Sergey Urusevskiy(1908-1974)
- Cinematographer
- Director
- Writer
Sergei Urusevsky is an Soviet cinematographer best known for his work on the films of the Mikhail Kalatozov.
He started as a painter and photographer studying under the great graphic artist Vladimir Favorsky at the Institute of Fine Art in Moscow. Bringing a pictorial tradition to cinema, Urusevsky started his career with Mark Donskoy on The Village Teacher (1947), Vsevolod Pudovkin on Vasili's Return (1953), and Grigoriy Chukhray on The Forty-First (1956). Urusevsky also served during World War II as a cameraman on the front lines.
With The First Echelon he combined his marvelous visual sense with Kalatozov's breathtaking technical skills - a partnership that made The Cranes Are Flying (1957), Letter Never Sent (1960) and I Am Cuba (1964) landmarks in the history of cinematography. It was with The Cranes Are Flying (1957) where their use of the hand held camera really started, especially with the scene of Veronica running through the streets where the camera finally and miraculously leaps into the air with an overhead shot. It was Urusevsky and Yuri Ilyenko who had profound influence throughout the Soviet film industry - not since the 1920s had Soviet film style been acclaimed throughout the world. Urusevsky's poetic camerawork, no matter how daring, was always an organic search into the emotional possibilities of the script. In 1969 Urusevsky directed Beg inokhodtsa (1969), adapted from the Kirghiz writer Chingiz Aitmatov's short novel. Urusevsky followed this up with Poj pesnyu, poet (1973) based on the poems of Sergei Esenin.
He started as a painter and photographer studying under the great graphic artist Vladimir Favorsky at the Institute of Fine Art in Moscow. Bringing a pictorial tradition to cinema, Urusevsky started his career with Mark Donskoy on The Village Teacher (1947), Vsevolod Pudovkin on Vasili's Return (1953), and Grigoriy Chukhray on The Forty-First (1956). Urusevsky also served during World War II as a cameraman on the front lines.
With The First Echelon he combined his marvelous visual sense with Kalatozov's breathtaking technical skills - a partnership that made The Cranes Are Flying (1957), Letter Never Sent (1960) and I Am Cuba (1964) landmarks in the history of cinematography. It was with The Cranes Are Flying (1957) where their use of the hand held camera really started, especially with the scene of Veronica running through the streets where the camera finally and miraculously leaps into the air with an overhead shot. It was Urusevsky and Yuri Ilyenko who had profound influence throughout the Soviet film industry - not since the 1920s had Soviet film style been acclaimed throughout the world. Urusevsky's poetic camerawork, no matter how daring, was always an organic search into the emotional possibilities of the script. In 1969 Urusevsky directed Beg inokhodtsa (1969), adapted from the Kirghiz writer Chingiz Aitmatov's short novel. Urusevsky followed this up with Poj pesnyu, poet (1973) based on the poems of Sergei Esenin.
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