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APPENDIX 2
his gang. But soon this truth becomes evident to the audience. Timur and his comrades have charged themselves with helping all the families from which some member has been called up into the Red Army. Secretly the boys saw some wood in the evening for the father of a Red Army man; they fill the water reservoir in the yard belonging to the house of a Red Commander's mother; unseen, they bring a small girl, whose father fell at the front, flowers and toys.
Delicately and lyrically this film shows the transformation, which the new Soviet reality has brought about in the thoughts of children. The usual content of children's play — the enthusiasm for the legendary figures of robbers, knights, magicians, etc. — finds its completion in the fulfilment of social duties, in the service of the fatherland which one aids with personal work.
The problems of the schools are treated extensively in children's films. For the pupils in more advanced forms there are biographical films, for instance one about the great Russian poet, Lermontow, another about the Russian Polar explorer, Georgi Sedow. The studio 'Sojusdetfilm' has produced during the last two or three years an artistic film trilogy from the autobiographical works, My Childhood, Amongst Strangers, My Universities by Maxim Gorki. This great work has been done by one of the best directors of children's films, Mark Donskoi.
'Sojusdetfilm' produces yearly ten feature-length and ten to fifteen short films for children and young people. Besides this, no less than ten trick films for younger children are turned out by another studio, 'Multfilm'. It has also become a tradition in all other studios of the U.S.S.R. to produce at least one children's film per year.
Just as the film is the youngest branch of the Soviet arts, so the children's film is the youngest branch in the art of the film. Much of the work is still in the stage of experimentation: for instance, some main problems of children's films such as interpretation on the part of the director, and the working out of the actor's style.
Those working in this branch of film art are often at variance: is a modernisation of the folk or fairy-tale legitimate, or should it be transmitted in the original form of folklore? How should such a delicate and complicated problem as 'calf love' be treated? What educational effects are produced by adventure films? How can one interpret for children social problems which are agitating the whole country? Of especial importance are moral problems, which obviously interest young people, and which must find expression
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