it’s not easy, but everything fell into place when i realized that seryozha was writing a modern iliad, that is, when i realized that we have this confrontation, or rather, in his novel there is a confrontation between two aces, this german pilot and the soviet stalinist falcon, zvarygin, and i considered this confrontation as the confrontation between hector and achilles in homer and... then everything fell into place, then such a mythologization occurs, that is , instead of the realism of this soviet military prose, a myth occurs, exactly, he even has it on a technical level it is noticeable, because if you start reading this book out loud, 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 adjective lined up 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 the thick book is huge, yes, but he won , of course, look, despite the conventionality of the mythological space , the method that sergei samsonov uses, in some places i’m in this powerful one, like iron sheets hitting each other in a hexameter. and sometimes i could not hold back my tears, despite the unrealistic nature of the narrative, that is, samsonov, standing on caturny, absolutely like an ancient greek chorus in an ancient greek tragedy, managed to penetrate precisely into the tragic plane, creating a truly great large-scale work, it is very different from prose of lieutenants xx century, a very, very, very emphasized conventionality of the events taking place, although metaphorical, yes, yes, yes... there are also

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 that this is one of the important differences between modern prose, the fact is that participants in the war, and bonderev, and boris vasilev and so on, they do not dwell in such detail on technical details, contemporaries, and seryozha, and ilya boyeshov, and other authors, often are addicted to wikipedia, i i understand, access to...

two writers, in general, i think, independently of each other, come to this idea of ​​​​depicting the war as a confrontation, well, you can say two people, but as you say, vector achilus, and that means samsonov is aviation, ace pilots, for boeshov these are tank crews, which means our tankman who appears, this is the beginning of the romance of the story, a fascinating novel, when this man who is there is an absolutely burned tankman, whom the doctors don’t even want to treat. what is 98 there or 90% of the skin that is damaged from a burn, suddenly he is in such a miraculous way, but this is some kind of magical moment that is present here, this man is resurrected, it turns out that he is a brilliant mechanic, and he, therefore, returns to duty, and his task is to knock out the same brilliant white a tiger, which means the same as a fascist tank, this duel between two tank crews, soviet and german, actually constitutes the idea of ​​this story, this book on...

these kerch quarries, here is a modern author, eduard verkin, describing in modern language the history of this partisan leni gollikov, without calling him by name, he is there all the time sanych, sanych in his own teaching, as if in his own way, so compare two

books, how to look at something so good in the best sense of the word, such a soviet narrative, such a novel of education that unfolds, and you see the character of this hero, who... well , practically like this, well, such an icon, yes, such a boy who has almost no shortcomings, and if he does, he overcomes them, and he is alive at the same time, a very good book , verkin’s is a completely different child, yes, another teenager, he is rough, he is complex, he is conflicted, he may be prickly somewhere, but you get carried away, you fall under the charm of this book, it’s very cool that it exists, that’s the question, after all, why , and now i would like to bring it to you... this is your novel steppe gods, which received a national bestseller award, which is a huge success among readers, i specially re-read it for this

program and once again i was simply delighted and admired how great it all is written, but now let's talk about you, about your book, why 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 the kvantum army in september 1945; i wrote the book when i was already twice the age of my then grandfather, so this became even more important for me, plus i i started this novel somewhere in 2007, 2008, when i myself had some feelings inside. childhood, i began to write to my grandmother about the war,

i began to remember my grandfather’s stories from my own, she then still lived in the chetinsk region, i began ask questions about that time, because i’m just in the history of my country... i was looking for a point where it was, perhaps, even more difficult for people than it was for me in the nineties, and i found this point, i realized that it was very difficult for someone, to these people who survived that great war, and this, excuse me for a second, is just my grandfather and my grandmother, and my grandmother is still alive, and that means i can ask, how did you do it, how did you cope, yes, you were young, young, you were 25-26 years old there, you have to live, love and give birth to children and so on, but why is it important in this case, did the boy become the hero? i somehow intuitively realized that i wanted to look at this through the eyes of a child, as if with my own eyes, that is, since this is my grandfather, yes, then i needed to make a point of view, below the horizon, these are adults, and this is the view of a child , firstly, he is not yet clouded by evaluative

categories, despite the fact that he is integrated into the entire soviet ideology, he is delighted with military heroism, he absolutely loves it all, and he dreams of dying in the war for... his homeland for a comrade stalin, but nevertheless he still has very strong an objective understanding of good and evil, yes, uh, he is not yet clouded by complex social interactions with the universe, with the world around him, he is not yet ready for compromises, this unwillingness to compromise is very much in my mind - it was dear to me, and that’s why, strictly speaking, i wrote on his behalf, that’s why i started the novel. to write with such trepidation, with anxiety, it was important for me to understand what, what was happening to my homeland, to my grandfather? my grandfather also fought, but he never said anything about the war, he left quite early from life, and if he had lived a little longer, i

would of course have tried to get him to talk anyway, but at that moment i was a child, but a person doesn’t want to tell, that means he doesn’t want to tell, but we had such a very interesting story at school , where i studied. there was an ordinary moscow special school, but there was a museum in it, a museum of military glory, it was some kind of informal, not like some kind of formal bureaucratic thing, no, it was really a very serious story, it was so beautiful. we have a teacher geography, olga alekseevna gorocheva, her name was, so she came up with the idea of ​​​​making a museum of the military unit 99:03, i must say that this military unit was very unusual, this is the same unit in which zoya kosmodemskaya fought, that is, in fact , it was the unit that i was preparing these reconnaissance and sabotage groups, which were abandoned, it was done in the fall of forty-one, they were thrown behind the front line so that they would carry out their sabotage in the occupied territory.

i don’t remember now what exactly he said, it’s a pity that i don’t remember, but i remember something else, these veterans came, it was always december 6, the day when our counter-offensive began near moscow, when the germans were repulsed, some of them came with lots and lots, that means orders, others almost none, well, a child’s consciousness, it means that this one fought well, and this one may have fought somehow worse, i remember someone uttered this thought, well, somehow out loud or asked some question, why did his uncle there are so many medals, but what about this one? means nothing that very often worthy

people didn’t receive medals, i, for example, never knew, my grandfather, like yours, also didn’t talk much about the war, but he told some things, but for example, he never uncles so much, i remember the harsh answer that he said this , for which i received an award, then some years passed, even after the publication of the novel, one of my good friends helped me find a document in the archives. fire from his gun, directing it at direct fire, personally repelled the japanese counterattack,

killing eight eight japanese soldiers, and then i read a little lower, well, there is the year of birth, what medal is awarded, and below it is written that he has not participated in hostilities in the red army since 1943, which means i’m starting to think, that is, this is the first battle, that is , the man arrived and found himself in combat situation, the person there at that moment is 26 years old. and this is howitzer artillery, i always knew this from my grandfather, the howitzer battery is located, alexey nikolaevich, always slightly behind the infantry, they hit over the heads of our soldiers, at the enemy, further there, they are located slightly to the rear, which means in the combat formations of the infantry, which means that the infantry rolled back here, then he personally repelled the enemy’s counterattack, but it’s clear that there was a breakthrough on the part of the japanese, the infantry moved back, reached the howitzer.

grab their heads by their helmets and run away, they begin to lower their howitzers, and their barrel should be slightly at an angle like this, because it hits with a canopy far away, about 20 kilometers, and it says, once again i say direct fire, and i understand, they have time in these fractions of seconds, minutes, seeing means that to them the enemy and retreating soldiers are rolling, start lowering the barrel, this takes time. give some commands, yes, we lower the barrel, time passes, these are getting closer, closer, closer, at this moment a huge projectile needs to be inserted into the breech, a shot, another shot, another shot, and the enemy’s counterattack is repelled, i keep thinking, 26 years old, first fight, you find yourself in such a situation, i’m even scared to imagine myself in the place of my grandfather, and he, alexey nikolaevich, never told me about this, i read it from handwritten records of his commander, that is, well, maybe not...

sand creaked on his teeth in the hot snow, yes , that is, sand creaked on his teeth, and when you read, you understand that here is a man walking, yes, he is running, he was inhaled from him this sand creaks, this... the type of sand on his teeth seryozha samsonov cannot have, because he perceives the war on a different level, he was not there, he did not have this dust in his mouth at the time of the attack, yes, he didn’t sit in that trench, he really perceives it from the point of view of mythology, like homer’s, yes, he looks for it in generalizing, this is another generation, some generalizing principles, elements, and so

on, the boys are based on the tradition of herman melville. yes, a white, white tiger, a white tiger is very reminiscent of the white whale mobik from this novel, his hero himself, this ivan ivanovich naydenov, in my opinion, he calls him this, this is clearly captain ahab, captain ahab, who rushes across the seas with a harpoon and the oceans, just to kill this personified evil, this strange white whale, yes, and here is a white tiger, and a white tank, and as you can see, more i’ll repeat once again, if the lieutenant’s specific prose... impresses us with the effect of presence, it’s as if we were once there in a payoff right next to us, as if someone couldn’t handle you right now and tell you, brother , leave the smoke, that is, here we have these already, i don’t i know, if you want , mythological, mythological, the rest is necessary in order for this mythology about war to be created, well, this is good mythology, it’s so correct, that is, each

generation will, of course, bring its own view and so on, the topic is inexhaustible, so i... i hope that people will continue to write, because you know, not so long ago, i think we were a year or a year and a half ago, we filmed a documentary for one channel called a ticket to war, we filmed it with students of the literary institute, they are in the frame, we showed them, it means that we have arrived near st. petersburg, it means that this is where the nut fortress stands, there is a railway station nearby, and there is a small one there that seems to be practically private, but it is clear that it is not private, well, such a small museum. this railway station, where these trains were formed, which came from the mainland, delivered, as soon as the opportunity arose to extend the railway line and break the blockade, then these trains were coming, it was all shaking, these rails stood on logs, there were practically no sleepers, yes one of my students, it means that this museum

worker is standing there, he asks if they were shot at at that time when they were building this, so he says, yes...

you can imagine maneuvering on the rails, neither left nor right , you can't turn you can, therefore you can only maneuver with speed, he hears, attack aircraft are following him, carrying bombs, and machine guns, and so on, he slams on the brakes, she says, backs up, and releases clouds of steam in which the locomotive is hiding, imitates being hit , the mesters say, they will circle, circle, leave, he quietly, quietly, without turning on the lights, crawls on, i take his photo... of the literary institute, we talked about the heroes with you alexey varlamov, writer, rector of the great patriotic war about modern writers, who write about the war.

never before has stirlinz been so close to failure. gabby, as a chess partner, i 'm not interested in you. stick around the corridor. which corridor? where is he going? did stirlets go to nyuller? stirlets will fall asleep now, sleep for 20 minutes, but in 20 minutes he will wake up and go to berlin. “this was a habit developed over the years, just like the habit of watching the series 17 moments of spring, and we want to figure out why it still attracts the attention of viewers, why it

survived its era and remains in ours, what in general it talks about, and this is not by chance ours the atmosphere in the studio matches the mood of this series, yes, this is a set of objects that could appear in the series itself, moreover. and these are objects not only from the forties, but also from later eras, including from the seventies, when the series was filmed, when the audience saw it, they saw everything there, in general, quite familiar, and thus it connected... the generation of the war years, the post-war generations, continues to be such a link, and its popularity, which was extremely great

in the seventies, continues to be surprisingly significant, and we will try to figure out why and how this happened. chapter first. the main series of the soviet union. a series about a soviet intelligence officer who deals a blow to the plans of our western partners, who are trying to exclude a separate peace with hitler’s germany, and then invite yulian semyonova to make a strong story on this topic, here you need, of course, to understand why lioznova submits to sergei gerasimov. which is known to us in many ways thanks to the successful film, also about the war years, young

guard, and that, by the way, lioznova, his student, was an assistant, and after several years of inactivity, little production, she returned to the cinema and made her first film in the year fifty-eight, that is, she approached the moment of spring already in general - then very... people who would fight with her, she had to resist, while she adored actors and believed that an actor was the most important thing, she gathered around her some kind of

truly incredible crowd of folk artists, and she , for example, even bronevoy and kuravlev auditioned for hitler, who then, naturally, they played completely different roles in the segnai of the spring; it is strange that it did not involve oleg efremov. although there were some suggestions from the actors there , for example, archil gamiyashvili really wanted to play stirlitz, the lice sweeper, because for her

these were not the same types, she liked smknunovsky, she wanted him to play, because he had such a... that was a slightly unpleasant trait in her appearance, she wanted this paint to be there, but tikhonov appeared and of course continued to exist. a big change for alexey korenev, if remember, yes, there kononov comes to work at the school, adult students. it’s the seventies, it’s color, there’s a lot of song -like music in the frame, and here there’s a lot of

documentary style. there is a lot here, as if from the previous decade, even the twentieth anniversary of soviet cinema, it looks more like some kind of thaw movie than the cinema of the seventies, well, plus a black and white image, in fact, but also not out of nowhere, why? because luozno, of course, already relied on the tradition of perception of the great patriotic war on the screen. people are accustomed to cool newsreels, seeing them in black and white , and black and white film made it possible to create a documentary image, a documentary. happening, as if we were sitting here somewhere in the corner watching how the stirlitz masterfully extricates himself from all the scrapes in which he gets into. it's time to move on to the second chapter. chapter two. filming history. in 1968, 5 years before the series aired, lioznova

began. work on the script, the script work took several years, and then filming took another couple of years, some say 3 years, some say 2 years, and it was really a very large-scale filming, they say andropov reproached semenov for the fact that the war lasted almost less than they filmed their series, but of course, so many locales from foreign countries that needed to be shown somehow on the screen and...

everything goes into this money, she said that some of the german actors were generally angry and dissatisfied with her, because she forced them to take off one and a half to two shifts per shift, and didn’t let them go for lunch at the right moment, then she decided to let them go for lunch right in the middle of the shift, right in the middle of the stage, that’s it, lunch time, time to go have tea, and after

that they generally trusted her. they brought the scene to the end then calmly, well, relatively calmly they went to drink tea, after all, lioznova is such a regiment commander in a sense, yes, who has to convince the actors during filming, fight with circumstances, of course, this is in general the director's main task is to fight the circumstances of the film set, because that everything can be unpredictable, many things are found by chance, many things need to be thought out in advance, but nevertheless, she managed to stage a very difficult film.

an eye patch, so to speak, to slightly blur the familiar image of kuravlyov, the armored one, who moves his neck like that, he just had a shirt, the collar was too narrow, and from this mueller’s characteristic movement was born, but they could have simply replaced the shirt , these are the things that formed, for example, the line of interaction between stirlitz and...

oh, you are a wide steppe, well, it’s amazing, the main thing is how much screen time there is at once... because we immediately learn about stirlitz’s off-screen biography, about his habits, soviet habits, well, who hasn’t drank potatoes over a campfire on a camping trip, for example, yes or apparently , that is, a reference to the civil war in which colonel isaev participated, yes, when he was directly

preparing food somewhere in a field, it is of course important to show the main character on the screen in as much detail as possible, but lioznova had the task of filling the frame with many actors, in fact to the reasons why the series became so popular and let's open a new chapter, chapter three, chapter three, reasons for popularity, one of the things, it seems to me, that made the series so popular is really the set of those faces that we see on the screen.

who voices all this with his velvety voice, this is an incredible part of the appeal of the series, those thoughts, stirlitz, which we constantly hear, absolutely some kind of non -cinematic technique, because we

have to see actions on the screen, but this technique is clearly from documentary film, several years before the release of this chapter of spring there was an example of a similar film, stylistically similar, this is a film of ordinary fascism by mikhail ilvich roma, where he, with his voice-over... and yet this scene, when she is blackmailed, and by the fact that now if a child catches a cold, of course, it’s impossible not to react to this, and this is a rather harsh technique, quite rude, perhaps, but for

television, in my opinion, it’s just right, for a mass spectacle it’s just right, and she has a lot of such techniques, there are enough of them for all these 12 series, they don’t work, of course i found it. and a lot of newsreels, which were combined with the performance of the actors, sometimes literally within one scene, yes, stirlitz is sitting watching a football match, and the football match is a chronicle, that is, this is a chronicle that could actually be re-shot, but here the task is not show this particular match, but maybe show this grain, but this is such an old image that makes us see the image that was taken in the seventies. what everyone around perceives too as an absolute truth, an absolute chronicle, which is why the black and white image here is simply impossible without it, in general there is a feeling that lioznova intuitively discovered some laws of television, which were not written anywhere at that time, but which

she knew simply by to his directorial experience, skill, for example, well, not only the music, of course treverdiev and these jingles, but also the finales of each episode - these are pure so-called cliffhangers, he was on the verge of failure. no need to turn on the light. stirlitz. springs is a very slow series, and if

remember that it is based on an adventure novel, about scouts, about spies, then the series is not at all that kind of action. well, first of all, what we see on the screen, we see on the screen, are unusually atypical enemies in the second world war, yes, leoznova said, once recalled, that if the series had been filmed several years before it was filmed , then perhaps... she would have to follow the tradition that existed in

soviet cinema, poster images of germans, fascists, on the screen, these are such comical, ridiculous, louts, who the redhead falls out of his hands, the helmet slides down into his eyes, or are these villains who are just black, black-haired villains, that is, no matter how they are people, these are exactly the types, and the audience is already accustomed to this, and leoznovo, of course, breaks the tradition of depicting the enemy on screen and so far... and i think that the same thing happened with the audience

in seventy-three, when this series really united families near their televisions, and liozno received letters, bags of letters that, as usual, came to the studio, just somewhere in nowhere, and she took them, i read and said that she really liked the letter of one woman, who seemed to her that she and her son no longer had a common language, namely... watching the series, these 12 evenings, yes 12 episodes, while they are watching, they are discussing it , it turns out that they have common themes, and there is something to talk about, this is actually an amazing property of series, which - well, a common topic for conversation, yes, plus the theme itself, plus this is all, this whole atmosphere of the series, and really contributed to its massive success between different generations, that we must not forget that there were a lot of references here, as if to

soviet reality, we see on the screen a complex story about the apparatus struggle, which, in general , was the soviet union in those years, and in general the soviet bureaucracy watched in a sense, a series about itself, about how people were eaten while they were on a business trip, this story with stirlitz’s wife, i know, for example, i spoke extremely harshly, but it’s implausible... this scene, well, what is it , the scout hasn’t seen his wife for 7 years, and he just looks at her, in the bssr there is no sex, as they said later, meaning, of course, not that there were no floating relationships, they existed, but they did not exist.

this is an opportunity to really get into the character’s head and feel emotions, and this , by the way, was the most important thing for liozny, she said that she was working for the mass audience, her task. so that the viewer catches the thought, so that the viewer empathizes, so that the viewer laughs, gets angry, and is somehow in general tense and on his toes, they certainly do this kind of scene, and an important detail here is not unimportant element is music, formidable, by the way, she really

didn’t want to let go of stirlitz’s theme, the theme of the great country, she made the next film, released it only in the early eighties, yes, that is, there she... just had a very long break, because she generally - she wanted to continue this topic, and it even seemed like she wanted to film something else from semyonov, but they say he opposed it, they say that they had conflicts precisely over what she finished writing in the spring sessions, but these characters, these lines, and actually they say that she wanted to stage her name in the credits, including as a co-author of the script, but she was not allowed to do this then not...

she really made it more psychological. chapter four. jokes. some scenes of this film themselves are like an adaptation of those future jokes, because well, it looks quite comical. we see smart people get into stupid situations like... neva when the news comes to him. stirlitz walks along the corridor. which corridor? along our corridor. it's clear.

just a second. the pin goes along corridor. which corridor? along our corridor? stilets is walking along our corridor. where is he going? bronevoy apparently listens to the bbc, these same western voices. by the way, yuri vizbor, who played borman. that those actors who played the germans, during the filming it seemed to them that this was really some kind of crap, maybe in uryupinsk somewhere they will look at it seriously , we don’t really understand what it is, what -some kind of uniform, some pistols, we are playing some kind of war game, and we say lines like this, but this

really became the basis of numerous jokes, which it seems to me can be divided into several subtypes, firstly, this...