ultimately played by valentin popov, then he never became a film actor, but in this film he played wonderfully and received a prize at the venice film festival, two of his friends are played by stanislav lyubshin and nikolai gubenko, so popov’s hero ends up at a party where they joke about something... then, according to the script, which is extremely dear to him, shortly before this we see a scene when his mother remembers the military. days in

moscow, about how she lost her food cards, dug potatoes near moscow and was shelled, that is, absolutely these are the most intense days, so these moscow majors were so lazy, yes, yes, yes, they laugh at these potatoes, konchalovsky’s hero brings potatoes to alarus in a pot for his birthday, a conflict arises. we have a fragment, we can see what it looked like.

to the soldier, to the fact that almost everyone, here we have no fathers, their potatoes, which we saved in times of famine, and who, how do you feel about turnips, what about turnips, how do you feel about turnips, you still don’t tell me answered, the young actress olga gobzeva could not slap the young director andrei in the face torkovsky. “she did so many takes, she couldn’t do it, she just physically couldn’t hit him, in the end, when she finally succeeded, tarkovsky left this shoot with a red cheek. torkovsky, by the way, plays wonderfully, he has there are very few roles on the screen, but every time he attracted the attention of even his colleagues, at this moment he is still unknown, the moment when the film is being shot, the moment it is completed, torkovsky is already the winner of the prince prize."

from moscow, but odessa has always been russian city, as well as an impressive video of an allegedly ukrainian pilot flying through an f16, the terrain is not like kherson, you can even see mountains there, anti-fake, premiere, tomorrow on the first,

vodka veda, a product of stellor group, this is a podcast. lizenshtein and today we are talking about the cult soviet film, one of the main works of otepel cinema, in the film by marlen khutsyev, zastava ilic, or i am 20 years old. well, in general, the shooting of this film was a huge event for soviet cinema, not only for moscow, but for all cinema in general, because that there is a lot of talk about this film even before it was released. everyone tells each other about what incredible shots the film’s cameraman margarita pelikhina shoots, how she works with...

of those present in the scene with the potatoes, pavel fin, the future screenwriter, a friend, then very good, of gennady shpalikov, he recalled, in fact, how in this scene, in this filming pavilion, khutsiev and pelikhina rearranged the actors, they would stage it this way, then they would do the mise-en-scene this way, and the actors had already relaxed, began to discuss something, and khutsyev thus very imperceptibly created a clear mise-en-scène out of them, not just separated them.

they filmed it already on may 9, but it’s really a cheaper extras, it’s real, the heroes walk in a crowd, cheerful, bright, and moscow is somehow completely flooded with light, spring, and the hero follows the girl whom he had previously seen

on a tram or trolleybus, yes and which he lost, now he has found it again in the crowd , is looking for her again and is following her in such a sweat... of life, khutsiev already had a familiar familiar friend, cameraman pyotr todorovsky, his already generation, but todorovsky refused to film lich's outpost because he decided to switch to directing, in fact, he became a famous, wonderful, magnificent director pyotr starovsky and then khutsyev was advised to margarita pelikhin by a female camera operator, then a rather rare phenomenon in the soviet union artistically. cinema in the sense that there were actually a lot of women cameramen, but they worked either as second cameramen, with their husbands or with their former izvik teachers, or they worked in documentary films, that is, they were here somewhere on the periphery, and pilikhina was already a really famous

director of photography, she worked with mark donskoy, one of the classics of soviet cinema, here she became a real co-author of khutsyev, because they were constantly thinking, how to... film moscow so that moscow became not just a place of action, but really a fourth friend, that fourth friend whom they threw out of the script so that moscow would be in... this spring, summer, in fact , the seasons change there, but always somehow very fresh air, from the beginning to the end, there were shots that they shot at night, they had to shoot during the day so that the lighting was like this at night and pelikhina did it perfectly, they had to shoot people in the crowd, how to shoot people in the crowd with equipment , which is far from a cell phone, but how can you place your characters in a real crowd so that... it’s like it’s a documentary filming, then margarita pilikhina cut

a hole in a sports bag for a lens, put a small camera with a small lens there, short-throw, yes, next to her was an assistant who was carrying a battery, and somewhere in front of them in the crowd were actors and a director who needed to give orders when to start acting and filming, they had this sign, he took off his cap, i don’t know , as... you saw in the crowd, because he was very small and thin, but somehow it worked out, and thus pelikhina took a lot of shots with a hidden camera, such immersion in space on the soviet screen had never been seen before was, the documentary accuracy of the artistic cinema, this is what appears in soviet cinema with khutsiev’s films, we will later see it in july rain, in some other films, this will perhaps become a commonplace, at the end of the decade. but all this would not have happened if it were n’t for the film zastava ilyech, or i’m 20 years old,

because the audience of the sixties still knew it under this name. why? because the film has a very sad fate. even before it was completely finished, it came out on the screens, as i said, they were already talking a lot about it, and they were talking far not always in a positive way, because the final scene where. the hero spoke with an imaginary interlocutor , so to speak, with his own father, who had long since died at the front, whom he personally never knew, and whom he imagined in his imagination as some kind of ideal person, well, that is, it is clear that this is a classic way to convey internal dialogue on the screen, yes, this is a way to show what’s in our character’s head, but the perceiver of this scene is up to...

so many people read poets in the frame, somehow suddenly, yes, they would read pushkin, or mayakovsky in a wonderful poetic scene, and although this character of an older worker, who was supposed to help these young heroes find their place in life, disappeared, two fathers appeared: anya’s father, sergei’s girls , which is ultimately some kind of nomenklatura who believes that young people who cannot find their place. they just don’t understand the beauty of their life, that they need to somehow go with the flow, they need to be like everyone else, and so on,

a conflict arises between the main character and the heroine’s father, and then, actually, yes, this scene with the ghost of the father, and we are from an ordinary moscow communal apartment without any transition at all, well, almost like in philline, or what? “i would like to run next to you then, there is no need

, but what is necessary, to live, but how, how, how long? you are 23 years old, and i am 21, well , how can i advise you? it’s actually because of this phrase, how can i advise you, an incredible fire broke out. at the meeting of nikita sergeevich khrushchev with the intelligentsia, it was at the beginning of sixty-three, he

attacked this particular film on this scene, well, he attacked a lot of things, but this film was singled out separately. category of particularly bad examples, because in this father’s answer he saw a direct challenge to the communist party in general, because it turned out that the younger generation, which our main character represents, turns to the older generation for advice on how to dash the generation will continue to live, but the older generation avoids answering and says that it is not there will be nothing to advise, that he himself... the new generation, the hero himself must decide how to live further, and this idea in the sixty-third year seemed not even just radical, edgy, because it called into question literally the entire foundation, there are dozens of us here for years we have been passing on experience from grandfathers to fathers, from fathers to sons, to grandchildren, and so on and so forth, and

here you put our entire concept, the main thing is that in khrushchev’s head this is not a generation as such, it is the party. khutseev later recalled that he heard that khrushchev then has already expressed regret that he attacked the film so much. another director was hurt, they say, because after the performance in the hall, khrushchev, there were cramped aisles, cramped rows, squeezed him into the dark in his chair, it seems there was director danelia, and began to strictly count him out for a very bad film in his opinion , outpost, but the man was confused, he simply didn’t know it by sight.

actually, it was decided to remake the film in some way in order to smooth out this confrontation between generations. shpalikov , the co-author, did not want to redo it, he could not stand it. khutsiev was ready to make redundancies, the shpalik was ready for a certain moment, and then he couldn’t, well, he couldn’t, he couldn’t stand it, what else is the main problem, that in general the generational conflict was already at... the level of the scenario is visible, and about this, many noted this, and even when we read the transcripts of artistic councils, at which director sergei naplonovich gerasimov personally discussed with shpalikov some individual moments of this script, it was clear how difficult it was for them to find a common language, it’s just people are not just different generations, different decades, they just think differently, and all this, of course, later

manifested itself clearly in the script, and shpalikov in general was not the kind of person who could be forced... to redo something for a long time, after all, after the second or third , again, as if the script had not been drafted, he was already losing all interest in the project, he could not bring himself to do it, we will see this later in further films in his career, so khutsiev has to finish everything alone, he is very offended by shpalikov, he believes that he abandoned him, and he abandoned him for the sake of the film, which will be very similar to zastava vlicha, i am walking around moscow, the same remarque scheme, three friends and a girl.

well, we couldn’t wait until ilyich’s outpost was finished and then release our own film, but unfortunately, it didn’t work like that in soviet cinema, you didn’t decide as a director what... your film would be in the end, you his the artistic council was waiting for you, you were waiting for it at the state cinema, a list of changes that they required you to make, you could not help but make it, because otherwise the state bank, or rather how

the state bank lent to the film studio , gave it a budget for filming the film, and this loan had to be repaid, it was repaid by the state cinema, and in order for the state cinema to accept the film, it should not have had any complaints about it, otherwise the entire film crew and the entire studio would not have received a salary, therefore, very often any director found himself: well, in such a hopeless situation , he would simply betray his group if he agreed to some big principle for the sake of small concessions, very often people sacrificed details in order to preserve the whole, such the principle was very often manifested in biographies , in the creative biographies of very different soviet directors, well, in fact, khutsyev needed not only not to let his group down, but also the entire studio, they put a lot of pressure on him, while he was finishing his daneli made a film quite quickly... his own and yes, it came out earlier than the film that began to be called i was 20 years old, because one of the complaints was that the name of the lich outpost, how can you flaunt

in the name of lenin, we won’t let you do this, you’ve taken too much of yourself by taking such a name, so we’ll just call it “i’m 20 years old.” even the script was published under this title. nevertheless, khutsiev remade it, moreover, he took advantage of this time. on reworking, in order to condense something , shorten something, yes, the film became shorter by about 20 minutes, a huge part of this poetic evening at the polytechnic was lost, it was reshot with another actor, the scene with the father, but what’s interesting, this is the exchange phrases, how old are you? 23, and i’m 21 , it remained, that is, in general, it went away minimally, something that caused irritation, and then a wonderful phrase was added from the father, who says: he said, leaving, as i would like, you go for a walk around moscow now, how i would like to also walk around moscow, moscow is a wonderful city, that is, absolutely such a thaw phrase, as if from the film i ’m hanging out in moscow, a world city, this is

actually the problem that was stated in the film , without paternity she really has been preserved, but there is such a wonderful concept from the russian film critic lev karakhan, who believes that in general this tradition lasted until the film return, which was released in our era. and there is the same problem, the father returns from nowhere to his two children, and then all the collisions are connected with his new absence, when he dies as a result of an accident, and this in general, well, looking at the entire history of soviet cinema, or rather the post-war history of soviet cinema , we see that some of khutsi’s ideas later appear in poetics, in the plots of so many films, but for khutsyev it was important in this scene to really just show it, and this was noticed by those critics who were friendly to him and... to the film and to his work in general, and that well, you really need to think with your own mind, it ’s logical when the film, shortened and remade, was finally released, but it was still

kept on hold for a year, well, it’s not exactly on the shelf, but it was accepted in the sixty-fourth year, and the audience saw it only in the sixty- fifth, this is waiting, yes, it somehow took the edge off what i wanted to say khutsyev, and this... yes, perhaps, did not become the phenomenon that could have become, moreover, everyone remembered the audience phenomenon, the audience specifically in the box office, everyone remembered that once upon a time this film was very much criticized at the very top, and that means you need to show in your critical notes that you were right , that indeed, the film came out, and yes, it’s not very good, moreover, okay, critics who are given assignments to write negatively, but there were critics who were given assignments write, as it were, letters from... the audience, and one of the then critics, tatyana khloplyankina, later, having written a book about the ilyich outpost, she recalled that

she asked herself if she would do this , if she could write such a thing, it was also a very subtle moment, yes, to pretend to be a working spectator who criticizes, or to interview someone who doesn’t like the film, to somehow deal with it, then sovetskaya magazine... but, for example, who had to criticize the film, did a very interesting thing, lyudmila pogozheva, editor-in-chief, apparently she came up with this idea, to take several reviews at once or even reviews, rather, of the film, from actor sergei yursky to some venerable critics, and it so happened that they hid negative reviews inside positive, enthusiastic ones, like, here you go, we criticize, disgrace opinions, the art of cinema. we understand that this film was criticized for good reason, but there are also opinions that say that this is one of the outstanding works, and that’s how the film

existed, accepted, not accepted.

in order to find out, in fact, what was the problem with these films, whether they can be released on the screen, and thus they are released many films that were really lying on the shelf, it becomes possible for khutsyev to return to his original version, longer and called ilyach’s outpost, the film i’m 20 years old, he takes the materials that have survived, they may not have been in the same quality, yes perfect, which was printed for me 20 years ago, but it restores and even seems to make it a little longer. what his original director's cut was, and this film is being released again as a film from the ilyach outpost, so we really get two versions, the official version and the director's version, despite the fact that he later said that he really liked the scene reshot with his father, that he made it better than it was, nevertheless he returned to the original version and still made a long one version, the question arises, which version should i watch now? firstly, you first need to read the script, it seems to me that it’s not superfluous with

this film, then watch the version that was released in the sixties, and after that watch the full version, because then the director’s vision may be revealed, the author's intention, which khutsyev still failed to show on the screen in an absolutely 100% world and all these problems, very often we argue which version of the film is original, here is the author's, the most real, for example, andrei rublev, andrei torkovsky. this is the theatrical version that came out, the version that was shown in france at the kama festival or some other one, which he shortened, remade, because in general, the author is always, any author of any work, text, film, painting, strives for her rear number to somehow improve , think through, further comprehend, but still, what is that point, that moment when the work is presented to the public, when everyone perceives it in the form in which they first

became acquainted with it, or... later editions, this is always such a debatable issue, so the best film is probably the film that takes shape in the viewer’s imagination after getting acquainted with different versions, sources, everyone can choose the one that he likes best today. and this was the zenstein witness podcast where we, film historians, natalya ryabchikova and stanislav didinsky, we are talking about who and how created cult, classic, famous, little-known forgotten soviet films, and today we talked about such a cult film, which... under two names: ilica outposts and i am 20 years. all episodes of the podcast lenshtein's witness can be viewed on the website of the first channel 1tv.ru. thank you and goodbye. to fast or not to fast, and if to fast.

then why and how? hello, today we gathered with thoughts about christmas post. ksenia alferova, tv presenter, actress, priest antony borisov, associate professor or professor already? older, perhaps, associate professor of the moscow theological academy, i am vladimir ligoitov. hello, dear friends. hello. hello. but tell me, please, it seems to me that the first question that arises for a person, perhaps , is not very familiar with the church. at least i heard this, well, lent - that’s understandable, why christmas? ancient church tradition suggests that for every significant holiday, celebration, especially such as the feast of the nativity of christ, which in its significance, if inferior to some other church holiday, is only easter, well , it’s probably worth preparing for this celebration; in fact, the traditional church preparation

is fasting. like this, well, ascetic practice, rooted in the depths of centuries, but it’s completely different, it’s still christmas, i honestly admit to you, until recently. read a lot about this, because i have my literary project there, where i talk, every year i talk about christmas, and you have to prepare all this, well, that is, not theological and more literature, but how it was, that is , how it was in russia before shmilev there , the memoirs of various poets,

writers, if we take biographies, then no one can do without christmas and easter , that is, this is always such a special childhood experience, but shmelev has a lot, not only he has about... just about lent, that’s when they are like a child, well, because there the world of strength is fasting, and then this last day there worries if he ate something there or didn’t eat, and i somehow read this, i think, well, we need to try it somehow, well , you also wanted not to worry, i remember how it was, but that’s all anyway, the mood is somehow different, but somehow the new year, which is before this, is knocked down, well , it’s clear that a person only values ​​what he gets with difficulty, so i was balanced in my understanding by this... i read his book and he writes there that well, that’s why exactly so many days and he somehow, well, how to say, he is more loyal, and he writes that in general it was different, it was for a week, well, that is, initially in tradition, and that

i really liked it, i literally looked through this book today and says that, well, even if you ate porridge with this unfortunate milk, like a parable, you are all worried about milk and butter. just not fasting, but look, that’s exactly what i’m saying, that is, not modest, that is , non-fasting, and i came to the conclusion that when you prepare for this, when you understand what an event awaits you ahead, well, it’s like this wonderful magic of the birth of not just

a child, well, the birth of a child is magic, but of christ himself, and why is this necessary, because when you read how it was in russia, well, no one forced, it is impossible to force one to actually fast, well, that’s it, only if you can do it yourself with your conscience. and they pray, can i just continue my thought about how it was and what it was for, it’s still a cleansing, well, that is, because not the body of the soul, yes, well, everything, in fact, both the body and the soul, houses. well, in fact, the external is also important, if it does not remain only external, and that is , people understood that before such an event, well, they simply could not, well, that is, they cleaned every corner of their home and there were

, well, traditions, like individual icons, special brushes that were used to clean the corners there, which were only obtained before christmas and easter, and this is also a kind of action that, well, how can i say, is what we have now lost, in my opinion. so that, because you cannot in front of your eyes a savior to appear there, the house is dirty, even the poorest people were preparing a clean new shirt or something new skirt or something else, well, because well, how could it be otherwise, well, it couldn’t be done

any other way, that’s why for me somehow this is some kind of sanctification, which is always, that is, as soon as you, how to say, even if you have the intention to do this, this is already good, but i mean, that is, the temptation is immediately natural. it’s there somewhere, yeah , so you decided, well, well, there are a lot of them, i just already learned, for example, i because i have a friend, very close there, she is a nun, i once taught her. listen to your confessor, but for such spiritual people, for them it’s like, well, it’s like this is the norm, they talk about it so simply that well, yes, we don’t live here alone, that is, there are also angels around us, and the devils and they are all nearby, and at some point you begin to somehow treat this like no one else, well , yes, it’s like that, he’s here, so uh, for me it’s important to catch this moment when he’s poking and you like, thank you, i need it, i understand, i know, why is this happening now, after all, i will continue there, but i’ve stopped. that’s how, yes, ksenia correctly noted, the frame, of

course, should be, indeed, it is always easier to live in, being in line with some kind of tradition, when you don’t really need to think about how you can outwardly show your religious feelings , your beliefs, but the most important thing is that this frame does not remain hollow, that it really has religious sincere content, because in the end, how can this not be scandalous? will sound, but for christ's sake... religiously sophisticated scoundrels who knew all the traditions very well and carefully observed them, but for them their own religiosity turned out to be more important than god, uh-huh, in fact, their religiosity was elevated to the pedistal of veneration, and god remained somewhere in the country , i know, i would like to ask about this, because by and large, the nativity fast and lent, they last 40 days, yes, but at christmas it turns out longer, but this is already considered there not not lent, and in addition, here it is he's bigger. it turns out they are both connected with fasting, which

actually is with 40 days, which christ was in the desert, yes, that is, the tradition goes back to this great primarily, advantage, but nevertheless it is also 40 days, why is the christmas fast 40 days now, because that christ was in the desert for 40 days, and i actually wanted to ask you about this, in this story christ is in the desert, and at the end of it the devil comes, approaches him, begins to tempt him, that’s what for you, father anthony , the most important thing in this story? to me it seems that it is very important to emphasize here not that christ starved for these 40 days in the desert or ate very, very little of what he could find there. what we are talking about here is precisely that a person who has decided for himself that he will fast in preparation for the holiday must understand the important thing that fasting is, of course, not a diet of any kind, that along with abstinence from food there should be in his life and prayer, since christ did not just wander through the desert. i repeat, i was starving, yes, the gospel directly indicates that

that christ prayed all these days, yeah, the third component is an attempt to overcome one’s selfishness, because the temptations that the devil addresses to christ are an attempt precisely in christ to arouse this very selfish feeling, i am yes i am, how powerful i am , i can turn stones into bread, though it’s not clear for whom, because in the desert there is no one for... quantity, so only 500 men were fed, there were women and children

not taken into account, but the devil asks, then show your pride like this, then throw yourself from the roof of the temple and show that the angels will catch you, demonstrate that you are the messiah, and the third is the entire kingdom of the world in front of you, and it’s interesting that the devil’s logic is what, all the kingdoms of the world belong to me, says the devil, yeah, they everyone serves me. bow to me, everything will be yours. today we gathered our thoughts about the meaning of the nativity fast, ksinia alferova, priest anthony borisov, we continue. i know, i would like to ask you this, man, creature, excuse me, psychomatic, yes, it’s clear that everything is connected with us, you ’ve already said this, but nevertheless, really, there ’s sturgeon kebab, yes, lobsters, which are formally, in general, not prohibited, yes, it’s like porridge with milk. .. a non-fasting product , that’s the measure, how to determine the measure of fasting

, besides the fact that there are students, pregnant women and diseases, yes, when after all , the doctor should probably tell you your measure of fasting, just like a healthy person, not a pregnant person who has graduated is now equated with ill health, well , look where all these ideas about us come from lenten and non-lenten food came into being, they arose on the basis of the following logic, this is how the saint reasoned.

cheap seafood , which was generally given away almost for nothing, why, because almost algae, sea grass, no one then , you know, admired the oyster mushrooms, yes , by the way, this was one of the items on the agenda of the pan-orthodox council that had not yet taken place , a revision of the idea that, in the current conditions, food is considered lean, but can i ask you as a continuation of your question, i once had this a case when... to eat this buckwheat , buckwheat, buckwheat, buckwheat, i just remember, it was just buckwheat, there was squash caviar, i don’t know what else you can eat with buckwheat, yes, yes, yes, but then we came in, i went to visit our friends, who are a restaurateur, well, that is, he likes to feed, he eats deliciously, but they are such church-going people, which means that they are

all, all, all, that they offered you lighted lopsters, no, and there were no catchers, there were more of me and me, which means that mom received them, she says, i was waiting for them, she says, you are probably hungry, i say hungry, she says, well, what do you want , do you want some pies, pancakes, something else, i think so, so quietly, well, i say, it’s lent, they’re lenten, and there ’s such splendor there, i i say, yes, then the owner came, i had the only phrase that was that it was possible, i say, and we eat buckwheat alone, so he explained to me what, what is my question, what is my question, he explained, he says, well, it should be a joy, that is, fasting is a pleasure and a joy, and something like that so, that’s why there can be lenten pancakes , lenten pies or something else, too , but everything is actually very simple, the task for us returns to the topic of selfishness, the task includes pasta, so that for a while we at least forget about our loved ones, and having saved money on groceries, this money was given to those who

need it, so lean food should be simple, accessible and cheap, well, this, by the way, is very important, i just wanted to talk about this, these are works of mercy. should happen during this lent, or on christmas day, it is usually the holiday is just absolutely wonderful, that is , some kind of transformation should happen in your soul, something should open up, that is, there, and there it is very interesting, there are some love divisions, well, like some kind of transformation, oh, and i same, or there, when a wealthy person there suddenly realizes that i deceived her, didn’t give it to her, and he goes, even

dickens’s christmas tale, yes, these are the changes of scrooge, yes, yes, yes, well, yes, she’s done with that began, in fact, with this work. they are all about this and this it was mandatory that you absolutely had to, that is, you then bought food for christmas itself, both for the family and for the family, that is, the house was open, the kitchen was open to everyone, that is, you could go into any house, well, more or less wealthy, i would be a person in need from the street, eat, go further , eat, go further, but it’s interesting that it’s not only during lent, but you do these good deeds, yes, but i mean that not only before , on the holiday itself, that is, by and large, like this is what a holiday is, how is a church holiday different from... not a church holiday, but in that on a church holiday, in addition to sitting there with friends, breaking your fast, you still did something else, on that day or there , well, for those who can’t, for example, who are in the hospital there, yes, he can’t , it seems to me, even this, first of all, perhaps, is what you do for someone, we now call it,