said, first, that china still hopes that the partnership between china and the european union and france will further develop. we remain partners, strategic partners, we are not competitors, we are not enemies, we are not adversaries, we are partners, that’s the first thing. second, he said that china and the european union and europe. must cooperate together to build a common future, build a multipolar world together, and china sees europe as one of the pluses, and the last question is regarding the united states, there are quite a lot of negotiations going on between china and the united states and in the united states they would clearly like for some... especially economic ones, china and

the united states to be partners, but at the same time they are going to arm the philippines against china, at the same time they are sending marines there, and at the same time they are creating a network of alliances in southeast asia, which are clearly aimed at china, but more and more sanctions are being introduced when secretary of state blinken. went to beijing, right before that new anti-chinese tariffs were introduced, he went to beijing and they are trying to say in washington that it was a constructive trip, just yesterday new economic measures were introduced against china, how china perceives the united states in these conditions, an adversary, a partner, and both. the united states in relation to

china is nothing new, and the chinese leadership is ready for any turn of events, including the most negative scenario. and yet, china is doing everything in its power to try to mitigate. situation, you yourself just said absolutely correctly, yes, blinken recently came to china, and before him he came and the secretary of the treasury, janet yellin, it is completely clear who is more interested here, this is america, the americans need something from us, it is america that is interested in resolving some issues.

now, regarding the us attempts to somehow encircle china and create tension in the south china sea over attempts to arm the philippines, and china, so to speak, put its cards on the table. china has made its position very clear. naturally, we closely monitor everything that is being done.

in fact, this is where the philippines is showing activity, they took advantage of the fact that they have the support of the united states, now both japan and australia are also getting involved in this, to be honest, i feel sorry for countries like the philippines, because let’s face it, there are disputes over these islands.

considerations, we give you the go-ahead, please, but don’t go too far, don’t go too far, so china warned. he doesn't appreciate china's kindness, so let's hope that the parties will still keep the situation under control and avoid escalation, but we really are.

what is happening in a completely different region on one simple thought, we were just talking about a world very far from ukraine, but if you look at american policy towards ukraine, american policy towards the philippines, you will find a very clear similarity, a similarity that causes natural anxiety. thank you very much, professor, it was.

hello, this is a podcast of isenshtein's witnesses and his leading film historians, natalya ryabshchikova and stanislav dedinsky. we talk about how to watch soviet cinema now, known, beloved, perhaps forgotten or completely unknown, we reveal the secrets of film archives, show why this film is interesting and how to find new meanings in it. today we have a special topic, we will not talk about everything. soviet cinema, not about any specific film, we will talk about, about one of our favorite actresses, about one of our favorite actresses who remains a mystery to us, we will try to solve this mystery, we will see how we do it, we will talk about tatyana samoilova, who has

a double anniversary, 90 years since her birth and, to unfortunately, 10 years since her death, she passed away exactly on her birthday, of course, she is known to us as... the star of the film the cranes are flying, but what else happened in life, in her career in tatyana samoilova’s films, let’s try about that talk, right? well, of course, when we talk about actors or actresses, biographers usually very often go into details of their personal lives, because well, this is kind of the content that fills the biography of these people, but still from the point of view of professional cinema as film historians. see who's filling the content of the roles that, strictly speaking, are played by these famous, beloved consequences by all the actors, and these roles are filled by screenwriters, directors, in this case in the case of tatyana samoilova in the case of the film letiya, of course, the cameraman, maybe

we’ll tell you how the situation developed in soviet cinema, cranes are flying towards the release of the film, which allowed the little-known actress tatyana to reveal a completely new side. samoilova, how did this film attract the attention of foreign critics and foreign festivals in general? received one of the main prizes. yes, but first we will watch a fragment from this film to remind the audience, what is she, tatyana samoilova, and what is this film like? veronica, i wanted to talk to you, but i don’t want to, and please don’t call me veronica at all, that’s who i am, that’s who i am. well, belka, someone, listen, what are you going to give me tomorrow, it’s a secret, if it’s something tasty, i ’ll soon forget to eat it, you give me something so that it will be a long lasting memory in

my old age, kiss me, you know when you're with me. i'm not afraid of anything, not even war i’m afraid, i’m afraid of a policeman, a very famous shot, a famous movie, a famous role, but still i would go back a little bit, starting with the biography, because it’s important how tatyana samoilova came to this role, this is her second the movie role that made her truly world famous, how did that happen? firstly, she is still from a family of actors or an actor, her father was a famous actor even then, evgeniy samoilov, and her brother also became an actor, that is, there was a connection. with art, there was a connection with film art, in her youth she studied ballet, hence her plasticity, hence,

these even when she makes runs in this film, yes, she does not just run, when samoilova was still studying at the theater institute, she was called in the fifty-fifth year to the film, called the mexican, is a historical melodrama from the life of mexican revolutionaries. at the beginning of the 20th century , alex strizhenov plays the main role superbly, and there are two young actresses who, just a little bit later, will become beloved throughout the entire union. this is nadezhda rumyantseva, she's such a fun role, playing a young typist. and actually tatyana samoilova, who plays the more serious role of such a strict mexican beauty. and i have a theory why this film was made, why it was made this way, why...

active work, among other things, he was sent to hollywood to learn in general how the big film production system worked in the forties, and he returned from hollywood, made a detailed report that helped to partially change soviet cinema, although not with all of klatozov’s recommendations took advantage, before that the thirties, this is a man who made quite, let’s say , avant-garde films, yes, well, back in the twenties, of course, nail in the boot, sols vaneti and so on and so forth. in general , as a cameraman himself, when already in the fifties he began working with cameraman sergei

rusevsky, a much younger man, they somehow agreed on this visual basis, yes, on visual basis, taking, in general, a rather different kind of standard play , but having undertaken to shoot a rather simple film, a melodrama, a genre film, let’s say, which then, of course, was not called a melodrama about... the life of wartime, about the separation of lovers, they began to fill this plot of victor rozoy, it was originally a play, with actors, gestures, shots, light, in this fragment, how we see the heroine of tatyana samolova , veronica, on the one hand she is lit in an everyday way, this scene is in veronica’s apartment, the day before... the main character boris, played by alexey botalov, must go to the front, they are about

to say goodbye, she is still he doesn't know about it knows this, he is trying to tell her that they will soon separate, she is thinking about the wedding, she is thinking about her birthday, she is thinking about continuing their journey together, they hang blackout on the windows, that’s why it’s so strange - like a picture, the light is not very clear, the light is not quite like that... flooding faces, it is sharp, it is dramatic, and it was innovative then, it was a return just to this style.

who just came out, because she plays a girl who breaks up with her lover, he leaves and dies, and she, not knowing that he died, not yet knowing that he died, she marries his cousin, who just didn’t go to war, and literally the entire film is actually the awakening of veronica, this is her

path to, in general, to victory, in that including over oneself, over circumstances and so on, there is devouring... there is information that the country’s leadership also looked, but khrushchev actually didn’t like the way veronica looks, having betrayed, yes, the hero on the screen, so not so much it was just to play this role, it was not unambiguous, it was very complex, it was intense, and of course, when the cranes fly gets into cannes in 1958, it’s a sensation, it’s a sensation from the point of view, again, of directing, from the point of view of cinematography... from the point of view of acting, but plus, this is a film that you did not expect, no one knew that at that time, in the fifties , an absolute revolution was brewing in soviet cinema, with the beginning of the thaw, that there, well, of course, everyone knew that more and more were being filmed there, since the era few go-karts, early fifties, film production in soviet cinema is increasing tenfold, this is

a great discovery for european film festivals, which are beginning to rediscover soviet cinema... after everyone, of course, knew the films of the twenties, revolutionary, but they are beginning to discover asian cinema of some handsome man, who is approximately those the same years becomes known in europe in a new light. soviet cinema, in general, responds to these trends, it responds to the demands of the time and opens up new names. yes, everyone is literally delighted with samoilova ; they give her, in addition to the actual golden palm branches of the film, they are awarded a separate prize. orange tree, i think it 's called, there were almost real oranges involved in it. she becomes a european star. in the early sixties, several films were released at once, which were joint productions, co-productions of the soviet union and european countries. first there was the soviet-french leon gorosy druga, then the soviet-hungarian alberegia. and finally, they go to the east,

a soviet-italian film, by the way, by giuseppa desantis, who knows. approach to to reveal the topic, he had, of course, his main muse, his most famous film bitter rice, silvana mangana, perhaps, having seen samoilova, he saw something in common between them, well, who knows. i remind you that this is a podcast of lisenstein's witnesses, and today there is a special episode dedicated to the anniversary.

in these joint productions, there’s a feeling that samoilova is being cast precisely because she’s samoilova, not because she’s an actress, but because she’s an actress from the movie the cranes are flying. that is, on the one hand she is a representative of soviet cinema, on the other on the other hand, she is this sign, she is veronica , the cranes will fly away, in the film leon gorosyushchy friend, she is generally an actress and singer, she plays such

a rather eccentric person, who, in principle, the plot is about how a frenchman is looking for his comrade in arms in the soviet union, that is, this the film is such a journey through the ussr, it’s even semi-documentary, yes , that is, yes, well, there are documentary footage, and the restoration of the economy and so on and... that’s why all this is happening, so he’s looking for a friend, and there’s also a girl natasha , having quarreled with his beloved, the brother, whose translator is this same leon goros and his company, leaves, they are looking for her all over the country, here is some kind of insert number, as if in this film, well, only an insert number for the whole film, yes she is such a jealous girl who is going to get married just like veronica, but then the pilot has to urgently fly away; she is leaving on a business trip. creative, so she travels around the soviet union, and everyone is looking for her, she gave an interview after that to a french television company, where they actually asked her what kind of role it was, how

it was to play it, she answered very seriously, very, very interesting, these are stills - watching them now is terrible, terribly exciting, she really thinks about simple journalistic questions and says, well, i haven’t seen the film , but this is such a role that is unusual for me in the genre, eccentric or eccentric, i tried to play it as a comedy, they ask her, in life, aren’t you eccentric, you don’t have some qualities, it was difficult for you to transform, she says no, well of course, life is so rich, there are different things in it, and she was asked what do you like to do in general, she says, i love the period between jobs, when you can think, she used just such a word, think, you can read, you can what -to see, go to the theater there, that is , to be filled with something that can then be...

an actress, filled with self-reflection , generally embarrassed, but the journalist tells her at the end of the interview that how would you be the shyest or the most modest , the most modest actress of those with whom i i had to talk. well, it’s like there’s an inevitable story about the fact that european producers are exploiting on the wave of the film’s fame the cranes are flying, the screens are showing the image of samoilova, and she herself somehow feels uncomfortable about it, yes, that is, she tried once, twice and somehow slowly started it began to seem that samoil’s star was setting, but she was in that she felt like a simple one, at that moment she was seen in the mid-sixties at some concert by director alexander zarkhi, who... in fact, just like kolatozov, he started in the late twenties, that is, he was from this generation, not the first generation of soviet directors, but the second, and he looked at her, and he was thinking about making

a film adaptation of her, and as he later wrote in his memoirs, he said: tanya, he just came up to her, scanning, read anna karenina, he said, and i read it, and he said, read it again, then she told him that she even somehow offended her, it ’s so easy, so he approached , said something, left, somehow she was offended that maybe he wasn’t serious about approaching, so kostenka didn’t spends with the stars, for an interview with a star, we need to prepare, and yet this happened, this project worked out, she played a character, we’ll probably see, again, how it turned out on the screen, and then we’ll tell you what’s behind it it was like, what kind of work was behind it, and he will come, it will hurt him , you see her, he is kind, he himself doesn’t... know how kind he is, and why isn’t he coming? what board?

take these noises away from me, i ask you, did they give seryozha dinner? everyone will forget, but he wouldn’t forget. he arrived, here he is, what nonsense, you say that he won’t forgive you because you don’t know him, no one knew. i’m alone, no, no, i’m not afraid of you, i’m afraid of death, a dramatic moment, a dramatic role, again, a role that requires some kind of passion, some kind of sadness, and zarkhi, in fact, when he saw her, he, he thought, who would be able to collaborate and, in fact, for him it was fundamental to first find an actress, and then really throw himself into the script, he thought about this film adaptation for a long time, many, in general, any film adaptation begins

with a search. there was some way to save this design, but , of course, many people attacked him, firstly, when it was announced that the bot would be based on anna karenina, this is the mid -sixties, the film was released in sixty- seven, 10 years after the summer of the cranes, they announced that there will be anna karenina and anna karenina will be samoilova, send literally hundreds of letters to the director, the studio and herself, which means the director, of course, many

actresses wrote, look at me, yes, i too anna, i too karinina, me too maybe i haven’t read these letters, but zarkhi describes it this way his reaction to these letters, it is immediately clear what they wrote there, that is, he says: you read the novel, she should not be beautiful, she should have something so attractive and scary, he begins to quote tolstoy, justifying his choice samoilova, well, actually, regarding samoilova’s appearance, well, let’s say, we’re talking about an actress, not about a person, there were quite a lot of disputes, in general.

from the city, and they will provide care at the highest level, we have prepared for you our best apartments, no hint of hospice or almshouse, an autograph is possible, i admire it from a young age, an autograph, anna evseeva, an actress, and her relatives give a double rate, a femme fatale, i would say sterova, and you are a believer, a seasoned atheist, and in general

there is nowhere to leave samples, again for old times, yes ? mom, you’re sick, well, somehow you come to your senses already, they decided to hit me in the face, until you decided, you take me by the hand and take me out into the courtyard, yeah, i’ll sneak into your limousine, and we’ll go, where to europe, if your mom, at her age, wanted a boy, we should probably just be happy for her, i don’t want you to repeat my mistakes, anna andreevna, i’m not alphonse, oh, i was daydreaming, animator of the tenth. we are on the first, and you know that anima is the soul of latin, we will show a film by sergei isenshtein, ivan the terrible, we need a strong government, in order to kick back those who oppose the unity of the russian state, why isenshtein, why his cinema, in my opinion, ezanstein actually created cinema as an art, to

what extent? the image of ivan the terrible in the film corresponds to historical science, of course, the image of ivan the terrible was laid down by kramzyan, the scale esenstein captured this figure very correctly, such a personality cannot be reconciled with a ruler, this is the method of a great artist who creates history, predicted much of what is happening to russia today, a big game, a special issue, now for the first time the grand duke of moscow... the crown of the tsar of all russia puts the blame on itself and the film ivan the terrible is somehow timeless, it turns out to be a film, because each era looks at it with its own eyes and finds some answers to its questions. on saturday on the first. samoilov and all these films of the otepele era, they as they show new heroines on the screen, yes, anastasia vertinskaya, who plays.

didn’t match, she was considered for the main role in the film sunday, another film adaptation of tolstoy, for the role of katyosha maslova, mikhail swiss, also a classic by that time of soviet cinema, but it didn’t work out, they chose tamara syomina, perhaps

it was in the classics that she needed play, but somehow it turned out all the time that this is her filmography, if we look at it now, it consists of rare such big roles, then everything is very ordinary, maybe... the audience wanted her to play unusual, maybe she wanted to play unusual, but they offered her this, then she plays someone’s wife, then she plays something like that, well, okay, she can to play some kind of cryptographer, spy, and so on, but still this is not the main role, she has two big main roles, the cranes are flying and anna karenina, in general this is of course enough for any actress, well then don’t forget that the movie is in the seventies including the soviet and...

that's it, then please answer with what code you wrote a message about varantsov. why do you need this? the more i know about what to do at your embassy, ​​the faster i can warn varantsov about the danger? i

don't understand. well, why not understand here, maria nikolaevna? i, as already... the entire generation literally, but yes, it was in the seventies that the realization came that this is the very set of tools that operators can use freely, directors can use freely, when they were already accustomed to color and could black-and-white use white image with certain

goals, but as a contrast, when they actually came to wide-format images, when by the way the cranes came out, american critics, when the film hit american screens... yes, just by the seventies all this reached the soviet union, and a moving camera with such here is tracking the characters, all this was already familiar, but the actress should have already moved on to other roles, yes, she no longer had the opportunity to play the main characters, young twenty-year-old thirty-year-olds, this is a different generation, again, well, here it is, probably, inni churikova was lucky, yes, she

switched to the roles of older heroines, mothers, bosses, because next to her was her husband, director, gleb panfilov, who selected roles for her, wrote something and so on, everything was fine, in general, soviet cinema is especially characteristic of this, it is known, let’s say, yes, very often some major director always had such a faithful companion, yes, that is, sergei polinorich gerasimov and ... and tamara makarova, or , say, ivan pyryev , and there were several companions, yes, there, in general, depending from the period, grigory alexandrov and lyubov orlova, in general, the husband always came up with some kind of main role in his film for his wife, but samoilova did not have this, unfortunately, and there were several more disappointments when some films were even launched, she played there, and then something happened, in the seventies, rustam khamdamov begins to make his own film, which is called, called: in that version of unexpected joy about early russian cinema,

there was such an image copied from vera kholodnaya, the main heroine, main actress early russian cinema, samoilova did not have the main role, but it seems to me that she fell into this aesthetic of a little cinema, dramatic cinema, contrasting cinema, but khamdamov began to shoot not according to the script, the film was closed, in fact, what happened, we ended up with this film it was just released under a different name and it was filmed differently...

maybe they didn’t write it specifically for her, but it’s still not just a role, but it’s some kind of cameo, dameo, that is, when we find out, yeah, it’s not just an actor or actress playing a role, and this is a quantity that actually it’s a credit to everyone who watches who makes this film, because he or she generally appears here for minutes, maybe 5 minutes, and this happens, for example, in the film anna melekian mars, where she plays the grandmother of the main character, well well, the grandmother of the main character. well, what is it, but they invite her because she is samoilova, that is, she becomes

more than any of her roles, well, she becomes a symbol of herself in a certain sense, both of herself and of soviet cinema, of this extent, and for the beginning of the 2000s, to me it seems that she is such a character, she even plays, by the way, a certain version of lyubov orlova, such a film is far from sunset boulevard, an imaginary history of soviet cinema, and there is an elderly actress, we see her first young, and already aged...

a new life, because in general, only at the beginning of the 2000s did the modern russian cinema that we usually see on screens today begin to take shape? yes, if we had done something in the spirit of sunset boulevard, perhaps samoilova would have played beautifully there in the early 2000s just the last years of her life, but alas,

we only had series about lyubov orlova, and she didn’t have enough, maybe the director didn’t have enough, the screenwriters didn’t have enough of this... but in the history of soviet cinema, which, which is so high , that the thought does not even occur to me, to return to him, to turn to him, i don’t know, it seems that you can’t reach it, i’m already fantasizing in the role of such a movie, the real history of soviet cinema, it, unfortunately, has not been written yet, yes, there is theme,

which is designed very well, there is, as it were, biographies of people who have been researched perfectly, but at the same time seem to embrace such... a modern canon, which rethinks what films really are, what remains of big films to this day, what, as it were, what legacy lies behind this or another actor, his discovery, personal achievement, this does not exist yet, and it has yet to be written, including , perhaps, exploring some new facts in the biographies of famous soviet actors. yes, here we can only advise our viewers to watch any film from the biography. if you have already watched the cranes are flying, then of course you should watch the cranes are flying, and then again watch any other film from tatyana samoilova’s filmography, it seems to me that this would be a worthy gift for her ninetieth birthday. this was a podcast of witnesses from einstein and his leading film historians, natalia ryabchikova and stanislav dizinsky. we talk about how, why, and now

watch soviet cinema, known, beloved, half-forgotten, perhaps completely unknown, how to discover new meanings in it, etc. receive even more fun. all episodes of the lisenstein witness podcast can be found on the channel one website. hello, i'm still dmitry bak, i still host a literary podcast with a very...