Notes from the Field Archives

Support_of_prisoners_of_the_Bolotnaya_square_case_(21_February_2014)_(Boris_Nemtsov)

Boris Nemtsov, murdered in central Moscow on February 27, 2015, at a demonstration protesting the arrest of anti-Putin protestors

by Andrew Straw

“Really! They have not even buried him yet!” This was my in-laws’ reaction to the two-hour, primetime special on Boris Nemtsov’s love life that aired the Sunday after his assassination. Nemtsov’s reputation as a “ladies man” was never a secret, but tarnishing his name just days after his death was too much, even for some people who disliked his politics.

When investigative journalist Anna Politkovskaya was murdered in front of her Moscow building on October 7, 2006, I was shocked. I had read her work, discussed her in classes, and was even familiar with the street where she lived. However, discussions of the crime with Russian students and friends usually required me to explain what her work was about and why people in the West found her criticism of the war in Chechnya so compelling. Dozens of other Russian journalists and political activists have been murdered over the last decade, but the murder of Nemtsov is different.

“HEROES DO NOT DIE.” Demonstration on March 1, 2015 mourning the murder of Boris Nemtsov

When I came upon the news of Nemtsov’s murder two Friday nights ago, I immediately handed the iPad to my wife and her jaw dropped. That Saturday morning there was pervasive shock — on Russian social media and in the state-run and independent media — because everyone knew Nemtsov. His political career in the 1990s included a post as Deputy Prime Minister in 1998 under Boris Yeltsin, and before that as Governor of the Nizhny Novgorod where he led agricultural and economic reforms. However, his liberalism often clashed with the former communist party members who made up much of the Russian government. More importantly, as corruption blossomed in the new Russian economy, he relentlessly attacked the perpetrators. His political career imploded because his idealism and activism had no place in the status-quo Vladimir Putin created between society, the oligarchs and the state after 2000.

800px-Moscow_rally_24_December_2011,_Sakharov_Avenue_-18

“FOR HONEST ELECTIONS.” Boris Nemtsov (far right) at a demonstration in December 2011 protesting widespread corruption in recent elections

This is another reason why the murder shocked many Russians. Many people were perfectly happy to leave behind the idealistic politics and the mobster-political violence of the 1990s for Vladimir Putin’s Russia, which brought relative economic stability after the “wild” 1990s, even if it certainly did not ensure democracy. The fear of losing pensions or homes, as often happened in the 1990s, was and is much greater than the fear of authoritarian government. When Russian TV airs iconic 1990s mob movies such as Aleksei Balabanov’s Brother, people acknowledge the film’s greatness, but they are relieved that period of Russian history is behind them.

Sergei Bodrov in Aleksei Balabanov’s film, “Brother” (2000).

Moreover, perhaps more important than the symbolism of an opposition politician being murdered on the steps of Russian power, is what the public spaces around the Kremlin and in Central Moscow have come to represent for modern Muscovites. The Moscow city government, urban planners, and young activist politicians have spent the better part of the last decade transforming central Moscow into a more pedestrian friendly and livable urban space. Gorky Park has become a hipster paradise with hammocks, yoga, WIFI, and coffee shops. Many of the central streets (including the one Nemtsov strolled down on the night of his death) have been closed to traffic and lined with cafes. Red Square itself and the surrounding new pedestrian zones host numerous festivals and markets. This popular space to unwind has now become the scene of a brutal political murder.

Finally, with the war in Ukraine, Russian TV has been inundated with scenes of terrible and graphic violence, but the violence was quite far from Moscow. Now, with this backdrop, there is a sense that the inter-Slavic bloodletting that has been so far mostly confined to the Donbas could be reaching out to touch the Russian capital.

Even on my Facebook feed there were people who believed he got what he deserved. Still, the most common response I heard over the last week was of a dreaded return to the 1990s, when Russians, both politically important and ordinary citizens, did not feel safe in their homes, finances, jobs or city.

More by Andy Straw on Not Even Past

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“The 1980 Olympics and my Family”

by Joan Neuberger

You never know. You might be out jogging when your best idea slips into your head. Or one of those random archival documents that you don’t even remember copying turns out to have a key piece of evidence scribbled nearly illegibly along a crumpled margin. Renowned historian Eric Foner just published a book based on a happenstance comment from a student about a rare document she saw in the Columbia University archive.

I was reminded of the accidents of research recently as I was dining at High Table in Trinity College, University of Cambridge. I am fortunate to have a visiting scholarship here this semester to finish a book on the great Russian cinema pioneer, Sergei Eisenstein, and his film about the sixteenth-century tsar, Ivan the Terrible.

Eisenstein’s working script for “Ivan the Terrible,” with production notes in his hand.

And yes, the Trinity dining hall looks just like the one at Hogwarts, with long tables and benches for students running the length of the hall and a more formal High Table along the width. It does, however, have only an ordinary, though impossibly high, ceiling made of wooden beams rather than one that reflects the weather, and while there are plenty of candles, they don’t float in the air. And then there’s Henry VIII. A large copy of Hans Holbein’s famous portrait of Henry, who founded Trinity, watches over diners, as imperious as ever, from above High Table at the end of the hall.

Henry VIII, by Hans Eworth, after Hans Holbein, the Younger

What’s the connection between the accidents of research, a Soviet film about a bloody tyrant of the past –- a film that was commissioned by Joseph Stalin, bloody tyrant of the then-present — and Trinity High Table?

Sergei Eisenstein

In 1947, when Eisenstein was reflecting back on Ivan the Terrible, which he had recently finished, analyzing the way he tried to convey ideas by triggering all the viewer’s senses, he chose to talk about an unforgettable scene, in which Ivan is mourning his murdered wife, Anastasia, and questioning his own political ambitions. Eisenstein emphasizes Ivan’s doubts and despair by placing him in a dark, shadowy chamber lighted by tall black candles and by using disorienting camera movements and jarring editing. He further conveys Ivan’s inner divisions with sound. From one corner, a priest reads a psalm about isolation, doubt, and loss of faith, while from the other, Ivan’s deputy reads a list of the royal servitors who have abandoned or betrayed the tsar. After listening for a while to this gloomy polyphony and slumping in various anguished positions all around his wife’s casket, Ivan suddenly leaps up. With his energy and determination returning, he reasserts his commitment to seize absolute power and found the modern Russian state: magnificent and ominous at the same time. It’s a powerful scene, where the resolution of Ivan’s inner conflict is made that much more impressive by the wracking pain of the divisions that preceded it.

Writing later about the sensory impact of the scene, Eisenstein suddenly recalled this:

“It was Cambridge.
In 1930.
In Trinity College.
In the huge Tudor dining hall….
On that memorable evening of the late dinner in Cambridge, the voice of the rector [reading a prayer in Latin before the meal] was repeated in response by the voice of the vice-rector.
Candles. Vaults. Two old men’s voices resounding in the boundlessness of the dark hall.
The strange text of the prayer.
The gray heads of the two old men.
The black university gowns. Night all around.
I thought about all this least of all when I was writing the scene of Ivan over the coffin of Anastasia in the screenplay of Ivan.
But now I think this episode of the film is definitely connected with the vivid impressions of that evening long ago in prewar England.”

I had a much more convivial, and probably less dramatic, dinner than Eisenstein seems to have had.

But you never know.

With thanks to my colleagues, Dominic Lieven and Emma Widdis.

The quoted passage is from Sergei Eisenstein, Nonindifferent Nature. Translated by Herbert Marshall (Cambridge University Press, 1987), p. 311.

You can watch the scene from Ivan the Terrible here: Ivan Grozny (1:19:39)

Photo of the script is from Ivan the Terrible: A Screenplay by Sergei M. Eisenstein, transl. Ivor Montagu and Herbert Marshall (New York, 1962), p. 308.

Notes from the Field: The Murder of Boris Nemtsov

Notes From the Field: Trinity College, Cambridge and the Accidents of Research

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