1960
Search results
Shaken Kenzhetaiuly Aimanov (Kazakh: Шәкен Кенжетайұлы Айманов; born Shahkarim Kenzhetaiuly Aimanov, Kazakh: Шаһкерім Кенжетайұлы Айманов; 15 October 1914 – 23 December 1970) was a Kazakh Soviet actor and film director.
- “The Viewer Has The Last Word”
- Origins
- The Beginning:Poem About Love
- A Revolutionary Epic
- A Kazakh Perspective on Tselina
- Finally, A Blockbuster
- Aimanov’S Legacy
“And I would like to believe that we were able to convey the main idea of the film: that the fatherland is not that narrow piece of land on which one is born, grew up, and aged. Fatherland – that’s our entire country, from the Baltic Sea to Cape Dezhnev, from the Barents Sea to the heights of the Pamirs. Grandfather and grandson, searching for the ...
Shaken Aimanov was born on February 15, 1914 in Bayanaul, in the Pavlodar region in Eastern Kazkahstan, near the river Irtysh. As a student in Semipalatinsk in the early 1930s, his goal was to become a teacher, but he, along with other gifted young laymen artists, was invited by theater activists Gabit Musrepov and Kalibek Kuanyshpaev to join their...
Aimanov’s first directorial project was Poem About Love (Maxxabat turaly dastan/Poema o liubvi, 1953), a historical drama based on a Kazakh Romeo and Juliet that had been successfully adapted for the stage. The acclaimed theater production was the source of the movie, and in many ways it shows: Poem About Love is a work of transition. From the begi...
The opening episode shows a conflict illustrating the lawlessness of pre-communist Kazakhstan with regards to women. The rich Aktambai (Eleubai Umurzakov), fearing the approaching Bolsheviks, attempts to smuggle his huge herds across the country’s border. But only the poor shepherd Molbagar knows the secret paths across the mountains to China. To s...
The title has a polemical sound to it – or at least an ambiguous ring. At first, We Live Here simply seems to allude to the fact that the millions of acres of untilled land in Kazakhstan that were cultivated at an unprecedented rate during the tselina campaign were sparsely inhabited, and that a major problem facing the Soviet administration was th...
Conscious of genre like few other Soviet directors, Aimanov decided to lay bare the revue character of his story from the very beginning, not even pretending to have a realistic plotline that would somehow justify the characters’ constant singing. To be sure, neither The Djigit Girl nor Our Dear Doctor are musicals. The songs in the former are not ...
To some, Shaken Aimanov was first and foremost an outstanding actor. But more significant for the development of the Kazakh nation was his filmmaking. The ability to reach millions of viewers was certainly one of the motivations behind Aimanov’s decision to become a full-time director, and his musical comedies gave persuasive proof of his talent fo...
Feb 15, 2024 · ASTANA – Kazakhstan celebrates 110 years of Shaken Aimanov, the acclaimed and versatile Kazakh director, on Feb. 15. Throughout his long career, Aimanov combined light entertainment comedies with topical films that appealed to him on a deeply personal level.
Shaken Aimanov is a prominent figure in Kazakh art, a talented actor, and director. He is recognized as one of the classics of Kazakh cinema, whose creative achievements have left an indelible mark on the history of national cinema.
Shaken Kenzhetaiuly Aimanov is the Kazakh actor, theater and film director, People’s Artist of the USSR, winner of the Stalin Prize and the State Prize of the Kazakh SSR. Also, he is the founder of the Kazakh cinema and had a great influence on the formation of the national theater.
Shaken Kenzhetaevich Aimanov (Kazakh: Шәкен Кенжетайұлы Айманов; born 15 October 1914 – 23 December 1970; Bayanaul) was a Soviet (Kazakh) film director, screenwriter, actor. He is considered to be the father of Kazakh cinematography, as well as an iconic film director and actor.
Shaken Aimanov is a Kazakh actor, director, people’s artist of the USSR. Born on February 15, 1914 in Bayanaul. Since 1933, he worked in the Kazakh drama theater (now the Kazakh Academic Drama Theater named after Mukhtar Auezov), where he played more than a hundred roles.
