they told him that gerriy nikolaevich told him that until you write, you will sit here, well, here he is, which means he wrote the first line there, went out shouting up there, and they said, okay, continue, and so they shouted at each other, so he wrote this, shpalikov’s poems were different, but they didn’t fit on this musical meter, the poems were, i walk around moscow, like... they walk on

a board, what is a square from right to left too, a square, here once - then pushkin lived, pushkin was friends with vyazimsky, grieved, lay in bed, he said that he had a cold and so on, but they didn’t fit this size, so i had to make it up, well, you see, how all this supposedly consists of coincidences, but in fact it’s god’s providence, i think, well, that’s just it if we talk about god's providence.

he is an installer, an installer, someone, and a writer-engineer, of human souls, and you, as i see it, are a locker, and are you a opportunist?

we know most of all, of course, as an actor, he’s so straight away right away, they were there at one time, basses and bulls, it’s all in demand sporadically everyone offered them some roles, in general they could make good money, and bykov also appears again in i’m walking around moscow , stealing scenes literally all with his participation, then one actress appears there, who by that time was completely unknown, we they later recognized her, and it was inna churikova, and inna, yes, no, she was drawing a horse in the park, you know, ina, i know her from the studio. at the stanislavsky theater, she was also a studio member of this studio, just like nikita, so she always stood out, no one knew her yet, she is unknown yet, she always stood out, this is a girl, she was always

spoken of as very talented, she had such a reputation, one might say, they invited her, she was a student at the shchepkinsky, in my opinion, shchepkinsky and school . she didn’t play this episode, but these scenes were already filmed in the pavilion, that is , it was assumed that the film would be shot in the summer of sixty-three, everything would be on location as much as possible, but they still climbed into the fall, autumn is beginning and they are already enduring it little by little, little by little not at all the pavilion was filmed then, this would be now, this is what you are broadcasting, this is the current logic, this is now. that’s what the producers did, then they calmly filmed in pavilions, they had to build a pavilion, there was no problem with that, in my opinion, all these pavilions, they were registered in advance, i don’t remember that they were looking for some kind of natural

scenery, no, that’s it this was filmed in advance, well , no, it’s supposed to be gorky park, but it’s already cold, because the scenes are in the evening and that’s why they’re moving to the pavilion, no, so that’s not a reason at all... filmmaking, because it’s cold, that ’s all, only a film vet or a film critic can come up with something like that, and the actors are all freezing, yes, but look, the final scene in the subway was always not in the script, it wasn’t, and there are different versions, in fact, how it should end, where they should be, at the borodino panorama, somewhere else they are walking or at the airport, in the same place where this film begins, but in the end they transfer the shooting to the metro.

were you famous, that people began to recognize you on the streets, did your profession gain some recognition? no, no, firstly, when the picture, when it began to be shown in art houses, yeah, in this circle, in the circle of filmmakers and cultural figures in general, of course, i was already known among students, my classmates there, but so widely here's the public. it was still there, it had not yet been released, it was released later, and at the time it was released, i was already starring in the film goodbye boys, the scientist kalika was migrating and was on a film expedition, so i didn’t i noticed this, then somehow i already

came to moscow, i began to notice that they were looking at me there, the students are usually very, very careful about this, that they recognize you, they don’t recognize you, this is some kind of ... recognition, as it were, now we can already say that so i turned 78 years old, of which, you see, only 17 i lived, not as a public person, and i remember that when we came with a letter, with a petition from the massfilm film studio, to the rector of the shchukin school boris evgenievich zakharov, people's artist of the ussr so that he would let me go with a request. he made me very friendly greeted me kindly, let me go, but what about mikhail kalik and goodbye boys, expedition, besides, i already had to go on academic leave, but somehow

the teachers treated me favorably, it’s clear from boris evgenievich himself that i was later reinstated in my course, i didn’t lose a year, well, i understood that i understood... that many people envy me, and i tried to somehow behave delicately towards my comrades, and in general i’m such a non-boastful person, that’s how it is by nature , i’m just saying... well, this is also natural, natural, because we

pulled out a lottery ticket, well, you’re really so lucky that i didn’t just get into the cinema, into my cinema, the film is now turning 60 years old, well , if you read the moment of the premiere, 1964, and the logical question, of course, yes, the previous generation of viewers knows him by heart, especially this famous phrase, my favorite scene, when mikhalkov’s hero and...

we’d better go and have a look, download something from the internet, watch some tv series, and so on, what does he tell us? can you give me a film of me walking around moscow today? and i think, that this old black and white movie will always be new at all times, so i’m walking around moscow, because it’s really a miracle that god brings us all together, all the authors of this film, right? all the participants and co-authors, so to speak, and something happened by the will of georgy nikolaevich, of course, by his will, he made the final decisions in each individual case, you know, a lot of people imitate, a lot of people have appeared, ala, i’m walking on after the films in moscow, uh-huh, that means we caught something, i don’t give myself credit for this... but it means the authors, all of us, caught something, we

sang something on the theme of time, to some extent we voiced time, there were some scenes that ultimately were not included in the film, in which you starred, well, it was, at first, when i came to nikita, i started, he picked it up or i don’t remember, we started singing this song first, and i walk, yes, yes, and we learned it, i remember. working in the theater, i worked in the theater all my life, that’s why we have a relationship with the stage

without reverence, even on the contrary, on the contrary, there is some kind of benevolently condescending, miracle in the fact that they were filming, they seemed to do it somehow naturally just like that, suddenly it grows, for example, one of the miracles is also that president nixon came for a visit. in the ussr there was an honorary parade, they met him there at the airport, and they walked to our song, marching version, everything was fine in the world , you didn’t immediately understand what was going on, it was a surprise, and this is not just a social sound, but such a global sound, oddly enough. this intonation of our film is completely unnecessary, as if on

the one hand, from the point of view of rude reality, on the other hand, such a piercing time, i would say, you know, we are now talking about this topic, i have already said several times how much we have already celebrated the fortieth anniversary of the film, the fiftieth anniversary, i remember when we celebrated, it seems the fortieth anniversary of our ... here’s a demonstration, i’m walking around moscow, which in general everyone knew, the whole beach had gathered, then, when we came out, they interrupted the broadcast, well, there was... there was a celebration of our appearance on the stage, then we walked through hall of this winter theater, went out onto street, to the square, square, on the square there was a film being broadcast at the same time, and there were spectators standing there, the whole square, all this was broadcast, it was just some kind of national celebration, then we went there

to the beach, where there was - that means, a georgian restaurant , fondant for georgy nikolaevich to his homeland, so the table was set there, they celebrated, which means this is the fortieth anniversary of the painting, in my opinion, only the polish gali were not there, but everyone was there, thank you very much, evgeny yuryevich, we are finishing our podcast, our issue, actually, my last question is not to you, natalya, why do you think this film needs to be watched today, well, it seems to me that evgeniy said. it’s right that this is such a cast of time, which was taken very quickly, very easily, and like some kind of capsule really preserved the breath of time, this is what yusov did, this is what you, the actors on the screen, do, in the way danelia put it all together, in the way shpalikov wrote it, and to

truly immerse himself in this time, it seems to me that there is no better film, as i swagger around moscow, yes, yes yes. you are right, yes, then the form is so optional, there is nothing intrusive, you see, today we received such a breath of the sixties with our dear guest evgeny yurievich steblov, thank you, and thank you for coming and we say goodbye, this was a podcast of witnesses from einstein and its hosts natalya ryabchikova and stanislav didinsky, film historians, you can see all episodes of our podcast on the website of the first channel 1. v.ru. thank you and goodbye. thank you bye. hello everyone, tatyana gevorkyan and ne are with you lykomshity. today we are talking about the relationship between

cinema and fashion. let's remember the most iconic images of film stars from soviet films. with me. studio costume designer natalya konevskaya. soviet cinema is a treasure trove of cult images. natasha, were you personally acquainted with any of the soviet film stars, or maybe you managed to work with someone? let's start with the fact that i grew up in such a magical house, it was an actors' cooperative. in the sixties , a lot of actors moved there, and anastasia vertinskaya and alla demidova lived there and yuri visbor, and arkady arkanov, lived there very, very much. and actors and people associated with theater and cinema, and of course, every time i entered the elevator with one of them, i scanned with such, you know, the already beginning glance of a costume designer, every time i admired, was amazed since childhood, here i am there was such an incredible opportunity to watch them, who did you like most in their everyday image, so to speak, well

, anastasia vertinskaya was always absolutely incredible, anastasia vertinskaya... they called her the soviet audrey hebborn, graceful, sophisticated aristocratic appearance. she conveyed beautiful images not only on the screen, but in everyday life. i was amazed then that she wore flat shoes, which we all love so much now, with long skirts, men's boots, always some interesting headdresses, hats, caps, berets, and there was another amazing moment, she already wore one a long earring, like... yes, she was an absolute trainer, she overdid the fashion, wore these huge jackets with wide shoulders, a long, floor-length coat, something that came into fashion in moscow, it seems to me, by the end of the nineties, if not in the two thousandths. when i was going to film today, i talked on the phone with my mother, she asked me what the filming would be about, i said, we will discuss soviet film stars, my dad worked in

the field of cinema, and we lived in other countries, he represented russian cinema there came very often. soviet delegations with film actors, and my mother says to me: well, you remember, lyudmila gurchenko came a couple of times, i say: no, mom, you know, it’s very vague, i remember that she came, but for some reason the images did not stick in my head, she says, well, because when she came to visit us, we took you children to another room, because she was very sharp-tongued and she spoke a lot of words that were incomprehensible to children, that’s how bright this is from... very often they get tired of popularity, on the contrary, they want to hide from recognition. alla demidova was different in that i didn’t recognize her every time, also as a little

girl, when she entered the elevator, i think who is this neighbor, and this is allamidova, that is , she knew how to somehow hide her stardom, and at the same time, if you look at her photographs, look at some chronicles from festivals, of course she is incredibly stylish, stellar, with amazing posture, but one thing from the ability of film stars. reincarnate in life to look like ordinary women so that they are not recognized when they don’t want to. well, by the way, today, yes, today all famous actresses, they try to hide either behind dark glasses, or dress modestly enough in everyday life so that no one will see them i didn’t recognize it, then it was the same, of course i didn’t know everyone and didn’t see them, but what i saw, it seems to me that it was the same, it’s one thing to go to a theater rehearsal somewhere in the morning without makeup, too wearing dark glasses, hiding behind some kind of head... choice, but it’s another thing to go to the premiere in the evening, somewhere where they should recognize you, everyone should talk about your image. let’s talk a little about film images, from

your childhood, whose images you remember most, for example, lyudmila gurchenko, what are your most memorable images? of course, probably everyone wants to talk about the carnival night, but my favorite film with her is just like this... the calmest, probably, this is the film five evenings, there is a very interesting transformation that happens with her, she’s in the beginning, as far as i’m concerned i remember they appear in some kind of robe with these curlers with some kind of scarf on their head, so completely nondescript, by the end of the film , by some very simple means, they simply look 20 years younger. lyudmila gurchenko was a real influencer and trainer of her time, it was she who popularized the famous silhouette of christian dior among soviet fashionistas. after the release of the film station for two, women began buying piles of magazines with patterns, sewing a dress and curling their hair like the heroine of the film. what do you think,

these outfits of the carnival night, were the costume designers inspired by the house of dior? definitely, i don’t remember, i think it was 1956, yes, that is , almost 10 years have passed since christian duor proposed this wasteful one with a huge amount of fabrics, which. spent on a dress after the war, changed the entire female silhouette and even somehow returned to women the corsets that they took off with such difficulty and with such pleasure at the beginning of the century, suddenly again the fifties are pulling everyone into a corset, this is a wasp waist, it also came to the soviet union a little later, but this is such an understandable desire of post-war women to look beautiful, feminine, well, this is a very popular silhouette today, i have... a dress that i inherited from my grandmother, i even have photo of her in reception at the soviet embassy in a fitted dior style dress,

i still have it hanging in my wardrobe, i blow dust off it, and i even wore it somewhere a couple of times, well, somehow the christiana deor brand itself is not promoted these silhouettes of theirs practically do not change from season to season, the length changes, the texture of the fabric changes, but this one is always there. they have it in their collections, now everyone very often looks at soviet cinema from the era of the seventies and eighties, and says that modern collections of famous world brands are very reminiscent of an office romance, or a photo of lyudmila gurchenko in a suit, it’s just a missony suit, where they found outfits for movies at that time, were they some well-known brands or was it made to order, how did it all happen? well, there weren’t really any well-known brands back then. then naturally it was all sewn, it was all costume designers who collected fabrics, found patterns, in fact these were practically the first fashionable

costumes, because if you watch movies of the twenties, thirties, even forties, here is lyubov orlova, for example, she is considered the first soviet diva, yes, but try to remember some of her images, lyubov orlova, the diva of cinema. fifties, golden curls with a cool wave, accentuated lips and graceful high eyebrows. she created her image together with her husband, director grigory alexandrov, inspired by actress marlene dittrich and the dream factory. fur coats, shiny evening dresses, and of course elegant hats. but lyubov orlova is often compared to marlene dittrich in her image. according to the image, yes, light curls, these thin ones eyebrows, red lips. at that time, the clothes in the movies were practically. erased because, well, ideology was probably more important, it was more important to show that the heroine, a real soviet woman, she thinks about the public, and not about some kind of personal

and... grasshopper, romeo and masha, buglyanka, i, comrade commander, we remember how they flew, how they caught grasshoppers, eagles, wolves, and how they loved, and as shakespeare said in the eighteenth year, hello, boys, and we remember what these boys did for us, those fields, roads, villages, uh, no, the air is different, but the sky

bluer and the earth greener. we will live, we will live, as long as we remember, only old people go into battle, may 9, after the program, time, and if they give you a motto, where are the byls, we will get enough, this is not a tasty treat, today, together with costume designer natalya konevskaya, we are sorting out the wardrobes of the most iconic movie characters soviet films, in general, in recent years we have been watching our old cinema... with a completely different look, that is, then we really followed the plot, the ideology, we remembered the songs, but somehow the images were not stored in our heads, now, first of all, everything pay attention to the images of our film stars. well, probably yes, we have already been taught modern cinema and the fact that cinema always collaborates with fashion houses and designers and that any new film that comes out, if it is

somehow... connected with fashion and with stylish heroines, is always it is discussed who made the costumes, what brands dressed them, then of course this did not exist, but if we go back to lyudmila gurchenko, then this dress was in the style of christian dior, it was rather the other way around, that is, such a dress appeared, such a bright heroine appeared, everything women around they tried to repeat this image, because there are no non-fashion brands, there is little shortage... and the only thing you can look up to are these films that are shown all over the country, in all cinemas, and of course, all the women try to repeat the styles after that these outfits, you can still remember such iconic things from the movies that have become popular in modern life, such as natalia varleya’s haircut in prisoner of the caucasus, when everyone started doing this

bobkare. or svetlana svetlichnaya’s white headband, then this robe from svetlichnaya is also legendary, it seems to me that with the light hand of the film’s costume designers , the diamond hand, white color began to be associated with some kind of forbidden rich foreign life, some cool and foreign things and after that , we see a lot in the movies - these negative, but very attractive, sexy, beautiful heroines in white, the same thing in the film ivan vasilyevich changes his profession, there are two heroines, there is a main character who is always like this red and white, and there is the director’s girlfriend, she doesn’t just wear white, but an incredibly white top with feathers that you can easily wear today and no one will notice that these are things from the early

seventies.

production designers and costume designers came either from the theater, or there were artists from the same carnival night, so interesting, the production designer there, in my opinion, is konstantin yafimov. his name was, he was the costume designer in the film volga-volga and in some other films with lyubov orlova, that is these are the same people who could make costumes and scenery, and the workshops worked, a whole sewing workshop worked at musfilm, it was difficult to find these fabrics, somewhere they found patterns and patterns in magazines , somehow these magazines came from abroad, then for many years before... they worked on it, that is, it was all very difficult, painstaking work, because well, there was a period of shortages, you couldn’t just go to the store to buy , let alone clothes, even fabric. how much easier is it to work in film today? and simpler is more difficult, well

let’s just say that it’s very interesting to work on historical projects, because it’s a whole hunt, a hunt through vintage shops, a search for some authentic things, sometimes one thing can create the image of an entire heroine. it’s like you can start from just one suit you find and come up with a whole life. in the office novel , this brown suit is said to have been found by alisa frenlich herself. we climbed through all sorts of costume rooms of musfilm, not musfilm, looking for something so terrible, shabby, i don’t know if it’s true or not. once upon a time an image lyudmila prokofievna was considered monotonous, gray and inconspicuous, but love is the best makeover. the transformed mymra became a standard for all women in the country.

that people now already allow themselves not to comply with the dress code, well, we won’t come up with this plot now, but it seems to me that it’s great to first show a person in something like that - shapeless, huge. we were once

talking about images in films in the studio, and they told me a story that it turns out that we have female actresses who are forbidden to bring mass-market items, that is, they must be expensive brands, it's with this. have you encountered it at work? no, i think it's more the work of the stylists, no, not the costume designers, because in the movies, well, you can't dress everyone in couture clothes, because well, let's start with the fact that the heroines are different, if this girl always plays uh wives of oligarchs, then it is possible, but then she very much limits herself to the possibilities of roles, but i heard that this was not dictated not by the role, but by the personal role of the actress.

i haven’t met stars and actresses who are lighter and more open to experimentation later. for a very long time, and in general this whole generation of soviet cinema stars, they, perhaps because they are not spoiled, perhaps because they already have such a huge life experience, they never look at labels, they never look at oh, i won’t wear this, it’s some kind of fabric, they immediately try on clothes as if they were the image of a character, that is...

hostage to some one image in the cinema, why do we have so many actresses today, they don’t use a wide range, you want me to start criticizing the industry now, in which i work, no, of course, sometimes the images change, no, i think that we changed elena yakovleva very much for the image of shpaklyak, in general we had such a wonderful joke, i don’t know if it’s allowed or not, what to check when it’s big the film crew sits and discusses what will happen... elena yakovleva will play shapaklyak, then by

the roles they remember her for, you can understand what age people are, because someone remembers her as komenskaya, these are thirty-year-old people, some -someone remembers her as an inter-girl - these are forty-year-old people, well, now a new generation is growing up, in interdevochka there were also such quite unusual ones, i remember from my childhood that wow, for soviet cinema it was so very provocative, very by the way, one of the very quotable images - all these heroines, there is such a famous a photograph where the four of them are sitting at the beginning, and in almost every film about the eighties there is some story with some kind of prostitutes or some kind of bar for foreigners, they are sitting there somewhere in the background, in general this i really like this photo i often raise it, very often i look at it in order to create some similar images, it seems to me that for many, at least for my generation, for all schoolgirls from...

culture, everything fashionable, how it influenced soviet fashion, it greatly influenced , i see this from all the references and from photographs, that there was a direct transition, but in general there was a transition from the style of the seventies, the style of the eighties, and these are just completely different silhouettes, but there were these bell-bottomed trousers, very tight shirts, sharp collars , all so tight, narrow, well, let’s just say, uncomfortable, these ones... you probably also heard stories from your mother that jeans

were only put on lying down, fastened, it was impossible to breathe, and then the year 1980 suddenly brings this sports fashion , everyone starts to play sports, well, plus , besides the olympics, there appears, probably this story with aerobics , programs are being recorded, i forgot what its name is, this main american one...

at that moment, of course, this and this was also such a breakthrough for that time and it seems to me yes, but she still seemed to be on a hike , a special kind of sexuality, this plaid shirt, tight trousers, yes, these sneakers, all the same, here she is in a skirt, in a blouse, yes, i wonder what kind of shoes she has on , well , definitely not sneakers, but what are there, what kind of shoes can there be, high heels, small heels or flat pumps, this is the maximum that they have... shoes for sports, and what other trends have come to for us in the eighties, high-waisted trousers with tucks, that is, flares go away, gradually bananas appear, wide shoulders, after that these narrow shirts, which are narrowed at the back behind the tweezers, just like that, straight silhouette, but in general, oversized, oversized is a style that came to us from the eighties. is it even difficult to find vintage items these days?

on the one hand, every year it becomes more and more difficult, well, not even more difficult, but let’s say, more expensive, because when i started these clothes from the eighties, they were not valued at all and you could bargain at any flea market there for 100 200 rubles all these things, now these men's suits bolshevik factories - this is considered a fashionable unisex style, they are sold by bloggers and they cost. zero more expensive, tell us what else is now really very expensive on the resale market, well, besides, say, bags of famous brands, vintage jewelry. probably yes, you know, oddly enough, i was faced with the fact that all the soviet symbols, real soviet things are very expensive, t-shirts with an olympic bear, tracksuits, these olympic jerseys, real wool ones with the inscription ussr, not fake , not converted, already modern

copies, exactly from that time, it’s very expensive, to watch all sorts of films, especially tv series about some schoolchildren, about young people, until the end...

and of the modern russian actresses, who would you name, how sexy are they now? here comes a dangerous one, you know, maybe you didn’t remember someone, you named someone, someone you understand that you are all now, of course i can remember with pleasure the whole caste of kept women, i think that uh it was as if this magic moment happened there, when everything coincided, the images coincided, and the actress, and the casting, the script, and of course there is a lot of sex in every character, well, dasha moroz, she is generally a very good dramatic actress, but it was after the kept women that i got the feeling that for many directors she became a hostage to this sexy role, well, i think that this is her decision, we will see her in different roles, who else? i really love all

the images of marina zudina, but this is precisely due to charisma, but at the expense of charisma, because you can put all the same things on some other actress without her. which you can find on the first website. ceremony, inauguration

of the president of the russian federation, vladimir putin. live stream. may 7 at 12:00 moscow time. hello, the program is about the most notable events of this day. holy saturday, easter liturgies will begin very soon, on the way to moscow from jerusalem, a lamp with a particle of the holy fire.