Hubbry Logo
Mark BernesMark BernesMain
Open search
Mark Bernes
Community hub
Mark Bernes
logo
8 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
Mark Bernes
Mark Bernes
Mark Bernes
View on Wikipedia
from Wikipedia

Key Information

"Shalandy polnyie kefali"
Sample of "Shalandy polnyie kefali" by Mark Bernes (1943)
Problems playing this file? See media help.
Soviet postcard with scenes from Bernes movies

Mark Naumovich Bernes (Russian: Ма́рк Нау́мович Берне́с) (born Menakhem-Man Neukh-Shmuylov Neyman, Russian: Мена́хем-Ман Не́ухович Не́йман;[3] 8 October [O.S. 25 September] 1911,[2] – 16 August 1969) was a Soviet film actor and chansonnier. He is widely regarded as among the most popular artists of the Soviet stage in the 1950s-1960s,[4][5] and performed a number of poignant songs about World War II, including "Dark Is the Night" (Russian: Тёмная ночь, "Tyomnaya noch"; 1943) and "Cranes" (Russian: Журавли, "Zhuravli"; 1969).[6] He is also credited with playing a primary role in the formation of the golden fund of Soviet song classics.[7] Stalin Prize of first degree (1951).

Life and work

[edit]

Bernes was born to a Jewish family in Nizhyn (present-day Ukraine). In the late 1930s, not long before the Second World War, Mark Bernes starred in two motion pictures: Man With a Rifle and The Fighter Planes. In both of these films, he performed songs which immediately became famous all over the Soviet Union after each film was released. In the former film, he performed the song "Clouds Rose over the City," which was a romantic song of a young Soviet worker. In the later film, he performed a famous patriotic ballad "Beloved Town".

This pre-war song was full of hope and optimism, and several years later, encouraged soldiers during the war.[citation needed]

When the war began, Bernes became among the first singers to perform for the Soviet troops. In 1943, he starred in the motion picture Two Soldiers. He played a young soldier from Odesa named Arkady Dzubin. In that film, he sang two songs: "Dark Is the Night" (Russian: Тёмная ночь, "Tyomnaya noch") and "Scows Full of Mulet" (Russian: Шаланды полные кефали, "Shalandy polnye kefali").[8]

The second song is the humorous account of Kostya the sailor from Odessa who ironically spoke to his fiancee Sonya, the fishing girl. The first song, "Dark Is the Night" was a serious ballad about a wife with a baby waiting for a soldier in the midst of a deadly fight. The song was sung by Bernes from the point of view of that soldier, who addressed his wife at home and assured her that he will live through all the deadly battles as long as she waits for him. "Dark Is the Night" is among the most recognizable Soviet songs from World War II. [9]

Bernes' name had become closely associated with World War II. After the war, he continued to perform songs about the war. His greatest hits of the 1950s were "Muscovites" (also known as "Seryozhka from Malaya Bronnaya Street") and "Enemies Burned the Native Hut Down". Both songs were about hardships suffered by people who lost family members in the war, and expressed extreme melancholy, directly confronting death and grief.

The latter song was banned by the government because it was considered purportedly as too pessimistic. In the song, the soldier from front-line dugout bespeaks to his distant wife and his child at the cot, with sad and melancholy, but with hope for future meeting too.[citation needed]

In the 1950s, Mark Bernes also performed torch songs such as the sentimental ballad I Dreamed of You Three Years, and inspirational optimistic songs such as the march "I Love You, My Life".[citation needed]

In 1969, Mark Bernes was dying from lung cancer. In the summer of 1969, he recorded his last song "Cranes" (Russian: Журавли́, "Zhuravli"), which became his swan song. Bernes sang that the soldiers that perished in war turned into cranes, that the cranes are still flying, and, that he will join their ranks. On 16 August, Mark Bernes died. "Cranes" was played at his funeral.[10]

[edit]

Honors

[edit]

Bernes received People's Actor of the RSFSR (1965), was awarded the Stalin Prize (1951), Order of the Red Star, Order of the Badge of Honour, Medal "For Valiant Labour in the Great Patriotic War 1941–1945" and few other medals. in 1993, Bernes received a star in his honour on the Star Square in Moscow.

A minor planet 3038 Bernes discovered by Soviet astronomer Nikolai Chernykh in 1978 is named after him.[11]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Mark Bernes

View on Grokipedia
from Grokipedia
Mark Naumovich Bernes (Russian: Марк Наумович Бернес; 8 October 1911 – 16 August 1969) was a Soviet and singer of Jewish ancestry, recognized for his portrayals of ordinary soldiers in wartime films and for performing morale-boosting songs during the Great Patriotic War. Born in in the (now ), he debuted in theater before transitioning to cinema, appearing in approximately 55 films where he often embodied resilient, relatable military characters. Bernes gained widespread acclaim for his role and vocal performance in the 1943 film Two Soldiers, introducing the song "Dark Night" (Тёмная ночь), which became one of the most enduring Soviet anthems symbolizing and . As one of the earliest entertainers to perform live for frontline troops, he drew from direct soldier accounts to authenticate his material, enhancing his authenticity amid the conflict. His artistic contributions were honored with the Stalin Prize in 1951, the , the Order of the Badge of Honour, and designation as People's Artist of the RSFSR in 1965; he succumbed to at age 57.

Early Life and Background

Birth and Family Origins

Mark Bernes, born Menachem-Man Neuhovich Neiman, entered the world on October 8, 1911, in the town of in the Chernihiv Governorate of the (present-day , , ). He was born into a modest Jewish family, reflecting the socioeconomic conditions common among many Eastern European Jewish communities at the time, where poverty and limited opportunities shaped early life. His father, Neuh Shmuelevich Neiman (also known as Naum Samoilovich Neiman, 1877–1948), worked as a collector of scrap materials and old clothes in a cooperative , a typical low-wage occupation in pre-revolutionary that involved gathering and reselling recyclables. His mother, Fruma-Makhli (or Fanya Filippovna) Vishnevskaya, managed the household as a homemaker, supporting the family's survival amid economic hardship. In 1916, when Bernes was five years old, the family relocated to Kharkov (now Kharkiv), seeking better prospects, though details of this move remain sparse in primary accounts. This early environment of material scarcity and cultural insularity within the Jewish Pale of Settlement influenced his formative years, though he later adopted the stage surname Bernes, possibly derived from a family or regional association.

Education and Initial Influences

Bernes completed a seven-year basic school in Kharkov after his family relocated there from around 1916. Despite his parents' preference for a stable profession, they enrolled him in the Kharkov Trade and Industrial School to study , a path he quickly abandoned in favor of theater. He instead took on peripheral roles in local theaters, working as a poster hanger and barker while attending theater courses at the Kharkov Theater Technicum. In 1928, at age 17, Bernes debuted on stage at the Kharkov Musical Theater (also known as the Mussuri Theater), substituting for an ill actor in a small role and earning praise from director Nikolai Sinelnikov. He completed these practical theater courses in 1929, gaining foundational acting skills through hands-on experience rather than advanced academic study. That year, Bernes moved to , where he continued as an extra in prominent venues like the Maly and theaters before joining the Moscow Drama Theater under Nikolai , an early mentor who shaped his approach to character roles. His initial influences stemmed from the dynamic Soviet theater milieu of the late , including exposure to operettas and dramatic ensembles in Kharkov, as well as familial Jewish musical traditions at home, though he received no formal musical training. These experiences fostered his self-taught style, emphasizing naturalistic performance over classical technique.

Acting Career

Early Theater and Film Roles (1930s)

Bernes commenced his professional acting career in theater during the early , joining the Dramatic Theater (formerly the Korsh Theater) in 1930 as an auxiliary cast member, where he performed minor roles for approximately three years. He later regarded the theater's actor Nikolai Radin as a key mentor influencing his development. In early 1933, Bernes transferred to the Theater of Revolution (subsequently renamed the Mayakovsky Theater), continuing to take on small parts while honing his craft amid the Soviet cultural emphasis on revolutionary themes. Transitioning to cinema, Bernes debuted on screen in 1936 with an episodic in the film Zaklyuchennye (Prisoners), directed by Yevgeni Chervyakov, marking his initial foray into motion pictures amid the Stalin-era push for ideologically aligned productions. The following year, he appeared in Shakhtery (Miners), directed by Sergei Yutkevich, portraying the antagonist engineer Krasovsky, a foreign spy undermining Soviet industrial efforts—a that represented his first substantial cinematic part and showcased his ability to embody duplicitous characters in propaganda-driven narratives about class struggle and .) This performance, though villainous, demonstrated Bernes's versatility in early Soviet films focused on proletarian heroism and anti-espionage themes. In 1938, Bernes featured prominently in Yutkevich's Chelovek s ruzhyom (Man with a ), a depiction of the 1917 Bolshevik Revolution, where he played Kostya Zhigilev, a member who embodies the transformation of an ordinary individual into a committed .) The film, emphasizing ideological awakening, highlighted Bernes's emerging screen presence through his portrayal of resolute, rifle-bearing fighters advancing the Soviet cause. By 1939, he took on the role of pilot Sergei Kozhukharov in Istrebiteli (Fighters), directed by Eduard Pentslin, a pre-war drama underscoring military preparedness and ; here, Bernes also performed the "Beloved ," which evoked for homeland amid aerial combat scenes. These late-1930s films established Bernes as a reliable supporting actor in state-sponsored productions glorifying Soviet defense and historical triumphs, often casting him in roles that aligned with the era's propagandistic demands for heroic, collectivist archetypes.

World War II Contributions and Breakthrough

During the Great Patriotic War, Mark Bernes supported the Soviet war effort primarily through cinematic portrayals of frontline soldiers and morale-boosting musical performances, rather than direct . He was among the first Soviet singers to deliver concerts for troops near combat zones, where he engaged soldiers and officers on their battlefield experiences to inform his authentic depictions of wartime hardship and camaraderie. Bernes achieved his acting breakthrough in the 1943 film Two Soldiers (Dva boitsa), directed by Leonid Lukov and produced under evacuation conditions amid ongoing hostilities. In the film, set on the during the German invasion, he portrayed Dzubin, a jovial Odessa-born welder who forms a deep bond with fellow soldier Sasha Svintsov, played by Boris Andreyev; the narrative emphasizes infantry friendship and resilience against adversity. The role showcased Bernes' ability to embody the everyday Soviet fighter's spirit, blending humor with pathos in a manner that resonated with audiences facing . A pivotal scene featured Bernes singing "Dark Is the Night" (Temnaya noch), composed by Nikita Bogoslovsky with by Vladimir Agatov, in a makeshift dugout surrounded by comrades; the song's evoke a soldier's quiet yearning for his and amid the night's , contrasting the brutality of combat with personal vulnerability. Released in 1943, the track rapidly became one of the war's most emblematic Soviet songs, performed live by Bernes to uplift troops and civilians alike, and it cemented his status as a of the era by humanizing the collective struggle without overt excess. This performance not only propelled Bernes to national prominence but also contributed to the film's role in sustaining public resolve during the grueling 1941–1945 campaign.

Post-War Films and Roles (1940s-1960s)

Following , Mark Bernes continued to portray resilient, everyday Soviet characters in films emphasizing wartime heroism and reconstruction, often drawing on his established image as a relatable or scout. In 1945, he starred in Velikiy Perelom (The Great Turning Point), directed by Fridrikh Ermler, playing a supporting role in a depiction of the Stalingrad battle's pivotal moments, highlighting the psychological toll on ordinary troops amid the 1942-1943 turning point of the Eastern Front. The film, released shortly after victory in , featured Bernes alongside actors like Mikhail Zharov, underscoring collective endurance with 1.5 million Soviet casualties in the battle as historical backdrop. By 1948, Bernes took a lead role as Chmyga, a cunning Black Sea Fleet marine and scout, in Tretiy Ud ar (The Third Blow), directed by Igor Savchenko, which dramatized the 1944 Kerch-Feodosiya operation liberating , involving over 400,000 Axis troops displaced. His character, a Stalingrad veteran familiar with Crimean terrain, embodied resourceful improvisation against German defenses, blending humor and grit in missions that mirrored real partisan tactics. The production, shot on location, received Stalin Prize recognition in 1949 for its tactical authenticity. In the , Bernes shifted toward civilian dramas reflecting post-war industrialization and personal struggles, avoiding idealized heroes. He appeared in Dalek o ot (Far from Moscow, 1950), as a ship navigating Pacific voyages amid Stalin-era five-year plans, emphasizing labor heroism in remote outposts. Later, in O gni na Re ke (Lights on the River, 1953), he portrayed a captain confronting and moral dilemmas on Soviet waterways, with the film critiquing bureaucratic through character-driven conflicts. By 1958, in Tsel' Yego Zhizni (The Aim of His Life), Bernes played Ivan Rybakov, a dedicated facing hardships in mineral exploration, symbolizing scientific perseverance during Khrushchev's thaw-era emphasis on resource development. The 1960s saw Bernes in more introspective roles exploring human frailty under . In the comedy Osobyy Podkhod (Special Approach, 1959), he depicted an unorthodox factory manager challenging rigid planning quotas, injecting subtle on inefficiency. His performance as a in Eto Sluchilos v Militsii (It Happened in the Police Station, 1963) involved probing a case with psychological nuance, reflecting post-Stalin procedural realism. Later films like Zhenya, Zhenechka i 'Katyusha' (1967) featured him as a mentor to youth amid drives, portraying generational tensions with understated depth. Throughout, Bernes' roles evolved from wartime archetypes to flawed protagonists, totaling over 20 appearances, often lauded for authenticity over gloss.

Musical Career

Emergence as Singer During War

At the outbreak of the Great Patriotic War on June 22, 1941, Bernes was among the first Soviet performers to entertain troops at the front lines, where he actively sought out soldiers' and officers' accounts of combat experiences and daily hardships to inform his material. These early wartime concerts established his rapport with military audiences, drawing on his prior film singing roles but adapting to the era's demands for morale-boosting and reflective content. In 1942, while evacuated to Tashkent amid the war, Bernes filmed Two Soldiers (Dva Boitsa), portraying the Odessa native Arkady Dzubin, a jovial private separated from his comrade. The 1943 release featured two key songs that propelled his singing career: the upbeat "Shalandya, Full of Mullet" (Shalyanda, Polnaya Kefali), a sailor's ode to romance, and the poignant ballad "Dark Night" (Tyomnaya Noch), composed by Nikita Bogoslovsky with lyrics by Vladimir Agatov, depicting a trench-bound soldier's longing for his family. "Dark Night," performed by Bernes in a dugout scene for fellow soldiers, resonated deeply as a symbol of endurance and homesickness, rapidly becoming one of the war's most emblematic Soviet anthems and cementing Bernes' status as a vocalist beyond . Its recording in that year amplified its reach through radio broadcasts and troop performances, with Bernes' gravelly, emotive delivery—rooted in observed frontline realities—distinguishing it from more propagandistic wartime tunes.

Key Songs and Recordings

Mark Bernes' key recordings primarily emerged from film soundtracks, where his distinctive raspy conveyed and resilience, resonating deeply during the Soviet era. Many of these songs, composed by prominent figures like Nikita Bogoslovsky, addressed themes of love, war, and homeland, achieving widespread popularity through radio broadcasts and gramophone records produced by state labels such as Melodiya. Among his breakthrough wartime hits was "Темная ночь" (Dark Night), recorded in 1943 for the film Two Soldiers. Composed by Nikita Bogoslovsky with lyrics by Vladimir Agatov, the song depicts a soldier's longing amid the Great Patriotic War, exemplified by the line "Как я люблю глубину твоих ласковых глаз" ("Kak ya lyublyu glubinu tvoikh laskovykh glaz"), becoming an enduring symbol of endurance and was frequently replayed on Soviet radio. Another early recording, "Любимый город" (Beloved City) from 1939, captured pre-war optimism and urban affection, featured in film contexts and later compilations. Post-war, Bernes recorded reflective ballads like "Шаланды, полные кефали" (Scows Full of Mullet) in the early , tied to maritime themes in films such as A Man with a Gun, emphasizing Odessa's heritage and humor. In 1962, "Я люблю тебя, жизнь" (I Love You, Life) marked a personal milestone, expressing gratitude and vitality, often performed in concerts and included in posthumous collections. Later works included "Журавли" (Cranes) in 1969, evoking memory and loss through metaphors of migrating birds, composed by Yan Frenkel with Rasul Gamzatov's lyrics, and "Враги сожгли родную хату" (Enemies Burned the Native Hut) re-recorded around 1967, drawing from partisan resistance narratives in films like . These tracks, preserved on vinyl releases and later digitized albums like Лучшие Песни Разных Лет, highlight Bernes' evolution from actor-singer to interpretive artist, with over 70 unique songs documented in Soviet-era catalogs.

Performances and Style

Bernes developed a distinctive style that set him apart from the rigid, ideologically aligned performers of his era, incorporating elements reminiscent of Western artists like , , and , with a voice marked by a soft, intimate and subtle inflections such as whispers, pauses, and occasional laughter to underscore emotional depth. Without formal musical education or vocal training, he emphasized narrative delivery over technical prowess, treating songs as personal confessions that conveyed life's hardships, joys, and truths—ranging from lyrical reflections to sentimental ballads—while avoiding commissioned or partisan material that did not align with his convictions. His stage debut as a singer occurred in 1943 amid , where an initial performance yielded such acclaim that it shifted focus from his acting toward musical concerts, which he delivered with a relaxed, non-pompous posture contrasting the stiff stance of contemporaries. By the and , Bernes had become one of the Soviet Union's most sought-after stage artists, touring domestically and internationally with programs featuring self-curated repertoires drawn from poetry collections and custom compositions. Notable appearances included a 1962 television broadcast of "I Love You, Life," where his gentle, sentimental phrasing evoked personal resilience amid adversity. Bernes' interpretations often imbued songs with a hushed, introspective quality, as in his iconic 1943 rendition of "Dark Is the Night" from the film Two Soldiers, which popularized the piece through its evocative portrayal of a soldier's longing, blending soft vocals with subtle instrumental accompaniment to highlight themes of family and quiet endurance. Similarly, his final recording of "Cranes" in February 1969—just days before his death—captured a poignant, tone symbolizing fallen soldiers, and was subsequently played at his , cementing its status as a cultural touchstone. These performances underscored his ability to elevate everyday lyrics into profound expressions of human experience, prioritizing authenticity over vocal polish.

Criticisms, Controversies, and Artistic Tensions

Conflicts with Soviet Authorities

One of Bernes's early conflicts arose from his 1945 performance of the song "The Enemy Burned the Hut Where I Was Born" (music by Matvei Blanter, lyrics by Mikhail Isakovsky), which depicted a soldier's over his destroyed home during the Great Patriotic War. Authorities banned the song shortly after the war's end, deeming its focus on personal loss and devastation incompatible with the official emphasis on triumphant victory, restricting it from public performance and broadcast for approximately 15 years. A more significant confrontation occurred in spring 1958 during a government concert at in , organized for the XIII Congress of the and attended by . Bernes, allocated two songs per the strict schedule, faced audience demands for an encore but adhered to protocol by seeking and not receiving permission to extend his set. Khrushchev reportedly viewed this as Bernes failing to meet the youth's expectations or displaying arrogance, prompting immediate backlash. The incident escalated through state media orchestrated by figures close to Khrushchev, including his son-in-law Alexey Adzhubei, editor of . On September 17, 1958, published "A Star on the Volga," decrying Bernes's style as vulgar, while followed with an article by Dmitry Sviridov attacking "kitsch in music" and implicitly targeting Bernes's sentimental delivery. Compounding this, a September 11 traffic violation—Bernes speeding through a red light and clashing verbally with an officer—resulted in a brief for , closed on October 22 but amplified in press as evidence of misconduct. These events led to a blacklist: from late 1958 to 1960, Bernes was prohibited from television appearances, radio broadcasts, major concerts, film roles, and studio recordings, severely curtailing his career amid the Thaw era's selective tolerances. The restrictions lifted gradually by 1960, allowing partial resumption, though the episode highlighted tensions between Bernes's independent artistry and centralized control.

Reception of Sentimental and "Pessimistic" Works

Bernes' sentimental songs, often characterized by intimate, melancholic narratives of personal loss and longing, elicited criticism from Soviet cultural authorities for allegedly fostering pessimism at odds with socialist realism's emphasis on heroic optimism and collective triumph. For example, his 1945 rendition of "Vragi sozhgli rodnuyu khatu" (Enemies Burned Down My Native Hut), with music by and lyrics by Alexey Fatyanov, depicted a soldier's profound over his destroyed home and , which critics argued excessively amplified individual sorrow without sufficiently portraying its transcendence through wartime resilience or victory. This led to accusations that the song instilled "pessimistic moods" rather than bolstering fighting spirit, reflecting broader post-war scrutiny of lyrical content that prioritized emotional vulnerability over ideological fortitude. In the late 1960s, Bernes' final recording, "Zhuravli" (Cranes), composed by Yan Frenkel to Rasul Gamzatov's lyrics (translated by Naum Grebnev), faced similar rebuke for its elegiac portrayal of fallen soldiers as eternally absent figures in the sky, evoking unresolved rather than celebratory remembrance. Soviet evaluators deemed the track's hushed and focus on perpetual loss "too pessimistic," resulting in initial restrictions on its broadcast despite Bernes' frail health during the July 1969 session. The song's restraint—delivered in Bernes' signature raspy whisper—contrasted sharply with the era's preference for rousing anthems, underscoring tensions between artistic authenticity and state-mandated uplift. These works' reception highlighted systemic pressures on performers to align with official narratives, yet Bernes' interpretations often gained underground acclaim for their raw , persisting through private recordings and word-of-mouth dissemination. Critics from institutions like the prioritized ideological conformity, viewing such "pessimistic" elements as potentially demoralizing, though public resonance ultimately propelled songs like these to enduring status beyond formal approvals.

Honors, Legacy, and Death

Awards and Official Recognition

Mark Bernes received the Order of the Badge of Honor on February 1, 1939, for his performance as Kostya Zhigilev in the film Man with a Rifle. He was awarded the in 1943 for his role in Two Soldiers, recognizing contributions to wartime morale through film. In 1951, Bernes received the Stalin Prize of the first degree for his acting achievements, particularly in Soviet cinema. Bernes was named People's Artist of the RSFSR in 1965, honoring his extensive contributions to theater and film as a performer. He also earned the Medal "For Valiant Labour in the Great Patriotic War, 1941–1945" for efforts supporting the war effort through artistic work. Additionally, he received the Medal "In Commemoration of the 800th Anniversary of " in 1947. Despite posthumous considerations for the title of shortly before his death on August 16, 1969, the decree was not issued in time. These honors reflect official Soviet recognition of Bernes' role in , entertainment, and cultural output during and after , though some accounts note tensions with authorities that may have limited further accolades.

Cultural Impact and Posthumous Influence

Bernes' songs, particularly those emerging from World War II-era films, embedded themselves deeply in Soviet and post-Soviet cultural consciousness, evoking themes of resilience, loss, and quiet heroism that resonated across generations. The track "Dark Night" (Temnaya Noch), performed in the 1943 film Two Soldiers, emerged as an emblem of emotional steadfastness during the Great Patriotic War, its melancholic melody and lyrics capturing the soldier's longing for home amid frontline hardships; recordings from in 1943 underscore its immediate wartime dissemination. Similarly, "Cranes" (Zhuravli), released in 1969 shortly before his death, attained iconic status as a poignant elegy for fallen comrades, with its universal appeal ensuring frequent renditions in commemorative events and media. These works transcended mere entertainment, shaping collective memory by humanizing the Soviet war narrative through intimate, narrative-driven vocals rather than bombastic propaganda. Posthumously, Bernes' hoarse, expressive timbre and interpretive depth—often likened to spoken novellas set to music—profoundly influenced Russian estrada, the popular stage tradition blending song, theater, and storytelling. His approach, emphasizing raw emotional authenticity over polished technique, inspired subsequent performers in variety shows and cinema, contributing to the evolution of bardic and chanson styles that prioritized lyrical introspection. Songs like "What the Motherland Begins With" (S Chego Nachinaetsya Rodina), featured in the 1968 television series White Sun of the Desert, continue to be staples in patriotic programming and public discourse, affirming his role as a shaper of national identity. Memoirs and cultural analyses portray him as a "voice of history" and generational educator, whose oeuvre fostered empathy and reflection in audiences spanning the Soviet era to contemporary Russia. Commemorations reflect his lasting reverence: a bronze monument in , his birthplace, was unveiled in 2011 for his centennial, depicting him with guitar in mid-performance, while a plaque adorns his former residence. Cultural initiatives, such as dedicated concerts and projects, sustain his legacy, with his recordings reissued and songs integrated into educational and festive repertoires, underscoring an unwaning influence despite earlier official critiques of his "pessimistic" tone.

Illness and Death

In the late 1960s, Bernes experienced persistent back pain initially diagnosed by physicians as radiculitis, leading to treatment for what was presumed to be an infectious spinal condition. Further examination at a Moscow medical institute revealed the true cause as inoperable lung cancer, with the disease already advanced beyond surgical intervention. Despite the terminal prognosis, Bernes continued professional activities, including recording his final song, "Ballad About the Cranes," toward the end of 1968, a work that reflected themes of loss and remembrance amid his deteriorating health. Bernes refused painkillers during his final months, enduring significant suffering as the cancer progressed. He died on August 16, 1969, at age 57 in Moscow. Prior to his death, he expressed a wish for his funeral to feature his favorite songs rather than conventional mourning marches, emphasizing a personal touch over state protocol. Bernes was interred at Moscow's Novodevichy Cemetery, section 3. His passing followed a family history marked by cancer, including the deaths of his father, sister, and first wife from the disease, which had heightened his longstanding fear of the illness.

References

  1. https://www.imdb.com/name/nm0076713/
  2. https://www.findagrave.com/memorial/45124854/mark_naumovich-bernes
  3. https://mus-col.com/en/the-authors/22452/
  4. https://www.kino-teatr.ru/kino/acter/m/sov/431/bio/
  5. https://russiapedia.rt.com/prominent-russians/music/mark-bernes/index.html
  6. https://uznayvse.ru/znamenitosti/biografiya-mark-bernes.html
  7. https://www.culture.ru/persons/4873/mark-bernes
  8. https://biography-life.ru/art/325-mark-bernes-biografiya-foto-lichnaya-zhizn-ya-lyublyu-tebya-zhizn.html
  9. https://biographe.ru/znamenitosti/mark-bernes/
  10. https://24smi.org/celebrity/3289-mark-bernes.html
  11. https://ria.ru/20111008/440022684.html
  12. https://www.degruyterbrill.com/document/doi/10.1515/9780773570627-009/html
  13. https://stihi.ru/2013/04/13/2874
  14. https://www.kinopoisk.ru/name/214706/
  15. https://www.lenfilm.ru/news/3502/
  16. https://stuki-druki.com/authors/Bernes-Mark.php
  17. https://www.imdb.com/title/tt0031498/
  18. https://www.last.fm/music/Mark+Bernes/+wiki
  19. https://www.rbth.com/arts/music/2016/05/06/rallying-the-nation-5-famous-soviet-songs-from-wwii_590913
  20. https://www.imdb.com/title/tt0036782/
  21. https://www.rbth.com/lifestyle/326962-soundtrack-to-russian-soul
  22. https://mus-col.com/en/events/33801/
  23. https://spasstower.ru/en/music-and-wwii/tyemnaya-noch/
  24. https://www.imdb.com/title/tt0040900/
  25. https://www.youtube.com/watch?v=WN4iyDbVmG8
  26. https://sputnikmediabank.com/selection/list_1001212/
  27. https://www.youtube.com/watch?v=75P0QGi3RO0
  28. https://www.youtube.com/watch?v=GutyYNvfOCE
  29. https://www.youtube.com/watch?v=eGu_lVnCyAg
  30. https://www.antiwarsongs.org/artista.php?id=11419&lang=en&rif=1
  31. https://tass.ru/opinions/12605767
  32. https://veselchak01.livejournal.com/39450.html
  33. https://fond-on.narod.ru/musika/bernes.htm
  34. https://vmiremusiki.com/pesni-marka-bernesa-otdelnyi-zhanr-na-estrade.html
  35. https://kulturologia.ru/blogs/081016/31710/
  36. https://www.last.fm/music/Mark%2BBernes/%2Bwiki
  37. https://www.facebook.com/sovietvisuals/videos/i-love-you-life-by-mark-bernes-ussr-tv-1962/438704684867497/
  38. https://stanforddaily.com/2024/12/02/no-language-barriers-musical-bangers/
  39. https://www.tumblr.com/a-window-to-the-east/45863407945/russian-song-%25D0%25B6%25D1%2583%25D1%2580%25D0%25B0%25D0%25B2%25D0%25BB%25D0%25B8-zhuravli-the-cranes-this
  40. https://kstolica.ru/publ/zhzl/mark_bernes_ja_rasskazhu_vam_pesnju/20-1-0-1501
  41. https://seventeenmoments.web.illinois.edu/1943-2/wartime-evacuation/1943-wartime-evacuation-music/the-enemy-burned-the-hut-where-i-was-born-1945/
  42. https://odysee.com/%40IrinaBoykoCrutcher:5/Home-Burned-hevc:e
  43. https://argumenti.ru/history/2024/10/921955
  44. https://topcor.ru/22045-mark-bernes-neudobnaja-legenda-i-lichnyj-vrag-semi-hruscheva.html
  45. https://ygashae-zvezdu.livejournal.com/284839.html
  46. https://pravda-nn.ru/articles/pochemu-zapreshhali-legendarnye-pesni-o-vojne/
  47. https://stalingrad.vpravda.ru/stati/opalnye-stihi-spasli-mark-bernes-i-vasiliy-chuykov-738
  48. https://krasnodarmedia.su/news/1977982/
  49. https://kharkov.vbelous.net/famous/fam-art/bernes.htm
  50. https://webkamerton.ru/2021/10/pesennye-zhuravli-bernesa
  51. https://alchetron.com/Mark-Bernes
  52. https://jewlife.ru/persons/bernes-mark-naumovich/
  53. https://en.topcor.ru/22045-mark-bernes-neudobnaja-legenda-i-lichnyj-vrag-semi-hruscheva.html
  54. https://collections.ushmm.org/search/catalog/irn720755
  55. https://musicpr.ru/artist/7442-mark-bernes.html
  56. https://coollib.cc/b/280375-kollektiv-avtorov-biografii-i-memuaryi-mark-bernes-v-vospominaniyah-sovremennikov/read
  57. https://www.tripadvisor.com/Attraction_Review-g3667778-d6943113-Reviews-Mark_Bernes_Monument-Nizhyn_Chernihiv_Oblast.html
  58. https://www.tripadvisor.com/Attraction_Review-g298484-d10205971-Reviews-Memorial_Plate_to_Mark_Bernes-Moscow_Central_Russia.html
  59. https://culture40.ru/afisha/e/kulturno-prosvetitelskii-proekt-kultura-v-licax-mark-bernes
  60. https://elena-3-14.livejournal.com/234507.html
  61. https://babysongs.ru/articles/biografiya-mark-bernes
  62. https://www.facebook.com/100064674942367/posts/%25D0%25BC%25D0%25B0%25D1%2580%25D0%25BA-%25D0%25B1%25D0%25B5%25D1%2580%25D0%25BD%25D0%25B5%25D1%2581-%25D0%25B8-%25D0%25B5%25D0%25B3%25D0%25BE-%25D0%25BF%25D0%25B0%25D0%25BE%25D0%25BB%25D0%25B0%25D0%25B1%25D0%25B5%25D1%2580%25D0%25BD%25D0%25B5%25D1%2581-%25D0%25BE%25D1%2582%25D0%25B2%25D0%25B5%25D1%2580%25D0%25BD%25D1%2583%25D0%25BB%25D1%2581%25D1%258F-%25D0%25BE%25D1%2582-%25D0%25B6%25D0%25B5%25D0%25BD%25D1%258B-%25D0%25BA%25D0%25BE%25D0%25B3%25D0%25B4%25D0%25B0-%25D0%25BE%25D0%25BD%25D0%25B0-%25D1%2582%25D1%258F%25D0%25B6%25D0%25B5%25D0%25BB%25D0%25BE-%25D0%25B7%25D0%25B0%25D0%25B1%25D0%25BE%25D0%25BB%25D0%25B5%25D0%25BB%25D0%25B0-%25D1%2581%25D1%2582%25D1%2580%25D0%25B0%25D1%2585/1244594997706320/
Add your contribution
Related Hubs
User Avatar
No comments yet.