And his life did start to gain speed at last. His scooter
broke down in the most inappropriate place — opposite the Opera House. Among a
dozen of idlers, who watched Doga's attempts to make the scooter go, there was
Georgiy Vode, a beginning poet and film-director, as young as Doga himself. He
was agonizingly trying to place the lad's face and at last recognized him as
the author of the songs popular with students. Vode came up to the composer
smeared up with oil and asked if he didn't mind having a go at films.
Everything that followed was like an outburst, a storm of blossoming. It
was a 'cinematographic era', which had brought under its spell all the creative
forces in the republic. Moldova-film studio united such artists as Emil
Lotyanu, Georgiy Vode, Vlad Iovitse, Valeriy Gazhiu and many others who came to
speak out their individualities in this art, new to them. And all their plans
to become a reality, among everything else, needed music.
Thus Doga has entered that stormy, uneven and happy period of his work
in the cinema which is still going on. He was the author of music for more than
a hundred films, some best of which — early Lotyanu's — won the golden prizes
at many International Film Festivals. The juries of the film festivals both in
San-Sebastian and in Moscow marked the composer's work on a par with the
film-director's — 'for the peculiar, poetic music, its complete merging with
the visual images.
Poet Mikhail Svetlov once said that the faster time flies, the slower a
writer's thought should be, which is true of any artist. Kishinev, unlike many
other big industrial cities, still keeps the quietness and calm of the
provinces; and it is conducive to a profound and fussless immersion into
creative process.
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