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Death of Ivan the Terrible, the first film of their studio, was scandalous but commercially successful. The sensible and practical newlyweds decided to invest this money into a film. The daughter received five thousand rubles as a dowry. At the age of twenty-eight, he married Elizaveta Grigorievna von Mickwitz he used to work under the supervision of her father at some enterprise and proved himself a man of business. The company belonged to Pavel Gustavovich Thiemann, a German born in Moscow, on Kuznetskii Most. As Ivan Kavaleridze, sculptor and film director, recalls: In 1909, Elizaveta married Paul Thiemann, who soon afterwards established a film production and distribution company together with Friedrikh Rheinhardt. Mickwitz was awarded the second prize at a small literary contest in Tartu (at that time, Elizaveta had already emigrated from Russia and indeed spent some years in Estonia) (Shor et al. In 1931, a short story entitled “She Remembered” by a certain E.V. It is also likely that she herself wrote fiction. These were probably done by Elizaveta as well-which makes 1885 a much more realistic birth year than 1889, unless she was a child prodigy. Between 1900-1905, several more translations of Russian prose into German were signed by this name: among them, the works of Maxim Gorky, Aleksandr Kuprin, and Vikenty Veresaev. His daughters and biographers, Sofia Korolenko and Natalia Korolenko-Liakhovich, also note that Elizaveta Mickwitz had published several translations under the pseudonym Heinrich Harff (Korolenko 331).
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In 1902, she corresponded with the famous Russian and Ukrainian writer Vladimir Korolenko whose short stories she translated into German, to his satisfaction (Korolenko 331). Either way, she seems to have started her career in literature and arts quite early. We cannot even be sure about the spelling of Elizaveta’s maiden name, which she returned to at the end of her life (it seems to have been “von Mickwitz” in Russia and “von Minckwitz” in emigration), nor about her birthdate (1889 in the official family documents, 1885 in one of the earlier papers). Youngblood, it is hard to determine the extent of her contributions her name was rarely mentioned in the trade press, and there are few surviving documents from the time. While the prominent role played by Elizaveta Thiemann in Russian film history was emphasized by memoirists, as well as later film scholars like Neia Zorkaia, Vladimir Mikhailov, and Denise J. Their house was often packed with Moscow writers, artists, and actors” (Levitskii 67). His wife Elizaveta Vladimirovna was also a great admirer and expert of art. While most characterizations of Khanzhonkova in memoirs are similar to Viskovskii’s, or even more negative, Thiemann is usually described more positively: director Vladimir Gardin mentions “Thiemann, with his wife who knew the film industry quite well and took part in directing films” (Gardin 116) and cinematographer Alexander Levitskii recollects the Thiemanns very favorably, writing that, “Thiemann was set apart due to his high level of culture as well as decency. Apart from “madame Thiemann,” he mentions “madame Khanzhonkova” (Antonina Khanzhonkova, the wife of legendary film producer Alexander Khanzhonkov), who he describes as “a very business-like lady, yet ignorant in literature and art” (Viskovskii 4-5). In his memoirs, director Viacheslav Viskovskii writes about the “missises” who were often in charge of film company affairs no less than their producer husbands. Together with her husband Paul Ernst Julius (Pavel Gustavovich) Thiemann (1881-1954), she managed one of the most successful film companies in pre-revolutionary Russia, known, at different times, as Thiemann and Rheinhardt Trading House, Russian Golden Series, and Era. But she is best known for her work as a producer. Elizaveta Thiemann is the first credited female film director in Russia, which is a substantial accomplishment in and of itself.