transported by planes, but during this first blockade winter the trains remained, everything was loaded at a frantic pace, it was all loaded in the summer, yes, but the ring closed too quickly, the classics of leningrad cinema were already transported to the mainland by plane, i understand correctly that the real story of this central film studio, which is being formed in almaat, in general , it is still not written like that, and the main thing that we know about it today is that they filmed there in absolutely... in difficult conditions, a shortage of everything, firewood, lighting, one of the main masterpieces of these years of soviet cinema, isenstein’s film ivan the terrible. well, yes, this is, of course, the biggest project , as they would say now, of the centrally united film studio, because it was launched before the war, in the winter of 1941, and in the summer of 1941 it was not very clear whether it was necessary to continue making a film about ivan the terrible, but this is an order from above, yes, it was delivered as expected. from

stalin by ezenstein, and ezenstein asks bolshakov, the head of the film industry, is it necessary to continue, yes, but they tell him yes, it is necessary, but when the moscow train arrives, they traveled for two weeks to almaata, yes, there are constant stops, there lyubov orlova fills the kettle with water and so on, there they immediately chop wood at these stops, they get to almaata and understand that in in general, the city is not suitable.

famous portraits, unfortunately, yes, we only have samples, the first series of ivan the terrible included this piece, where the terrible sends his ambassador to england to his sister, which means dear elizabeth, you will bring them as a gift to our sweet sister, like ships her

agletsky bypassed the baltic sea, sailed the white sea to us, outwitting the germans and livonians. well, here you can see that these are not just historical details, although we know that the historical ivan corresponded with the historical elizabeth, but here there is a clear reference to modernity, and these references can be found in wartime films completely unexpectedly, for example, the film koschey the immortal is coming out, well, it seems like a fairy tale, yes, but koschey, played by our beloved woman ega, he is such a skeleton who... he is also warlike, he has

there is some kind of hat, some kind of iron helmet, which makes him into some kind of knight of the levon order, and by analogy it turns out that he is also some kind of hitler, these are the references, they appear consciously, unconsciously , because everyone is very interested in what, what does the viewer need, and as one of the modern film historians valery famin writes, in the very first days of the war, the first thing that went into the furnace was the secret plans that the filmmakers had by chance the beginning of the war, because it was so sudden that all these plans it was already impossible to implement, it was necessary to come up with completely new ones, and how do you get out of this, what kind of stories do you come up with, with stories in general it was very difficult, because you want to be closer to what is happening at the front, the audience wants...

show the truth, but the filmmakers in the rear of glugov, one of those who were looking for a real film set, apparently some kind of material, visual embodiment of the image of the war, was mark donskoy.

continues to work as the curator of the costume fund of the mrflalaya cinema museum, a wonderful witness era, a wonderful storyteller , absolutely amazing, we have a fragment from the rainbow, the very finale: let them wait for their fate, let them drink it to the end, to the last drop,

oh, women, which one of them will die now, the big winner will win, no, no , no, let them... first wait for their women and their own children to renounce them, let them say: no, these were not our fathers, let them then answer for our grief and torment before the judgment of the people, let the anger of the people fall on their heads, and their land will not accept the damned. yeah, it's pretty hard to mean black and white the movie showed the rainbow on the screen, and yet it worked out, this is the caspian sea, we

will play a dagestan wedding, this is our wedding suit, an imitation circassian mountain tuxedo, a thin, delicate organ. shuana and akhmed, avars, we will have a wedding according to the customs of one of the most ancient settlements of dagestan, an aul, a czech, and here there will be our photo zone made of a carpet, a dagestan carpet, only instead of a wall we will have mountains, well, these sausages already need to be cooked, without a matchmaker sausages, as it happens, there is a special czech lizginka, there is a step. step presented hands just like that, it’s so fun, we have to prepare the wedding, our premiere, we’re playing the wedding, tomorrow is the first one, you can understand that i didn’t take the child because of the money, somehow

they forgot that you are a murderer, and you are your daughter will visit, well, i just heard that she has a young man there, it seems to me that she has no time for you at all, she’s not an adult, bro, you want to live a good life, chicks, clothes, cars, so i want you money will i let you get away from her? seriously, depend on the amount, don’t yell, i say, where’s the money, they were running the scheme together, it comes out and a common debt, container, new episodes, tomorrow after the program time, here is everything you need to sign, and we go our separate ways, as you wanted, or can i destroy you, return you to where i picked you up? i remind you that this is a podcast of witnesses from einstein, in which we talk about why and how to watch little-known and famous films, what the viewer wanted to watch, what the viewer fell in love with

immediately forever, someone still managed to make such films , including at the central united film studio, and these were films which somehow touched. even colleagues see that it’s not, but when scenes appear that are more intimate, more

human, soulful, yes , by the way, they can be, like in rainbow, expressive, or they can be very, very calm, as in two fighters, there sasha meets a girl in leningrad, arkady tries to help him, they quarrel, then the relationship is all built on some kind of friendly contacts between them, we don’t find out about which fighters in general.

arkady playing with a guitar and humming this song, and as we know from memoirs, from the works of historians, there should have been a scene with writing and reading letters, leonid lukov, the director didn’t succeed in it, well, something didn’t work out. and then suddenly they thought, maybe a song. immediately bogoslovsky made a melody, immediately vladimir agapov wrote the lyrics, this dark night, yes, you don’t sleep, you know, they almost raised bernes at night, and he sang, dark night, only bullets are hanging in the steppe, only the wind is humming .

nikita bogoslovsky contributed the text and music he managed to write down utesov. and first everyone heard utyosov’s version. nevertheless, bernes’s version still won, despite the fact that some thought that it was somehow petty, a little vulgar, especially with a full mullet, this is such a fine line that everyone tried to stay on, what are we filming about, how much this is serious, how much it helps the front. can. to make comedies for the front, yes, roughly speaking, is it necessary here and there? here is a wonderful one,

who was one of the creators of maxim, this trilogy about maxim in the thirties, she makes a film in almatezh called an actress, this is an operetta artist who goes to the rear, works there in the theater, but lives with a woman who always says: my son is fighting there, and you sing songs here, and the actress leaves the theater and goes to work as a nurse in a hospital. well, naturally, there he meets this son of a military man of this very woman, she doesn’t actually know at first that it is him, let ’s see, let’s see, yes, what do you think comes of, the leopard should go to the artillery, so what, so again you will be for her, we’ll sing after the war, that’s great , you know what i’ll advise you, go to any theater and the evening before it starts, announce that the performance is postponed until the end of the war, because mykina thinks that... now is not the time, we’ll see, what will the public do to you then, especially

the military, and why talk to you when you don’t understand a damn thing about art, i don’t understand anything, but i, that you’re nothing, i just want to say that obviously you know a lot about art , you see, i don’t, i don’t understand, i don’t understand, but i love art, that is, here the military themselves seem to be telling us: no, we need your art, again, it’s quite a shame that when the film came out, it seemed all so correct, as and how it should be, they scolded us in the newspapers, we are finally getting there to an important topic of our podcast. this is a film that was created in besieged leningrad, a film by nathan or notes , ljubošitsa, which we know about from memoirs that are still in the museum of cinema and theater in lithuania, this has not yet been published, but we looked at these memoirs, let's look through it, now we can do something tell, but the main problem is that the film is still there, its only copy is in the state fund, undigitized and

it is impossible to watch it anywhere on the internet , of course , chronicles are being filmed in wet leningrad, of course, the cameramen remain there, the film remains there. and we know that the film there lived a girl, which was released after the end of the siege, was partially filmed before the complete siege was lifted, and it was very important for director vladimir isamont to show the footage of this very semi-siege of leningrad.

and there lived a girl, she is filming already in forty-three, and what is happening in leningrad in forty-one forty-two? and there it was that a recent student of sergei zenshtein, who arrived literally in the summer of forty-one from minsk, ended up in leningrad and in the fall of forty-one he read in the newspaper for ...

there was a positive attitude towards the film, all ladvishnetsky watched it back in leningrad, it they started showing it there, that is , this is not a short meter, a medium meter, an incomplete meter, yes, and it’s not like that planned, not allowed, not prohibited, it remained like that, of course, it was incredibly difficult to film it, luboshits recalls that one of the installers, for example, died under artillery fire, yes, and this was all done between there and...

it was a podcast lenshtein's witnesses, which means me, stanislav dzdinsky and my colleague natalya ryabchikova, we talk about little-known or famous soviet films within the framework of a school of cinema that teaches how to enjoy forgotten or famous films of the soviet period. thank you, goodbye, goodbye. hello, my name is alexey varlamov, i am a writer and rector of the gorky literary institute, this is the podcast life of the remarkable. and today we will talk with an excellent writer, prose writer, associate professor of the department of literary excellence

at the literary institute, andrei valerievich gelasimov. andrey valerievich is a famous writer. author of many novels, short stories, stories, thirst, steppe gods, and the year of deception, and the topic of our conversation today with andrei valerievich is literature about the great patriotic war, an echo of the great war, the generation of people who fought has practically passed away, all the books that they could have written have already been written, but the theme of the great war has not left our lives. what do you think, andrey valerievich, why? well, you know, alexey nikolaevich, this topic will still be very long, firstly, because not much time has passed, and secondly, literature. really large time periods are required to comprehend such large-scale events. well, let's just remember what lev nikolaevich tolstoy wrote about the great war 1812 after more than half a century. and he

did not relate to it in any way and did not participate in it; he could not due to his age. but nevertheless , it was very important for him to try to analyze what was happening to the people, especially to his country, at the time of the great threat. and these are dramatic.

writers endowed with culture, so i think the participants in the great patriotic war wrote more than the participants in the patriotic war of '12. what are your favorite books? vasil bykov was very important to me and remains boris vasiliev. it's quiet here and not even thanks to the wonderful film, in fact, the most powerful prose of this story, wonderful. i once read an article by a karelian writer from petrozavodsk, i think his name was. also a writer who participated in the great patriotic war, and this was such a very harsh, critical article against the story of boris vasiliev, the meaning of which was

that he invented everything, this did not exist, there were no such girls, zenichits, there were no there in karelia, the situation that i wrote is impossible, i must say that i willingly believe that maybe it wasn’t, but this absolutely does not detract from the dignity of this story, it is still wonderful, here a very interesting topic arises, that there is... such a truth about the war, this is literal, documentary, and is still the right of the artist for fiction , in fact, lev nikolaevich tolstov was also reproached and said that this was not so, and napoleon was not like that, and kutuzov was not like that, and the battle of borodino was not like that, but through literature we perceive it this way, and boris vasiliev , i don't even compare now war and peace and ozori of the elements here, but nevertheless it has become such a key book in our minds in our idea of ​​war, and it seems to me that these are very...

battles of local significance, but there is only one life, these the girls and the sergeant major are doing the incredible, well, yes, probably the girls could not resist, the anti-aircraft gun girls could not resist a thoroughly trained saboteur from the ss troops, probably no, yes, the paratroopers, but this one, yes, it looks implausible, but this counterpoint, which is incredible circumstances such things happen, he...

are wonderful authors, but still the main pressing motive was precisely the feat of vasil bykov, gondorev, konstantin vorobyov, whom i love very much, and who was not very recognized kindly by the soviet power, but still this theme of feat , it really turned out to be central in that literature, you know, this is connected with the awareness of the events taking place, with awareness on a personal level and the authors and heroes of these books, because if we, for example, look in... the book of remarks on the western front without change, then yes, we see one very important detail, there one of the heroes says to the other: but i’m an insignificant soldier, i ’m a nobody at all, i’m just a pair of boots , a rifle, and if remember, during the first world war, uh, this is the western front, it was a confrontation between germany and france, for 3 years they really stood in one place, the front did not move in either direction practically, from here they arose

naturally.. thoughts that all this is absurd, that this is just a meat grinder that grinds people in one place, it is unclear for what purposes, but what was important, the remark was made, in our war in the great patriotic war, there a completely different topic arises, firstly, the topic of overcoming the enemy , who came to your land and behaved inhumanly, there from humanistic points of view, and positions, firstly, in the first world war the same... brand did not wage war with civilians, he has scenes where german soldiers run away just with french girls there have fun, yes, they have fun with a scarf , then it comes back, and we can’t compare it, we can’t have something like that, so german soldiers were having fun there, let’s go with the girls and russians to have fun, that is, well , a lot of questions will arise, yes, russians somehow the girls, i don’t think , were very welcoming to the german soldiers, there may have been isolated cases, but so to

say this as... typical, no, there was a clear understanding of the enemies, so after this, since they are enemies, that means overcoming the enemy, enemy must be expelled, he is terrible, terrible, dangerous , i think this awareness distinguished russian soldiers from the soldiers of the first world war, so we simply could not have notes of pacifism, an existing remark, okay, but this is still the literature of the 20th century, let’s let's focus on what's happening in the 21st century, here with my...

great, this book struck me with its freshness, he wrote for more than 90 years, yes, with his own personal view, personal attitude towards war, then this very important topic, about which much has also been written: the siege of leningrad, the battle for leningrad , this is how it began, how this blockade was established, this is all so sincerely written in the first person, in my opinion, absolutely wonderful, young, full of storytelling energy, i

really think what it is , well, really... a very striking phenomenon in russian literature, by the way, it is no coincidence that granin received the big book prize. if we talk about the freshness, by the way, of this text, it is very interesting, here is the initiation of the text, how it starts, in general in a conversation about the war, when we watch a film about the great patriotic war or read a book, one of the most important points is the description of how the hero receives information about the beginning of the war, that is, the initiation and events, and here... i was surprised by the scene of how the hero actually receives this knowledge, and it is told in an erotic context, if you remember, he meets a beautiful young girl, on sunday, which means a wonderful sunny day, they go somewhere into the forest, which means that he says that my intentions were far from reserved, that’s why they go further into the forest, and he says, and i understood why we

were going there, she understood that... i understand, it means that all this happens in such a game structure, in nature, suddenly, that means, some voices are heard, steps are heard, someone is walking, they jump up, scared, the lieutenants come up, he doesn’t... pay much attention to them, which means he just tells them: you can’t be here, get out of here, quickly and that means some soldiers are running with him, they are already pulling some lines of communication, this junction gives birth to a very strong such a contrast before the transition, when the hero speaks, i didn’t understand yet, we said, we were driving back to the trains, and laughing, people were already talking about war, and i still didn’t understand anything, this wonderful transition was made for me in a very new way, i read a lot of books about the war, here granin really surprised me with the freshness of his view. how strange and absurd great things happen to us that can no longer be changed, this is what he managed to create here as a writer, and this, of course, for the patriarch of literature, for a ninety-year-old the author, of course this is a great achievement,

yes this is a very young book, it’s really very very cool, very human, it’s very personally written, despite the fact that it seems to be on an epic scale, unfortunately it’s not very big, here i am i say why i feel sorry that he took it up too late, that’s really it. there, well, maybe not war and peace , but some kind of book in which he could show the penetration of war and peace, these two different states of the then soviet society, but for what he did, we must say a huge amount to him thank you, for our viewers, yes, this book, if anyone has not read it, is a must -read, for leonid yarmolnik’s seventieth birthday, my favorite student, leonid yarmolnik, i saw him so young. a slender, very flexible boy, this freedom and lightness, it seems to me , was what distinguished lyuni in general, well, leonidavich is a very demanding person, but he really is a demanding person in life, he is a real friend

whom you can call at night and say, lenisavich, i need a taxi , i have never seen him turn away from any problem or or from some kind of request to him, i was so lucky in life with the one with whom life brought me together, there was someone to look at, someone to imitate, the premiere of a documentary film, tomorrow on the first one, look carefully, you will recognize him, grandfather, pythrogram in the center , we are a coward, i am not interested in money and gold, you will go to russia today, return the sacred treasures of the nation, and from these treasures my father, a lover of love, will excuse me, of course. all this doesn’t look very plausible. there are secrets that have no statute of limitations. german. from monday after the program time. we continue our conversation with andrei gelasimov. and

with you is alexey varlamov, writer, rector of the literary institute, life of the wonderful podcast. also, by the way, if we talk specifically about leningrad, i would name the writer. a book that, perhaps , does not directly relate to the war, and its author is eduard kachergin, a wonderful artist in the large drama theater, by the way, the book is called baptized with crosses, this is his personal story, an autobiographical book, about his childhood, about how he a child was taken from besieged leningrad, about his childhood in orphanages, this war time is described, and what else struck me in this book, by the way, in the play staged at the bolshoi drama theater, is how he describes the summer of 1945, when our people returned soldiers, our officers, our soldiers are returning home , and how they are greeted, this is a huge road, transip, at that time he was somewhere in siberia, and he, on the contrary, from the orphanage, makes his way,

the opposite way, returns to his home in leningrad , so he sees these people like they come to these huge stations, junction stations, women come, wives come, someone’s entire husband comes to see them. husbands come to someone because they are disabled, disabled , this is a bitter country of war, this boy himself , who travels with these soldiers, who there draws their profile, out of wire, he makes a profile of stalin, this is the atmosphere of the time, it really conveyed in this book is wonderful, great, and it seems to me that this is also such an important facet of military prose, to convey, even if it’s not military, this is exactly what he saw through the eyes of a child, what he saw through the eyes of a teenager, what he remembered, the faces. voices, characters, these are these living people who made our victory, these are not, not monuments, not monuments, andrei platonov, by the way, has another very important name in russian military prose, because

platonov’s stories in voine are also such a very important page, platonov has an amazing entry in his notebooks, they will dance, trample on the memory of the war, it seems to me that literature intuitively feels that this is what what is not possible according to... as far as i understand, when sergei

samsonov got into the debut prize with his story and you were the chairman of the jury, then tell me about your impressions of your decision and about this book. when i started reading sokoliny rubezh, when i was heading the debut jury, i was somewhat wary, because the military theme is for me, for me personally, not as an author, a writer, but simply as a person.

it's a myth, for sure, uh, it's noticeable even on a technical level, because if you begin to read this book aloud, you will see that at times it goes into hexameter, it rhythmizes this prose, that is, if you don’t just glance and quickly skim, but look so carefully, then you see how the adjective is built , everything develops into a certain - into a certain rhythmic pattern , and this is really practically a hexameter, it was a huge risk on the part of the author, of course, but

it seems to me, a huge amount of work, i think, this is a thick book, a gigantic work, but he won, of course, look, despite the convention of mythological space, the method that sergei samsonov uses , in some places, in this powerful one, like the iron sheets hitting each other in hexameter, i sometimes could not hold back my tears, despite the unrealistic nature of the narrative, that is, samsonov... becoming full-blown , absolutely like the ancient greek chorus in the ancient greek tragedy, managed to penetrate precisely into the tragic plane, creating, well, a truly great major work, it is very different from the prose of the lieutenants of the 20th century, very much emphasized by convention events taking place, although yes, although there are practical details and a lot of passion , it is clear that he studied the material, it is clear that, by the way, we need to talk about this today. because this is one of the important differences between modern prose, the fact is that the participants

in the war, bonderev, boris vasiliev and so on, they do not dwell in such detail on technical details. contemporaries, seryozha, ilya boeshov and other authors, are often carried away by wikipedia. i understand that access to information has become enormous, when you start doing research, you, well, you get carried away by this or that fact.

eduard verkin describes in modern language the story of this partisan lenya golikov, without calling him by name, he is there all the time sanoch, sanych by his patronymic, as if his own, so compare two books, as if mowing down something so good in the best sense of the word, such here is a soviet narrative, such a novel of education that unfolds, and you

see the character of this hero, who is, well , practically like that, well, such an icon, yes the kind of boy who has almost no shortcomings, and if he does, he overcomes them, yes. and he’s alive at the same time, this is a very good book, verkin’s is a completely different child, yes, a different teenager, he’s rough, he’s complex, he’s conflicted, he might be prickly in some way, but you get carried away, you you fall under the spell of this book, it’s very cool, but what is it, that’s the question, why, and now i would like to turn it to you, because of course, another very bright book dedicated to the great patriotic war, which appeared already in the new... century in the new millennium, this is your novel steppe gods, which received a national bestseller award, which enjoys enormous reader success, i specially re-read it for this program and once again i was simply delighted and admired how it everything is well written, well now let’s talk about you, about your book, why

did you write it, how did it happen? it was extremely important for me to understand how my grandfather felt at the front, fighting against... goal setting, well, how do you imagine it? yes, i needed to define it for myself? i began to remember my grandfather’s stories from my childhood about the war, i began to write to my grandmother, she was still living then, in the chetinsk region, i began to ask questions about that time, because i was simply

looking for a point in the history of my country where people were, perhaps, even more difficult than it was for me in the nineties, and i found this point, i realized, for someone... grandfather, yes, then i needed to make a point of view, below the horizon, these are adults, and this is the gaze of a child, firstly , it is not yet clouded by evaluative categories, despite that he is integrated into the entire soviet ideology, he is delighted with military heroism,