would greatly adore the film. , children's literature critic of Japan stated the film adaptation is clear and coherent in context to Andersen's story: "Therefore, the story is much more consistent and clearer than the Andersen version." It would be the acclaimed director, animator Hayao Miyazaki himself who would undoubtedly be influenced by the film and to a general extent Erdman's script. Miyazaki especially was influenced by the episode when Gerda sacrifices her shoes to the river. The subtleties of the script and animation was crucial in keeping high the spirit of the animator needed for his productions in the late 1900s. Erdman was living in obscurity when in 1964 Yuri Lyubimov invited him to join the newly founded Taganka Theatre. Although Lyubimov and Erdman collaborated on several novel productions, aspiring to revive Meyerhold's traditions, it was not until 1990 that Lyubimov succeeded in producing his stage version of The Suicide. Erdman's principal work was banned in the Soviet Union until the Perestroika era. Even the comparatively orthodox Moscow Satire Theatre (inaugurated in 1924 with the production of Erdman's review Moscow from the Point of View...) failed to have their version of The Suicide approved by the Soviet censors. References Works N. Erdman. Пьесы. Интермедии. Письма. Документы. Воспоминания современников. Moscow, 1990. N. Erdman / A. Stepanova, un amour en exil, correspondence 1933–35, adaptation de Lara Suyeux, traduction française Evy Vartazarmian. Triartis Editions, Paris, 2011. External links 1900 births 1970 deaths Writers from Moscow People from Moskovsky Uyezd Baltic-German people 20th-century Russian poets Russian satirists Russian dramatists and playwrights Russian male dramatists and playwrights Soviet dramatists and playwrights 20th-century Russian male writers Soviet screenwriters Soviet male poets Soviet poets Male screenwriters Stalin Prize winners