Stone 1992, 84 min., b/w International Studio of Perm icw Lenfilm Screenplay: Yury Arabov Camera: Alexander Burov Sound: Vladimir Persov Production Design: Vladimir Soloviev Editor: Leda Semyonova Starring: Leonid Mozgovoi Peotr Alexandrov also Featuring: Vadim Semyonov The soundtrack includes music by P. Chaikovsky, G. Mahler. Stone inherits and develops the artistic principles of The Second Circle — the previous work of the director and his colleagues — playwright Yury Arabov, director of photography Alexander Burov, sound director Vladimir Persov. However, in this new work the visual component, based on the traditions of Russian impressionism, is even more active. The black and white image is far closer to a monochrome water–colour as the creators never forget to soften the black deepness of shadows. As far as its dramatic intonation is concerned, Stone is undoubtedly a Russian film, but not only due to the fact that we can recognize Anton Chekhov in one of the characters and not only because the action takes place in the house where a famous Russian family once lived. This is a profoundly lyrical film because of its special 'chamber' atmosphere and the modesty of emotions: quiet intonations, permanent sadness, and a feeling of the deeply tragic nature of life. Stone is a film that would never search for the audience: its voice is too quiet. This film will meet with its audience only if the audience searches for it. Alexander Sokurov (from the author's annotation) Summary The film features a meeting between the one who leaves a cultural and intellectual heritage and his heir. The young caretaker of the house (Chekhov's museum in Yalta where the film is made) meets… the master of the house who has returned from non–existence. The youth is played by the non–professional performer of the main part in The Second Circle Pyotr Alexandrov. With the assistance of his permanent scriptwriter Yury Arabov, Sokurov makes somewhat of a screen version of one of Nietzsche's ironic 'tips': one should communicate with other people only as homo post humus — as a man after his funeral. The irony and sadness of Sokurov's film is in the fact that the transcendental stranger who once lived here as a hermit now yearns for contact with various forms of life, whereas the modern youth despises all this earthly routine. But Chekhov has brought nothing from 'There' — not even a wish to create — except a longing for that very 'vulgarity of life' from which he suffered so much 'Here'. Is not this the most frightening for Sokurov sign of Non–existence? There are no values after death except reminiscences of physical life and probably impressions of art. Perhaps, that is why this ascetic black-white–grey film is so beautiful. It could be called Father and Son. Alexandra Tuchinskaya English translation by Anna Shoulgat, © 2002. Prizes and awards: 1993. Volk Award (Lenfilm Studio) for Best Sound Directing to Vladimir Persov.