The Tale of the Fisherman and the Goldfish

Plot

An elderly fisherman lives in poverty with his demanding wife by the sea. One day, he catches a magical golden fish who begs to be released, promising to grant any wish in return. The kind fisherman releases the fish without asking for anything, but when his wife learns of this encounter, she becomes consumed by greed and demands increasingly extravagant wishes. She progresses from wanting a new washtub to a new house, then becoming a noblewoman, a tsarina, and finally wanting to rule the sea and command the fish herself. Each time, the fisherman reluctantly returns to the sea to ask the fish to grant these wishes, but when his wife's ultimate desire to rule the sea becomes too arrogant, the fish takes everything away, returning them to their original state of poverty in their broken hut.

Historical Background

The film was produced in 1950, during the early years of the Cold War and under Stalin's rule in the Soviet Union. This period saw a renewed emphasis on Soviet cultural production that would showcase the superiority of socialist art while also being accessible to the masses. The choice to adapt Pushkin's work was significant, as Pushkin was revered as the father of Russian literature and his works were considered part of the cultural heritage that the Soviet state had preserved and promoted. The film's themes of greed versus contentment, while based on a 19th-century tale, resonated with Soviet ideological messages about the dangers of bourgeois materialism. The animation industry in the USSR was undergoing a renaissance at this time, with Soyuzmultfilm establishing itself as a world-class animation studio capable of producing works that could compete with Disney and other Western studios.

Making Of

The production of 'The Tale of the Fisherman and the Goldfish' took place during a challenging period for Soviet animation, following World War II when resources were scarce. Director Mikhail Tsekhanovskiy assembled a team of experienced animators who had to work with limited materials but unlimited creativity. The voice recording sessions were particularly notable, as Boris Chirkov, who voiced the fisherman, was one of Stalin's favorite actors and had recently starred in the acclaimed film 'Lenin in 1918'. The animation team developed new techniques for creating the underwater effects, using layered cels and careful color blending to achieve the magical atmosphere. The film's score was composed by a young musician who would later become one of Soviet cinema's most celebrated composers. The animators studied Russian folk art and traditional painting styles to ensure the visual design would feel authentically Russian while still being accessible to international audiences.

Visual Style

The film's visual style represents a masterful blend of traditional Russian folk art aesthetics with contemporary animation techniques. The cinematography employs a rich color palette that evolves throughout the narrative, beginning with muted earth tones for the initial poverty and progressively incorporating more vibrant colors as the wishes are granted. The underwater sequences feature innovative use of layered animation and color gradients to create a sense of depth and magical atmosphere. The character designs are stylized yet expressive, with the wife's appearance subtly changing to reflect her moral deterioration. The composition frequently uses symmetrical framing for the sea scenes, creating a sense of order and natural harmony that contrasts with the chaos of human greed. The film's visual storytelling is so effective that it can be understood without dialogue, demonstrating the power of pure animation.

Innovations

The film pioneered several technical innovations in Soviet animation, particularly in the creation of underwater effects. The animation team developed new techniques for simulating water movement using layered transparent cels and careful color blending. The transformation sequences, showing the progression from poverty to wealth, were technically challenging and required precise timing and coordination between multiple animators. The film's color separation techniques were advanced for the time, allowing for subtle gradations and rich hues that enhanced the magical atmosphere. The character animation demonstrated sophisticated understanding of movement and expression, particularly in the golden fish's fluid, ethereal motion. These technical achievements helped establish Soyuzmultfilm as a technically sophisticated animation studio capable of competing with international standards.

Music

The musical score was composed by a talented Soviet composer who created a memorable theme for the golden fish that recurs throughout the film in different variations. The music effectively supports the emotional arc of the story, beginning with simple folk-inspired melodies for the fishing scenes and becoming increasingly grandiose as the wife's wishes escalate. The soundtrack incorporates elements of traditional Russian folk music while using orchestral arrangements that reflect the film's fairy tale nature. The sound design is particularly notable for its creation of underwater atmosphere, using subtle audio effects to enhance the magical quality of the sea scenes. The voice performances by Boris Chirkov, Anastasiya Zuyeva, and Mariya Babanova are delivered with theatrical precision, bringing depth to the characters despite the limited dialogue.

Memorable Scenes

• The first appearance of the golden fish, shimmering with magical light as it speaks to the fisherman
• The transformation sequence showing the progression from the broken hut to increasingly grand palaces
• The final storm scene where the sea rises in anger, reflecting the fish's response to ultimate greed
• The wife's escalating demands, each more outrageous than the last, culminating in her desire to rule the sea
• The poignant return to poverty, with the couple sitting before their broken hut as the lesson is learned

What Critics Said

Contemporary Soviet critics praised the film for its faithful adaptation of Pushkin's work and its innovative animation techniques. Pravda, the official newspaper of the Communist Party, commended the film for bringing classic Russian literature to the masses in an accessible format. International critics at the Venice Film Festival noted the film's distinctive visual style and its ability to transcend cultural barriers. Modern animation historians have recognized the film as a masterpiece of Soviet animation, particularly praising its sophisticated use of color symbolism and its effective character development through visual means. The film is often cited as an example of how Soviet animation could achieve artistic excellence while serving educational and cultural purposes.

What Audiences Thought

The film was enormously popular with Soviet audiences upon its release and remained a staple of children's programming for decades. Many Soviet adults recalled watching the film as children and later sharing it with their own children, creating a multi-generational cultural touchstone. The story's moral lesson and the memorable character of the golden fish became part of the cultural lexicon, with references appearing in everyday conversations and other media. The film's regular television broadcasts, especially during holiday periods, made it one of the most recognizable animated works in the Soviet Union. Even after the fall of the Soviet Union, the film continued to be shown on Russian television and released on home video, maintaining its popularity with new generations of viewers.

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