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Vladimir Mayakovsky’s love for cinema began when the poet was just 13 years old. In 1906 his family moved to Moscow. The capital struck the boy with noise and brilliance, but the main impression was the cinema. For the sake of touching this miracle, he was ready for anything – he got the cherished penny or made his way into the halls with a hare, risking being caught. Many years later, already being a successful poet, he never neglected the opportunity to participate in the filming, not only as a screenwriter, but also as an actor.

The first work Mayakovsky, associated with movies, became the film “drama in cabaret futurists # 13.” Mute tape was released in 1914 and now, unfortunately, is considered lost. Vladimir Mayakovsky in it we could see in an episodic role at the very end of an extremely complicated story, parodying adventure detectives – a genre very popular in the art of the early XX century.

The second work of the poet in the movie was the drama “Not for money born”, based on the novel by Jack London “Martin Eden”. Here Mayakovsky, who has already gained popularity, acts both as a screenwriter and as an actor. In his interpretation, the original source was, of course, heavily corrected: the action was transferred to post-revolutionary Moscow, the main character, a poor worker, falls in love with a girl from a bourgeois family and for her reaches real heights – becomes a poet-futurist. At the end of the film, disappointed in his chosen one, he imitates suicide and again puts on a work outfit. Mayakovsky, like no other suited for this role, and as a result played in the film. It is possible that his participation in the creation of this picture was due to high popularity of the poet, but the full film can be considered quite successful feed the audience liked. The fate of the film, however, also remains unknown, and to judge the first major role of Mayakovsky in the movie, we can now only a few surviving photographs.

The following scenario came to Mayakovsky under the influence of his Muse, Lily Brik. As soon as the poet’s love admitted that he would like to play with him, he immediately sat down at a new script. This time the plot of the fantastic film reminded the story of Pygmalion. The most LILE this story very much. She wrote in 1918:

“Vladimir invented a brilliant script — “Chained film.” A living person fell in love with a woman on the other side of the screen. She descends to him from the screen, and here the conditional woman lives among live people. But screen people are bored without it. They lie in wait for her and again caught on film, and a living person rushes in search of her, penetrates into the life behind the screen. And here he is, a living, three-dimensional man, among the film characters — cowboys, detectives, etc.”.

It seemed that the film is simply obliged to get exciting, but in reality the unsuccessful direction has led to the fact that the tape came out frankly boring and the success of the audience has not acquired.

Mayakovsky after that, though broke off relations with the film company “Neptune”, but the cinema is not disappointed. As a result, the drama “the young Lady and the bully”comes out in the same year. It was a real success. Mayakovsky here acted as an actor, the second Director and screenwriter. As always, the role of a street bully, is very close to the poet. In the early 1960-ies based on the movie Alexander Belinskiy created the libretto of the ballet. In the 70’s, the film was restored, so that the successful performance of Mayakovsky in the movie we can tell personally.

Generally Mayakovsky during the filming, despite his obstinate character and a crazy temper, turned into a perfect actor and well-interacted with the Director and crew. This was written by the Director and operator of the film “the young Lady and the bully” Eugene Slavinsky:

“Very scrupulous to all the details of the pavilion life, Vladimir Vladimirovich as an actor could serve as a model for all actors, being always on time to shoot in his simple suit reckless street brawler. (…) Before the start of the production, he asked me to be strict and demanding with him, promised unconditional submission to the Director. But still sometimes amended the mise-EN-scenes. These amendments have always, as a rule, led to brevity, simplicity and clarity, to protest against them was not possible.”

After the death of Vladimir Mayakovsky was a number of written scripts. Among them there are very different stories: “Children” — the story of pioneer life and “the elephant and the match” — “the holiday Comedy of slimming family”, “Love Scapholunate”, “one revolver”, “Comrade Kopytko or Down with the fat!”, “Forget about the fireplace” and others. Some of them were banned, but some just ahead of their time on technical capabilities. Despite the fact that when writing scripts Mayakovsky usually did not allow himself provocations and experiments, technically many of them became feasible only with the advent of equipment of the late XX century.

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