A cinematic spectacle unfolded in the heart of St. Petersburg recently as acclaimed Russian director Alexei Uchitel commanded a large-scale recreation of a 1930s physical culture parade. This elaborate scene, featuring hundreds of extras in period attire, is set to be a pivotal moment in his highly anticipated new film, “Noise of Time,” a biographical drama centered on the life of the iconic Soviet composer, Dmitry Shostakovich.
The elaborate production necessitated the closure of Millionnaya Street for an entire day, transforming the modern cityscape into a vivid tableau of the past. A total of 288 extras, meticulously dressed as pioneers, gymnasts, footballers, and enthusiastic spectators, filled the street. Intriguingly, the scene also captures Shostakovich, portrayed by actor Oleg Savtsov, navigating through the festive crowd, his attention momentarily captivated by a graceful young woman atop a human pyramid – a role played by Polina Tsygankova, daughter of actor Evgeny Tsygankov.
Uchitel, known for his unconventional approach to historical biopics, is embarking on “Noise of Time” not as a strict, literal biography, but rather as a “parable film.” His vision aims to explore the essence of a genius who, as he puts it, “created music despite everything.” This philosophy explains why audiences might not find Shostakovich perpetually seated at a piano in this portrayal. The director himself undertook extensive preparatory research, including visiting Shostakovich`s study in Moscow and observing his two pianos, underscoring a commitment to understanding the composer`s environment without being confined by traditional narrative expectations.
Those familiar with Uchitel`s filmography might already be preparing for a fresh wave of public discourse. His previous works, such as “Giselle`s Mania,” “His Wife`s Diary” (about Ivan Bunin), “Tsoi” (about Viktor Tsoi), and most notably, “Matilda” (about ballerina Mathilde Kschessinska), have frequently stirred controversy. “Matilda,” for instance, famously faced unprecedented public campaigns. It seems Uchitel, ever the provocateur of historical narratives, thrives on challenging preconceived notions, and “Noise of Time” is unlikely to be an exception to this intriguing pattern.
The film`s working title, “Noise of Time,” shares its name with a Booker Prize-winning novel by Julian Barnes. However, the screenplay by Alexander Mindadze and Alexander Terekhov is primarily based on Oksana Dvornichenko`s insightful book, “Dmitry Shostakovich. Journey.” Uchitel emphasizes how Shostakovich`s personal tribulations and the volatile political climate of the Soviet Union profoundly influenced his creative output. Delving into these interconnected aspects, he notes, offers a deeper comprehension of how masterpieces like the Fifth and Seventh Symphonies or the opera “Lady Macbeth of the Mtsensk District” came to be.
The search for the lead actor was exhaustive, initially even considering international stars. However, current global circumstances led the production to find its Shostakovich in Russia. After numerous auditions, Oleg Savtsov was cast, an actor capable of portraying the composer across his formative and mature years. A graduate of the Moscow Art Theatre School and a former member of the Chekhov Moscow Art Theatre, Savtsov brings a strong theatrical background to this significant cinematic role, which represents his largest film undertaking to date.
Bringing the turbulent 1930s to life on screen requires a skilled technical team. Cinematographers Sergei Astakhov and Yuri Klimenkov are tasked with capturing the era`s visual essence, while production designer Dmitry Onishchenko and costume designers Nadezhda Vasilyeva and Vladimir Nikiforov are meticulously recreating the authentic atmosphere of the period. The film also boasts a strong supporting cast, including Uchitel`s frequent collaborator Evgeny Tsygankov, alongside Maria Smolnikova, Lev Zulkarnaev, Daria Balabanova, and Nikita Kologrivyi.
“Noise of Time” promises to be more than just a chronological retelling; it`s an artistic exploration of a musical titan`s soul, inextricably linked to the `noise` of his time. As production continues in the historic setting of St. Petersburg, anticipation builds for a film that aims to re-introduce Dmitry Shostakovich not merely as a composer, but as a complex human being shaped by extraordinary circumstances.
