Versatile, highly regarded veteran of the Soviet film industry who began his career in his mid-teens designing stage sets for fellow student Sergei Eisenstein. Yutkevich then co-founded the experiment...
At age 15 met Grigori Kozintsev (who was even younger) at Kiev; collaborated on sets for Konstantin Mardjanov stage productions; co-founded cabaret-cellar theater, The Harlequin
Worked as assistant and designer for Abram Room on films "The Traitor" and "Bed and Sofa"
Moved to Moscow in August; met Sergei Eisenstein at entrance exams for Meyerhold's Theater Studio, aged 17; collaborated on "Macbeth" and designed sets for various theaters
Began editing journal "Iskusstvo Kino"
Began instructing at VGIK, Moscow
Moved to Petrograd (Leningrad) late 1921/early 1922 and with Grigori Kozintsev and Leonid Trauberg founded the Factory of the Eccentric Actor (FEX/FEKS)
First sound film as director, "Zlatye Gory/Golden Mountains"; one of the earliest Soviet sound films
Joined Sevzapkino (North-Western Cinema) as assistant took over direction of short film "Dayoch radio!/Give Us Radio"
Served as head of Soyuzdetfilm studio
Solo film directing debut, "Kruzheva/Lace"
Versatile, highly regarded veteran of the Soviet film industry who began his career in his mid-teens designing stage sets for fellow student Sergei Eisenstein. Yutkevich then co-founded the experimental Factory of the Eccentric Actor (FEX) in 1921, worked as assistant to Abram Room and made his feature directing debut with "Lace" (1928), one of the earliest Soviet sound films.
Yutkevich went on to make a series of fine films about V.I. Lenin, featuring justly famed performances by Maxim Strauch, and earned prizes at Cannes in the mid-1950s for "Skanderbeg" (1954; special jury prize) and "Othello" (1956; best director). He also made some documentaries and, in 1962, devised and executed an animated screen adaptation of Mayakovsky's "The Bath House", which he had previously directed for the stage. Among Yutkevich's published works include a biography of Max Linder, a book on adapting Shakespeare to the screen and the theoretical study, "Film--Truth at 24 Frames per Second" (1974).