to the point, right down to, i don’t know, kirouac , selenger and berges, volker, volos and so on, so on, so on, the figure of a spirit-seeking marginal, uh, uh, difficultly self-determining in relation to this endless american space to the shining city on hill, she is similar to dostoevsky, you see, that’s why you can talk a lot about this, i don’t really either. ready, i don’t know american literature so well and deeply, but this seems to me like this, well, look, cultures that do not have common grounds from europe, here for me, it was not by chance that i quoted suss cuende, this is one of my favorite authors of the 20th century, and the novel silence, one of my favorite novels, but he just has a rewritten idiot, yes, because the novel, which in russian translation is called dear mr. fool, sisok enda himself said that i took this name from... actually, well,

practically word for word, but what is a dear mr. fool, well, he’s an idiot, and the plot is very similar, well, it’s clear that syusa kuenda is a catholic, then he personally has common cultural foundations, although for dostoevsky has two mortal sins, one of them is catholicism, so to speak, this is due to what, kurassawa is a catholic, he was not a catholic, he was not a christian at all, let’s say yes, here for me is the greatest, most successful interpretation: an idiot, a film interpretation, according to at least, this is his film, yeah, and what seems significant to me is that this is a very japanese story, of course, he adapts it to japanese realities, and his myshkin returns from captivity after the second world war, we are talking now about the film idiot kurosawa, about the film from 5 years ago, there is an important moment, myshkin’s arrival at ragozhin’s house, their characters have japanese names.

they eat with amulets, well , substitution is a replacement for the situation of exchanging crosses, and then they visit their mother at the altar, and the mother treats them to some kind of food from the altar, brought by sacrificial food, having exchanged amulets, they together eat sacred food in this sacred situation, well, that’s all -it’s an obvious and symbolic rhyme.

the ending is a crime of punishment, so how can it be filmed cinematically? by the way, myself fyodor mikhailovich wrote, he has a letter, where he writes that the genre and statements are very connected, and it’s like speaking the language.

they are noticeable, of course, when trying to read christian classics of christian traditions in the east, japanese culture is precisely , i apologize, this is a classical culture of shame, when my, my behavior is determined by external factors, and russian culture we say that they are still victims of humility, these are probably categories that may be less implanted, less understandable within chinese culture, confucian indeed, than domestic japanese, i don’t know, these are slippery things, i wouldn’t risk it.

a unique experimental piece where dostoevsky combines with gadar, gadar creates his film of the year sixty-seven based on demons, where he shows a group of young mauaists sympathetically showing that

for them this is a new misfortune, he perceives them ironically, but for him this a natural, generally expected challenge, which should lead to... to the undermining of this terrible bourgeois society, yes, which came to its self-denial in the broad sense of the word, bourgeois society of complete , understandable, intelligible values, including, say, soviet socialism, the specificity of dostoevsky, that he leads very different sides with his different texts, you know, and in general the perception of him in russia in the west is still different in terms of which texts become the most influential, i would say that in the west these are still notes from the underground, notes from the underground rather, they are great... novels, so i was already immediately digging in the bushes, i’ll show you this our employee elena goltsova published notes on the underground dostoevsky culture of europe and america, a huge number of authors, so that when lena talked about what she was creating, i thought that it would be such

a thin book, look at some, some volume , and there really is a huge amount, it turns out that this is really an incredibly popular text, but an idiot too, so you were talking about... ekaterina evgenievna dmitrieva, vadim vladimirovich polonsky, i’m vladimir ligoido, today we gathered our thoughts about fyodor mikhailovich dostoevsky, the influence of his work on the culture of the 20th century. if you like to collect your thoughts with us, you can find all episodes of our podcast on the website of the first channel 1tv.ru. and you know, let ’s go back to cinema for a second, if uh, it’s clear that there are film adaptations, there are brilliant readings, like kurassawa’s, yes. but i suddenly discovered that there are traces of dostoevsky, but i don’t know there are

cinematic children, as they say about literary children, where this is not a film adaptation, i talked with john luenfeld, this is one of the modern american translators of pushkin, and i, i don’t remember, or he, in short, is lieutenant colombo, this series, and he says, well, this is porfiry petrovich, here i am finally i realized why i adore the series about the lieutenant so much. these are not direct film adaptations, precisely where dostoevsky becomes the occasion, or dostoevsky’s text, and where on this basis

something is created, well, like kurasawa’s, in general, it is very important, this, by the way, is very interesting, because attempts , here's how to remove it it would be nice to correctly reproduce dostoevsky's russian life and so on, they are terrible, if only there was such a film by lampin, from 1946 or something, or from 1948 , a french one, girard philippe is an idiot, yes, but this is just a real nightmare, the important thing is that... the bearer of such a revelation of the russians , and then his anthropology is gradually realized

by the terrible scythian dastoevsky comes as a word about man in general, only well , this russianness suddenly opens up new horizons in western man, it shows in him his underground, his irrational, his openness to the poles, its reversibility of the poles, that is, it is russianness that allows one to expand the horizon up and down, and opens up paradise. this is such a sublimation towards mystery, so it provides it, the metaphysical man of the 20th century is revealed in western man thanks to dostoevsky, but doesn’t it turn out that in addition to this there is a narrowing of even those heroes and characters who are worthy of saying, well, in the same american literature, in some of the characters, including the authors you mentioned today before, well...

dostoevsky, and for me, if we take not literature, but freud is such , because what freud reads from dostoevsky, i absolutely agree with vladimir veidle, who writes in the dying of art, as i understand it, around then so he writes that freud’s work has recently been published, and he has this quote for me, but i won’t waste time where he

says: psychoanalysis is powerless against the karamazov brothers, well, because before that it’s clear that there’s a desire to kill father... which means a novel grows up according to the words wedley in freud’s interpretation, and he , this emotional passage of his, is so anti-freudian or anti-freudian, probably more precisely, ends with the phrase psychoanalysis is powerless against the karamazov brothers of dostoevsky, somehow this resonates very, very much with me, what do you think about this, well, yourself fred also said that no matter how highly he valued dostoevsky, he was not concerned about literary writing, but he was interested precisely in the fact that he could subtract and...

how, in principle, it is recognized that the basic set of his concepts, he charging degree is developed precisely by analyzing the material of russian literature in general and, above all , dostoevsky, but without dostoevsky there would not have been freud, and without freudism there would not have been the 20th century, without i don’t know freudo-marxism there would have been no great world european cinema of the 60-70s godard and bertalucci, already mentioned today, were not there, and so on and so on and so on. this is a very important, very complex line: you may not like freud, but without freud there is no 20th century, and there is no freud without dostoevsky, by chance, say, döblin called dostoevsky the immediate father of freud , his most direct predecessor, thank god that there were other children, so to speak, so to speak, well, you know, i’m in conclusion, that’s what i wanted to ask you about, since i proposed such

a subjective approach, so if talk about who you think, but partly there may already be an answer about...

echoes the quote from shusaku enda that we started, because that’s dostoevsky there, but it’s expressed in a moderately different way, but it also sounds, after all, shusaku enda divided all writers into those after whom you you want, and you start writing the others , you can’t write, and in general he clearly gravitated towards the first, but all the greatness of dostoevsky was so beyond his measure that he could not write anything after him, when in 1931 the first one was published in france a large, detailed biography of dostoevsky, one can roughly call it. scientific, its author was the russian emigrant andre levenson, a francophone, the book was written in french, here is its first review, its author was andre rousseau, a fairly famous critic of that time in the condit newspaper, e.g. she starts with thoughts here is the author about what the karamaz brothers are for him, that this is a book that he is afraid of, he locks it in the closet, locks it with a key, because he understands that if he

lets it out and opens it, he will not be able to survive for a minute , he will have to close his eyes, ears, run out screaming, just to understand that you can still live, you can breathe, you can still enjoy the sun, dostoevsky does not allow you to do this, you see, this is the starting point of reflection dostoevsky there in europe in the thirties. yeah, that rhymes well with where you started, surprisingly, it doesn’t fail to resonate with me , because it seems to me that for me personally, my personal reading of fyodor mikhailovich, it just leads to the fact that i want, i want to live, and this is completely, and even in addition to the fact that there is the subtlest humor, which is present there in the same demons and multiple, but i don’t know, i have just the same karamazov brothers, they end on such a sublime note that... i completely agree with you, you know, allow me to share my youthful experience, i read a lot in my youth the great pentateuch, simply with my head and more than once, and one thing did not let me go, for

me there was a real world, these fevers, these convulsions, that’s all, that was the real world for me, that’s what was happening there was not quite a real likeness around, there was a real one there, so to say that stosky’s soul is not for me either. “how much we have left, i also had an analogy of the pomeranian in the stash here - with zen buddhism, where he says that yes, reading a novel, but how does he writes dostoevsky, he sees direct analogies with zen buddhist enlightenment and so on, but we’ll probably leave this for next time, with great gratitude i want to thank you again for this wonderful, unfinished, let’s consider it a conversation." ekaterina evgenievna dmitrieva, corresponding member of the russian academy of sciences, vladimir vladimirovich polonsky, corresponding member of the russian academy of sciences, i am vladimir legoyda, today we were gathering thoughts about the influence of

dostoevsky’s work on the literature and culture of the 20th century. hello dear! friends, this is the podcast life of the remarkable, i am with you, its host, writer alexey varlamov, my guest is a wonderful film director, screenwriter, pavel semyonovich lungin. thank you very much for taking the time to come to us, it is a great honor for me and a great joy to talk with you about your work, about your films, but you know, i would like to start with this topic, which may be somewhat unexpected for you, the fact is, that you and i have a common alma mator, faculty of philology in moscow. studied at

in such a special department at the philology department, a department called structural and applied linguistics, and there bilingualism is combined with mathematics, in my life it turned out that when i entered the philology department, we were immediately sent to potato training, together with us there was a second year of the second year ...

it was open, and it was an old moscow apartment left over from my grandfather, 100 m, even more, they were used to it.

they were generally very friendly, nekrasov and shukshin, nekrasova, that he brought shukshin to your house, and shukshin read for the first time in your house the gospel, and after reading the gospel, vasilich

said: an iron book, it is still iron, it still stands, how in general is this how you feel about kshina? i treat him very well with great interest, i believe that he is an extremely talented writer, an amazing actor, and least of all a director for me. don't like his films? well , i like it, but it seems to me that the artistic expressiveness of his stories has some kind of understanding of the soul, but he has it in everything.

was for wives after all, but among the directors, here among the film directors, whose films you thought were you know, of course, i was always under the enormous influence of alexey german and even for some time considered myself his student, although my way of making cinema, so to speak, was different from his, in principle it was difficult to replicate, it seems to me that he is a very good director . klimov shipitka, here is their kind of iron films, as he said, shukshin said, iron book, i would say iron films that did not live in a relative world, as if everything was allowed, everything was permitted, here is the world of the thaw, and they already lived in a world of harshness world m, you are on this side, and i am on that side, this is it, for some reason this worried me,

just as... i was worried about herman, who simply created the world, not the mood, he did not create the musical theme, he sculpted some special world with great tension inside, and tarkovsky, tarkovsky was in that world, in the old one, although for many years i was the president of the torkovsky festival in ivanovo in plyos, a mirror. yes, and i even remember how torkovsky, young with konchilovsky, came to nekrasov and showed him andrei rublev’s script, they the two of them wrote it, they came to victor, we called him vika, everyone always, vika and vika, two such young handsome men came to viktor platonovich nikrasov, who lived with us then, i was probably 12-14 years old, they,

apparently , we were studying in vgih then, but... just some two celestials came and there they locked themselves in the room, they kicked me out, and i leaned against the crack trying to hear something, but no one was a person from a completely different era, but i don’t think what did he understand rublevo, and what, what did they want to hear from him, why did he need it, is it good written, i wonder if he understands what they want to say, but it seems to me that it was completely outside his aesthetics, because they didn’t appear anymore. i don’t remember, i went to a lot of sleepers, he and nikrasov were very friends, i actually somehow, you know, when i was very young, they offered to introduce me to akhmatova, i dodged it because the poems were very good, then in new york with brodsky and i too, it seems to me that this is some kind of opening, well, until it requires

... like a sacred sacrifice of apollo, somehow i perceived it differently, but torkovsky essentially did a colossal thing for russian art, of course...

our editors received a letter from the worried mother of a russian actor. i had a huge shock, i think any mother will understand me. she saw a fake message that her son allegedly died in odessa. this is aimed at a western audience. judging by the comments, ukrainians believe everything. first of all , public people become victims of fakes, and this will increase. we’ll also tell you which scientist they tried to steal from us again. a ukrainian with russian roots, some snatched and... correctly interpreted biographical facts, this is the path leading the nation to a dead end. antifake, premiere, tomorrow on the first. the muslim world took the place of the ribi world and

byzantium, developed the resulting heritage further, and then passed it on to europe through spain and italy. what is algebra? this is the arabic word aljabr, multiplication, achemy, alkimiya, even alcohol, alcohol translates as decrepit person, what makes a person decrepit. until 1917, the personal guard of the persian shah consisted of russian cossacks. the shah of persia, the most precious thing he has, that is, himself, trusted only the russians. i have met a lot of people who think that a woman in our country should always wear black and cover her face, but this is not so. they asked, do you want to add a clause that he does not have the right to marry a second wife. aspiration to the future and... to historical eras, this is the real face of islam. civilizations premiere, film third islamic world on thursday on the first. dear

friends, we continue, this is the podcast life of the wonderful, my guest is the director, screenwriter, pavel lungin. how did you get into cinema in the first place? so you graduated from osipol, philological faculty, and what happened next? well, i suffered, i wasn’t, i wasn’t very adapted to this life, i couldn’t find a job, for some reason you kicked me out of some research institute ixi was like that sociologically. here is specific social research, that’s why i tried to work in a newspaper, i didn’t know myself, you know, i was of course torn by a terrible desire to live, this energy that then came out of me and is still crawling out of me then i was just bursting, i wanted to live, drink, love, go crazy, i don’t know, it was something like that, it was a very interesting, very energetic, active time, that’s why?

he and i practically never worked together, i didn’t seem to devote myself to his work, well, i don’t know, in any other way, and after i finished writing quite a few not very good scripts, i realized that what i see is somehow different, what i write was completely different, and you were happy with the films that, never, i took pseudonyms.

i don’t know, probably for a whole month, and he still didn’t accept me, you know, it was something that you couldn’t enter, you couldn’t tell, it was absolutely some kind of hierarchical society, and which still hit you in the face, by the expression on your face, even because it was coming from you, and i saw how people were dragging a box of cognac in there, for example, right to him there, and the doors swung open, i kept sitting and sitting, i remember... it’s some kind of thing to me moment i just

couldn’t do it anymore, i opened the door, went in and saw a red-faced man behind a large empty polished table, which, when he saw me , for some reason he had an onion cut from a glass, he swiped it into the drawer with some completely professional gesture, it was a different time, time had changed a lot, as soon as there was a different atmosphere in oil. time has changed a lot, as soon as the perestroika period began, and you remember it with gratitude, i am with great gratitude, of course, when the artists began, when all this began, it may be, there was a lot, maybe there was something wrong, you know, but it was the broth in which life lived, and how did the idea for this film taxi come about? they first wrote the script, yes, yes, i came up with some kind of story that...

and at the same time i felt even then that this perestroika does not include everyone that many people are afraid of that this is a new life, this is a new freedom.

after this success, i had to replicate it and develop it further, well , somehow stay on this archetypal level, and i filmed again...

i don’t need actors, because they are known, i need to find some person from there from life, and i remember that i, in my opinion, it was in the winter, the new year of 1989, apparently, i turned on the tv and saw there, they were congratulating me on the new year, some interviews already on january 1, i saw mamonov, who then was known as the leader of sound, i don’t really like rock, i didn’t listen to mamonov then. but i saw this face, exhausted by smell , so strange, such a faltering voice of his, and then a mixture of timidity and frenzy in him, and i just realized that this is a man of freedom, and i found him, i met him, we talked to him, in general, as a result, i persuaded him to act in film,

and you know, there is such an interesting detail that brings you together, well, firstly, you are two native muscovites, yes, he rather. no, he had no friends, this man with his skin removed, with his nerves exposed, he was in a state of either searching or resentment or some kind of internal experience, he, for example, could not live in a hotel, people were destroying him, communication his...