Yevgeniy Bauer

Yevgeniy Frantsevich Bauer (22 January 1865–9/22 June 1917) was born in Moskva. His dad, Czech immigrant Franz Bauer, was a musician, and his mother was an opera singer. Though most sources give 1865 as his birth year, his biographer believes he was truly born in St. Petersburg on 7 January 1867.

He was interested in the entertainment industry from childhood, and his sisters were professional actors. In 1887, he graduated from the Moskva School of Painting, Sculpture, and Architecture.

Bauer flitted from job to job—cartoonist, satirical journalist, artistic and portrait photographer, theatre director and impresario, scenographer, set designer, pilot—before turning to cinema in 1913.

He started out as a scenic director for the Drankov Trade House’s film on the Romanovs’ triumphant Tercentenary celebration (no one dreaming there weren’t even five more years left for the ruling dynastic house).

After this success, he directed four films for the company, followed by four films for a Muscovite branch of Pathé. He then moved to Khanzhonkov Trade House, Russia’s undisputed leading film company.

After Death, 1915

Bauer specialised in psychological and social dramas, with very dark themes and unhappy endings, though he also made comedies and a series of patriotic war propaganda films. He worked with many of pre-Revolutionary Russia’s leading actors, like Vera Kholodnaya, Ivan Mozzhukhin, Vera Karalli, Vitold Polonskiy, and Ivan Perestiani.

During WWI, he adopted the pseudonym Yegeniy Ancharov to avoid problems regarding his German-origin name. He took it from his wife, dancer and actor Lina Ancharova, whom he married in the 1890s. Lina starred in several of his comedies.

In 1917, Khanzhokov moved to Yalta, and Bauer began working on what would become his last completed film, For Happiness. During shooting, he broke his leg. This injury compelled him to direct his final film, King of Paris (which he wrote the script for), from a wheelchair.

The Dying Swan, 1917

Bauer caught pneumonia during the making of King of Paris, and was taken to hospital, leaving the film to be completed by Olga Rakhmanova. Not long afterwards, Bauer passed away at age 52.

Like many pre-Revolutionary people and things, Bauer’s films too were swept under the rug for decades. The new Soviet authorities dismissed his work as “bourgeois escapism,” though his films so clearly are a damning criticism of the bourgeoisie and wealthy.

After the February Revolution, he was more at liberty to openly express such themes. One of his films from this era was the first Russian film to expose the tyranny of the Okhrana (Tsarist version of the KGB) and the cruelty of Siberian prison.

Twilight of a Woman’s Soul, 1913

Had he not died prematurely, he probably wouldn’t have been automatically damned by association with the old world and may well have gone on to become one of the leading lights of Soviet cinema.

French film critic Georges Sadoul called Bauer “the first true cinematographic artist not only in Russia, but perhaps all over the world,” describing his films as “painting in motion.” Many other film historians and critics consider him one of history’s greatest directors, whose name deserves to stand next to luminaries like D.W. Griffith and Fritz Lang.

The Dying Swan

To date, 26 of his 80+ films are known to survive. In 2003, Milestone released Mad Love, containing The Dying Swan, Twilight of a Woman’s Soul, After Death, and a 37-minute visual essay. Milestone’s Early Russian Cinema series also features his films on volumes six, seven, nine, and ten.

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  1. Pingback: A to Z Reflections 2019 | Welcome to My Magick Theatre

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