Soviet Armenian film director, screenwriter, who worked at Mosfilm and Hayfilm. He studied at the Moscow Institute of Economics (1954-1956), the Yerevan Institute of Theatre (1956-1958). In 1964 he graduated from the VGIK (workshop of E. Dzigana). In 1965 he filmed a play Sofronova A. "The cook", opening this "collective farm melodrama" for a wide audience actor names such as S. Svetlichnaya and Vladimir Vysotsky. In 1966 Keosayan made the second in the history of Soviet cinema adaptation of the novel P. Blyakhin "Red Devils" (first - 1923, dir. I. Perestiani), the characters of which - the four young men of the First Cavalry Army Budennogo - became a cult hero for generations of moviegoers. Popularity characters in the film, based on a confident, inventive direction, given the opportunity to continue their adventures in two new films ("The New Adventures of the elusive", "Crown of the Russian Empire"). Despite the fact that the director did not avoid copying plot turns, and sometimes entire episodes of Hollywood westerns, his paintings and their characters have become a characteristic product of the Soviet mass culture.
Soviet Armenian film director, screenwriter, who worked at Mosfilm and Hayfilm. He studied at the Moscow Institute of Economics (1954-1956), the Yerevan Institute of Theatre (1956-1958). In 1964 he graduated from the VGIK (workshop of E. Dzigana). In 1965 he filmed a play Sofronova A. "The cook", opening this "collective farm melodrama" for a wide audience actor names such as S. Svetlichnaya and Vladimir Vysotsky. In 1966 Keosayan made the second in the history of Soviet cinema adaptation of the novel P. Blyakhin "Red Devils" (first - 1923, dir. I. Perestiani), the characters of which - the four young men of the First Cavalry Army Budennogo - became a cult hero for generations of moviegoers. Popularity characters in the film, based on a confident, inventive direction, given the opportunity to continue their adventures in two new films ("The New Adventures of the elusive", "Crown of the Russian Empire"). Despite the fact that the director did not avoid copying plot turns, and sometimes entire episodes of Hollywood westerns, his paintings and their characters have become a characteristic product of the Soviet mass culture.
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