Tag: movies

Book: Elena Khudenko – “Translation and Localization: An Introduction to the Profession”

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I’m absolutely in love with the field of localization in development. Once, in my youthful overconfidence, I dove headfirst into translation and became the translator of the first novelization set in the Starcraft universe in Russian (these days, I would never agree to such a thing—so youth definitely has its advantages). Later, I helped build and for many years led the localization department at Wargaming (though I’ve mentioned that many times already, I think). That’s why almost no book on this topic escapes my attention. And that’s exactly the case with Translation and Localization by Elena Khudenko.

From the blurb, it seemed that Elena would dive into the specifics of the field—why it’s important and interesting. Especially since she herself has extensive experience in this area. She has translated books, brought Russian text to many TV shows (Killing Eve, Silicon Valley, and others), worked as a localizer for the Duolingo app, and translated many video games into Russian (The Whispered World, Batman: Arkham Asylum, etc.). In other words, she truly knows what she’s talking about.

And in this book, she tries to cover different types of translation, essentially following the arc of her own professional experience.

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Song and concert: Arthur Smolyaninov & cheLovek – “Elsinore”

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Disclaimer: Some meanings in this post, unfortunately, get lost for those who don’t speak Russian. However, I hope it will still be interesting for English-speaking readers. Thank you for reading!

Today, my wife and I went to a solo concert by Artur Smolyaninov. Artur is an incredible actor whom I first saw in one of the lead roles in 9th Company, a film about the war in Afghanistan, where his character is the only survivor after a brutal battle. Later, I remembered him from the series 9 Months, where he played almost the exact opposite—a young man who desperately wants to avoid military service and is instead assigned to alternative civilian service as a maternity nurse man in a maternity hospital.

Since then, I’ve seen him in many roles, and I’ve always enjoyed his performances. In 2022, when the war started, Artur was one of those who couldn’t stay silent. He spoke honestly about his views, and as a result, he was forced to leave his homeland—a decision that, of course, impacted his acting career. But for him, staying true to himself as a human being was far more important.

At the same time, beyond acting, Artur had also been writing songs. He never considered himself a professional songwriter, musician, or singer. But it’s clear that sharing this part of himself with the audience matters deeply to him.

Even before the war, in 2020, he formed a band called Smola (there’s a play on words here, as the Russian word “smola” (resin) sounds similar to the beginning of the actor’s last name). With this band he recorded several songs. But after leaving Russia, he had to start over from scratch in his musical journey. And in Riga, he put together a new band, which he named cheLovek (‘chelovek’ in Russian means ‘human’).

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Book: Alexey Dudarev “Dialog”

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Alexey Dudarev is a Belarusian playwright and screenwriter. My first encounter with his work (or at least what I thought was my first) happened during my final years of school, as his play Riadovyie (“The Rank and File”) was part of the Belarusian literature curriculum. Our school library handed out the book Dialog, which included this play among others. I read a lot during my school years, but I was cautious about unfamiliar authors, especially those who were part of the required reading list. However, the Belarusian literature curriculum often included real gems. Many years later, I couldn’t recall the details of Riadovyie, but I was left with warm feelings about it, as it had been a pleasant surprise.

Later on, I learned that Alexey Dudarev’s plays weren’t only famous in the BSSR; they were also performed in many theaters across the USSR, including the Maxim Gorky Bolshoi Drama Theater in Leningrad and the Central Academic Theater of the Soviet Army, among others. These performances featured actors who were well-known throughout the Soviet Union, including from films.

It wasn’t until even later that I found out Dudarev wrote the script for one of my favorite films, which nearly every Belarusian knows—Belye Rosy (“White Dew”). This simple yet profound story about the final days of a village being displaced to make way for the city’s expansion is filled with both humor and the drama of family relationships, as well as reflections on what is truly important in life. And what a cast—Nikolai Karachentsov, Vsevolod Sanaev, Stanislav Sadalsky, Galina Polskikh, Boris Novikov, and many others.

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Songs: Mark Bernes – “Where Does the Motherland Begin?”

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Despite all the triumphalism that has been built around Victory Day in recent decades, there are things I continue to love. One of them is the wartime songs by Mark Bernes. One of my favorites is “Where Does the Homeland Begin,” which plays over the credits of the four-part film “The Shield and the Sword” about the Russian intelligence officer Alexander Belov / Johann Weiss.

Incidentally, the film itself is also one of my favorite war movies. Yes, in some ways it can be considered propaganda, and not all episodes made sense to me even as a child, but I still love it madly and rewatch it every few years. The book on which it is based, on the one hand, reveals the characters better, but on the other hand, it’s quite heavy and tedious. The film turned out much better. And it was the first film in which the very young Oleg Yankovsky starred, by the way.

In modern Russia, one of Mark Bernes’ songs, “Do the Russians Want War,” has been banned. This says much more about the memory of real history than all the showy veterans and parades.

And the song “Where Does the Homeland Begin” remains one of the best to this day and is constantly playing on my playlist.

Here is that song in the closing scenes of the first episode of the film:

Belarus Everyone Knows From the Movies. Part 1

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Belarus is a small country: a population of around 10 million people, an area of a little over 200 thousand square kilometers. For many years I understood that not everyone abroad even knows such a country; I used to have to explain that it’s between Ukraine, Poland, and Russia. (Surprisingly, Cypriots for some reason often do know the country — which genuinely caught me off guard.)

And yet our country sometimes pops up here and there in movies. Okay, Russia — it’s been a longtime supplier of villains with terrifying English accents, since it’s the old enemy. But Belarus? Still, quite well-known creators have slipped this country into their films. And that’s what we’ll talk about today — the examples I know.

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“Ten Little Indians”: On the Changing Titles of an Agatha Christie Novel

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Content note: This post examines the publication history of Agatha Christie’s novel and the evolution of its title and associated rhyme. To document that history accurately, it includes direct quotations of period wording that contains racial slurs. Such language is unacceptable in modern usage; it appears here only as part of quoted historical material, for context and analysis.

Today I’d like to talk a little about Agatha Christie — more precisely, about one of her most famous works, the novel “Ten Little Niggers“. In Russian, both the novel and the 1987 Soviet film adaptation by Stanislav Govorukhin are still known under the title Desyat negrityat (“Ten Little Negroes”). In Russian usage, the word negrityonok historically functioned as a neutral racial descriptor rather than a slur, which partly explains why the title remained unchanged in that cultural context.

I first encountered this work in childhood — not through the book, but through Stanislav Govorukhin’s 1987 film adaptation, released in Russian as Desyat negrityat (and often referred to in English as Ten Little Indians). I saw it a year later, while vacationing at the seaside with my parents. The film was being shown at the resort cinema, and if I remember correctly, my younger brother and I even went without our parents.

I remember how that closed-circle mystery (Christie specialized in exactly that kind of structure), combined with an excellent cast and the oppressive atmosphere of the production, made an indelible impression on me. It didn’t exactly frighten me, but it was impossible to look away as, over the course of the story, nearly all the main characters disappear one by one. And yet — what could an eleven-year-old boy, which is what I was at the time, really understand of it? Back then I looked like this (not exactly a heartthrob, of course, but still reasonably presentable):

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“The Astrologer’s Song” or “The Song of the Stars”

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Alexey Rybnikov is a legendary composer who, in addition to several great rock operas, gave us unforgettable music and songs for many films we love. I adore all of his work, but as the first song set to his music, I decided to talk about “The Astrologer’s Song” (also known as “The Song of the Stars”) from the fairy-tale film Pro Krasnuyu Shapochku (About Little Red Riding Hood) by Leonid Nechayev, released by Belarusfilm in 1977. Besides the melody, the song also features wonderful lyrics written by Yuli Kim.

As usual, I’ll remind you of the song itself and also show a few of its most interesting performances. And for those who read the post to the end, there will be a small surprise waiting (I’m sure it will be a surprise for most of you).

So, the film itself is a musical fairy tale very loosely based on the well-known original. The wolves there are a whole family, led by a strong-willed she-wolf played by Galina Volchek; the wolves are not evil at all and even a bit clumsy; and there’s also a wonderful wolf cub played by Dmitry Iosifov, who two years earlier had played, for the same Nechayev, the most famous Buratino of the Soviet screen.

Besides the story of Little Red Riding Hood, the Wolf (or rather, the wolves), and the Grandmother, the film weaves in many other plotlines and colorful characters. And on top of that, it became famous for several songs set to music by that same Alexey Rybnikov. When I was a child, the song most often performed outside the film was Little Red Riding Hood’s own number — the one that goes, “Ah-ah-ah, in Africa the mountains are this high.” There was also a well-known conversational song with a spoiled child. But no less famous — and perhaps even more so — was “The Song of the Stars,” performed by the Grandmother (Rina Zelyonaya) and the Astrologer (Evgeniy Evstigneev). Both musically and lyrically, it’s far more lyrical than the film’s other songs. That’s probably why it became so beloved.

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Book: Stanisław Lem “Solaris”

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Stanisław Lem is a classic of Polish science fiction, hugely popular among Russian-speaking readers since the Soviet era, when we weren’t exactly spoiled for science fiction. Apparently that very status is what kept me from writing a review of Solaris for so long—because, shame on me, I only read it recently.

If Lem himself is a star, then Solaris is probably one of his most famous works—yet most people who know it do so through its screen adaptations. The best known is the 1972 film by Andrei Tarkovsky, starring Soviet actors Donatas Banionis and Natalya Bondarchuk. In 2002 the Americans made their own version too: Soderbergh cast none other than George Clooney in the lead. And there was also an earlier TV adaptation with Vasily Lanovoy, released four years before Tarkovsky’s version.

It’s worth noting that Lem himself treated the adaptations of this novel rather coolly, because, first, he couldn’t imagine how it could be filmed at all—and second, he really disliked the way directors chose to reinterpret his idea. He even quarreled with Tarkovsky, calling him a fool, and later said that instead of Solaris, Tarkovsky had made “Crime and Punishment in space.”

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Book: Pavel Sanaev “Bury Me Behind the Baseboard”

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Bury Me Behind the Baseboard by Pavel Sanaev was, for many years, a bit like Pasternak was for Soviet citizens. Meaning: I hadn’t read it, but I’d heard so much about it from all sides that, deep down, I didn’t even want to read it—I “disapproved” along with everyone else.

But the years went by. The book kept coming up, stage adaptations were made, and it even got a screen version with fantastic actors. So at some point I decided you can’t judge a book based on third-hand retellings.

Pavel Sanaev is the son of the actress Yelena Sanaeva, whom most people know as Alice the Fox from the film The Adventures of Buratino. He’s also the stepson of actor and director Rolan Bykov (a name that really needs no introduction). And he’s the grandson of the famous actor Vsevolod Sanaev (he appeared in all sorts of films, but Belarusians probably know him best as Fedos in White Dew).

And Bury Me Behind the Baseboard is a slightly fictionalized set of the author’s memories of his childhood. The names have been changed, but overall he’s simply telling the story of how he lived—separated from his mother—under the care of his grandmother, and to some extent his grandfather too.

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Covers of “April” by Kino

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Recently, completely by accident, I came across a cover of “April” by Kino. It hit me so hard that I put it right up there with the original. I decided to share it with my wife—and that’s when I found out she doesn’t even know the song at all. Which, honestly, stabbed me straight in the heart. I genuinely have no idea how we managed to live together for 23 years if she knows Kino’s music that poorly.

As for me, I’ve been a longtime fan of the band. I remember laughing back in fourth grade during music class at a classmate who asked me whether I listened to “movie.” (In Russian, ‘Kino’ means ‘movie’). Yes, that’s exactly how I heard it. I even thought it was a funny idea—listening to movies. And I actually followed through: I bought a couple of reels and recorded all three episodes of my favorite film at the time, D’Artagnan and the Three Musketeers, off the TV—because I could listen to the songs from it over and over.

But back then I forgot about the band Kino. I discovered it and fell in love with it a few years later—right after I stopped being a diehard fan of another legendary group, Laskovyi Mai (or groups, really, since there were like ten different lineups touring the USSR). Yes—straight from Laskovyi Mai to rock. And like with a lot of things I did, I went all in.

And “April” is one of those songs I loved then, and still love to this day.

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