Wow. Quite the collection of Soviet anamorphic lens theory. After WWII and before the fall of the USSR the Soviets made quite a few anamorphic lenses for motion picture production. While B&L, Todd AO (+ a few more) and later Panavision were making anamorphic lenses for the west, the Soviets had a good program going on their own. I own some from the 60's, 70's and late 80's. The early ones were not that great of course, but the later ones from the 80's (Lomo) are quite good, and are often used even today on digital capture cameras like the RED and Arri Alexa. The Russians are in fact still producing similar lenses under the Hawk brand name, and they are well respected.
I take one exception: "I love the Italian Cowboy movies and the anamorphic shots where people narrow and long. My favorite lens." The narrow and long look (which I love as well) is an aspect ratio (currently 2.35:1). In the Italian Cowboy movies (known in the US as "spaghetti westerns") that aspect was achieved not with anamorphic lenses when shooting but with 35mm 2 perf pulldown which yielded a frame half as high (actually 2.66:1 which was cropped for projection to 2.4:1). They actually used spherical lenses. This was the Italian Technicolor process known as "Techniscope." The camera original was optically printed to a squeezed 4 perf (standard) internegative from which Technicolor (dye transfer) prints were made for projection, these were unsqueezed by the projector lens for presentation. One way you can tell is the absence of anamorphic lens artifacts, like oval rather than round highlights in background OOF areas.