大厅Pillar Hall的时候女的都还戴着帽子，军队也不用脱帽。

维基百科上有“斯大林的死亡和葬礼”这一词条，里面提到公众哀悼集会向棺材致意过程中发生踩踏导致一百多人死亡，当然这是不可能被政治宣传片记录的，但是在此值得一提。

写的很碎，出于喜欢历史的原因主要想记录一下。

乌克兰导演谢尔盖·洛兹尼察把35个小时的原始影像浓缩为两个小时的纪录片《国家葬礼》，真实再现了苏联领导人斯大林去世后的葬礼情况。 1953年3月晚间，苏联最高领导人斯大林突患脑溢血，在莫斯科郊外昆采沃的别墅中去世，享年74岁。六个小时之后，苏联的广播电台和主要报纸《真理报》公布了该消息。此后，苏联方面宣布全国默哀八天，停止工作，并定于3月9日安葬斯大林。

波兰、阿塞拜疆、东德等地方都变成一个巨大的哀悼场所，人们聚集在乡村、工厂、广场、听着广播中传出来的哀悼，表情严肃。感觉一个天才从此消失，再也没有人能带领他们前进。这些来自于城市、山区、村庄、矿场、工厂的人们自发的聚集在一起，哀悼斯大林同志。花圈堆满了红场，悲伤的人们像大海波涛一样涌入，无论将军、工人、艺术家还是贫民脸颊上都带着泪水，感觉就像老父亲留下一群不知方向的孩子。

这是一部真实影像组成的纪录片，让我们一窥当时的葬礼。1953年正是我国建国之初的艰难时期。1953年3月5日晚，毛泽东召集中央政治局开会，讨论斯大林逝世的问题，会议决定由周恩来率团参加斯大林的葬礼。翌日，周恩来致电苏联外长维辛斯基，对斯大林逝世表示吊唁，并随即前往苏联大使馆吊唁。同日，周恩来又起草了《代表团赴苏任务提纲》，确定代表团除参加吊唁之外，还要就中国“一五”计划、朝鲜战争等问题与苏共新领导人商洽。

影片中能看到敬爱的周总理参加吊唁，走下飞机及苏联工会大厦圆柱大厅守灵的镜头。其他参加吊唁的还有李富春、郭沫若、张闻天、罗瑞卿等18位人员。这是一段真实的历史，不管现在用宏伟、恐怖、怪诞等词语如何形容，在当时那个时间段，都是合理且真实发生的事情。 在不知名的站台下车，有小众电影陪着你！----公众号:凉心评

（文中图片来源《国家葬礼》，侵删。）

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