she has this one for the rest of her life, she has these memories, this poem young sailor, written in 1980, yes, but dedicated to the war, wartime childhood, it is so strong, it seems to me, and so downright beautiful that it seemed to me that it is important that we turn to him today, indeed, yuna petrovna, a sailor among us, and may god grant her new poems, a poet, an artist, an author of poems, who... everyone knows, the threshold shcherebinovy ​​was walking, a rubber hedgehog with a hole in the right side , these are children's poems, sparkling, funny and many others of the same kind, but yuno the sea of course, she also wrote poems about the war, so it is very important that today we will hear poems, young peter the seaman, and masha, you will read the young seaman, and you somehow, your family is somehow connected with the war, there are some stories , well, not so much.

a light flickers in the ruins, there is someone alive, holding the fire between his teeth, and there is no war, and we are leaving the bathhouse, and peace is coming, my path is so far, and three miles away i smell of a living piece of laundry soap, and clean air is above us strength flies, the flannel is clean, the hair is clean, i am dressed in a clean robe and next to a clean mother i’m walking along... i’m almost falling asleep, and

the sound of the tram silvers my sleep, and the bathhouse bundle is silvery with stripes and the universe is silvery, and there is no war, and we’re leaving the bathhouse, i’m 8 years old and my path is so far, and we’re in we won’t get on the tram for anything, because after the bath we are not lousy again, and the world will come, everyone in the world is alive and will now live for 100 years, and the world will come, my path is so far, being poor is not dangerous for life, oh my god, how terrible , beautiful, the light flickers among the collapsed ones. there is another poet, uh, very important for everyone who remembers the war, this is olga bergolts, in recent years many books have been published about it, and there are many of her books, this is a person with a very, uh, dramatic fate. survived imprisonment and

repression before the war, firmly on its feet. olga bergolts is known for the fact that she remained in besieged leningrad. we even mentioned this today, because it was she who preserved this unusual image of anna andreevna akhmatova, who goes on air defense duty and sews sandbags. but for olga bergols herself it was everyday work, she worked on the radio, she later published a lot of materials about it. and the poems of orlga bergols, the siege notebook and more, are very famous and very important, we will also hear them today, and i, as is our custom, will ask katya, you will read olga bergols, and what is the story about the war in your family, yes , there is one very simple story, when the war began, my great-grandmother was about 18 years old, but she was very young, she is the eldest child. in a large family with many children, they

lived in the oryol region, in a village, in their the house, the germans lived in the hut, and they were in the barn with their family, they told me all the time that they were fed there, they were given food, somehow they were treated well, and then young girls were collected and sent to germany to work, here’s mine grandma was also supposed to be taken away, and as my mother tells me, it was early spring, they were taken somewhere to the side... they walked barefoot through the black soil, they went to the river to wash their feet, and while they were washing their feet, the train left without them and so on grandma remained the story, again comical and dramatic, of course, well happy, of course it is important that you remember this , well now ekaterina glushko will read the poem to olga bergolz. and in the house where

i lived for many years, where i left during the winter of the siege, in the evenings there is light in the windows again. it is pinkish, festive, elegant, looking at the former three of my windows, i remember, there was a war here, oh, how we were darkened, not a ray of light, everything was getting dark, everything was getting dark in the world, then the owner didn’t knock on the door, as if he had forgotten the way to his apartment, where he is still unconscious... what last roof is overshadowed, no, i i don’t know who lives now in those rooms where you and i lived, who knocks on the same door in the evening, who hasn’t changed the bluish wallpaper, the

same ones chosen a long time ago, i recognized them from the street through the window, there are even small children there there is, someone young is always in love, only very good news is now brought here by postmen, only very faithful friends come here for a holiday, noisy, i so want someone to be happy, where i was in immeasurable poverty, own everything that i didn’t get everything that i got from... in the war, but if suddenly such a day comes, the quietest snow and dusk begins to flicker, and it begins to burn, catching me everywhere with a blissful memory, and i can’t cope with it,

knocking, i’ll come to my house and stand on the threshold, i’ll ask, well, i’ll ask who hour, or water like... not on the road, then don’t judge my coming, answer me with trust and sympathy, because i came to my home, i remember everything, and i believe in our happiness. at the end of our today's episode of the literary podcast, let them not talk, let them read, we will talk about arseny alexandrovich torkovsky, his fate is also unique in its own way, because he fought as a poet, as he himself later said, he worked,

served, or rather, he is a guard captain, served in the editorial office of the front-line newspaper combat alert, that is, he too. was right on the front line, more than once, he was seriously wounded, lost a leg in the war, but it is important that he wrote poems, well, like newspaper poems, he had his own vasily terkin there, only his name was ivan khvatov, so brave an exemplary soldier, the war poems were, of course, dedicated to some specific battles, heroes, and in parallel later he wrote poems also about the war, but... already deprived of this documentation, i, for example, am shocked by a poem from the year sixty-two, a field hospital, which begins like this: the table was turned towards the light, i was lying down my head was like meat on a scale, my soul was beating on a thread, and i saw myself from

the outside and so on, so no one wrote about what happened after the wound in the field hospital, torkovsky has both newspaper and non-newspaper poems, we and. .. well yes, i just darkovsky, a butterfly in the hospital garden, i took this, i chose a poem by arseny , the poem was written in 1945, in general it belongs to the poems that are dedicated to or talk about war, but there are such amazing words of faith in beauty, and believe in miracles, on the contrary, that’s the contrast itself that this was written in the hospital. person, i was just once amazed, and i live with this poem, i love it, now i’ll read it, although of course, for some reason i’m very worried, it’s clear that the students are worried, not the first year, but me it’s like i’m already an adult, but somehow i have a very responsibility in front of students, like actually reading in front of everyone, but maybe because this is one of my favorite poems, and

arseny torkovsky, a butterfly in the hospital garden in 1945. flying from shadow to light, she herself and the shadows are light, where was she born like this, almost deprived. no, she flies, crouching, she must be from china, there is no one like her here, she is from those distant years, where a small drop of azure is like a blue sea in the eye, she swears forever, does not keep her word never, she can barely count to two, she doesn’t understand anything, she reads two vowels from the whole alphabet, oh the name of the butterfly, drawing, you can’t

pronounce it, and why should she be at peace, she’s like a simple mirror, please don’t fly away, oh my lady to china, don’t, don’t look for china, flying from shadow to light, soul, why do you need china, oh, my colored lady, please, mysterious verses, stunning verses, how much it refracts - military reality into such a symbolic, eternal plane, yes , there are many riddles in this poem, and it’s not without reason that we solved them to complete our conversation today about war... poetry, i am very glad that we conducted this episode of our podcast together with

marina stanislavovna brusnikina, the chief director of the russian academic youth theater, and the director - co-director together with sergei shchedrin, one of the creative workshops of the studio school mkhat, thank you marina stanislavovna, i am sure that we will see you more than once in a literary podcast, let them not talk, let them read, but... to you, our dear interlocutors, i, as always, say: consider with with pleasure, dear friends, hello, this is a podcast of witnesses of izzenstein, and his leading film historians, natalya ryabchikova and stanislav didinsky, we... talk about who and how created watched cult, famous, little-known, forgotten soviet

films, this is a school of filmgoers , where we reveal the secrets of film archives and tell you why watch soviet cinema now, how to better understand it, how to find new meanings in it and get maximum pleasure from it, and today we will talk about films that were created and watched during during the great patriotic war. stanislav. where did it all start, how do we enter into this topic, how do we enter into this concept of war cinema? well, it must be said that as soon as the country learned that the great patriotic war had begun, a mass initiative began from below, including among filmmakers, and the idea arose of creating, well, in general, an economically feasible film product that could be made in the current conditions, which folded quickly, yes, because after all, film plans, as we know, are usually very long processes, especially for a full-length

film, you need to approve the script, you need to cast the actors, build the scenery and so on, in general, this can take six months, a year or even more, the filmmakers, after thinking , decide that they need to shoot short films as quickly as possible and how we can release them on the screen as soon as possible, so that , in addition to the newsreels that went on so endlessly, about how preparations for the front are going on... today we will also talk about this separately about front-line cameramen, this is a separate an interesting topic that continues to be researched in our time, we still don’t know everything about their biographies, but then in june of the forty -first year, a decision was made, at the initiative of kematographers, to shoot so -called combat film collections, collections of short films that will consist of small plots there 10 -15 minutes and tell some kind of accessible story. in language a story about what is happening in the rear at the front. let's look at a fragment from combat film collection number nine, which

clearly shows how it happened. wait, who are you? i am polish. hey, hey, the tracks go to block number 14, the search is fruitless. cordon off the block, tell him that if in an hour the criminal is not extradited, then... every tenth and so on, thank you for everything, goodbye, goodbye, yada, one minute, don’t worry, i’ll just show him. how to get through the entrance yard, let's go, in fact, combat film collections were not the first war films that came out on the screen, because before they all started collecting them into full-length films, but these the most collections, one short film was released, which was incredibly important, it came out in july of forty-one, chipaev is with us, this is

an example of how cinema, well, as a certain phenomenon in our life, it takes on...

come on, vasily ivanovich, come on, come on quickly! finally, vasil ivanovich, we’ve been waiting for you here, we were thinking that you wouldn’t swim out, well, just like chabaev, you won’t swim out. it seems to me that thanks to this short film, the canons of socialist realism on the soviet screen are being broken, because we see a truly massive cinema, well, in which two universes, two multiverses, collide or merge into one. why at all? took chipaya, why could this be done, it's a little like in the series sherlock, sherlock dies and then comes back, we don't know much about how audiences actually watched movies in the thirties, but we know that boys ran to watch chipaev dozens of times, because there was a rumor that somewhere in one of the cinemas chipaev still floated out, this is the desire, yes,

for him to float out, it’s 7 years later is embodied, and it’s good that boris babochkin returns as...

he begins to reign on the screen and there are no palutons here anymore, everything here is quite clear, transparent, built in this dermaturgy, there are our good enemies, there are bad enemies, there are no further gray areas for you , well , at least in the first years of forty-one, forty-two, then it begins to be perceived a little differently, but what else is on the screens, so you woke up on the morning of june 23 and looked at what was playing in cinemas, it immediately returns to screens film alexander nevsky, which was filmed by one of our favorite heroes, in fact, in 1938, filmed at a time when german aggression was growing, in a plot that is absolutely about ancient russia and the middle ages, nevertheless there are references to knights, this very bivonsky, and the film is shot, and then

the molotov rebendrop pact is concluded, and germany no longer becomes an enemy, so... they will come to visit us, but if someone comes to us with a sword, he dies from the sword, that’s what we should stand for. there will be russian land. i wonder what when esenstein takes on this film in the thirties, practically nothing is known about nevsky. and when during the war

the order of alexander nevsky was introduced, the image on the order is not some kind of medieval image, but this is actually a stylized nikolai cherkassov in the role of nevsky. it seems to me that this connection between screen cinema and real life is absolutely direct here. and of course, films were released that were shot before the war, for example, in the summer of forty-one in july in august in moscow there is a color film the little humpbacked horse, his it has just been filmed, this is one of the first soviet color films, the first color film skazka, in five moscow cinemas in august 1941 you can see the little hunchback the horse, in september a masquerade comes out, a masquerade called swans...

from this negative we can already make new copies, that is, the film could have disappeared altogether, as in fact many leningrad films disappeared, those that were shot in the twenties, because after the evacuation of a partial alenfilm, some things were buried, for example, yes, well, so as not hit incendiary bombs, because it needs to be remembered that at this time the film is still extremely flammable, and if a spark gets there, everything can simply burn, so in moscow they buried films in...

created, watched classic well-known, little-known, forgotten soviet films. in addition to the people who were involved in feature films, there were people who made newsreels, in fact, who were filmed by former front-line cameramen, and then it was collected in film magazines, which were shown before each show, in fact, here are yours news, they were in your cinema in the same way, but like in the newspaper or on the radio, well, i still remember even from my childhood experience, when you come to the cinema, you have any movie show. begins with a newsreel, in fact, it has always been this way, since the emergence of cinema, a feature film session has always been preceded by the release of some kind of documentary film with a story about

the events of the last days, the last month, but here in this case the main news, of course with us is only an event at the front, attention is drawn to it everyone - spectators who go to see, but what, what is happening there, yes, because we see footage directly... from the front line battles, yes, of course, of course, this is not the whole truth, as they would say, yes, but something that should still, in many ways, somehow encourage and stimulate people in the rear, yes, there are no stories here about maybe heavy defeats, about how things really are, but there is a story about what gives hope , well, here it must be said that firstly, military operators, they appear before the start of the great patriotic war, in the spring of forty-one, they form such... a small brigade of three, in my opinion , people, which should be with the active army, and this is such a pre-replacement of front-line operators, then it is clear that in june of forty

-one, very many filmmakers either are called up to the front, or go to the militia, or want to go as volunteers, and let’s say that a lot of cameramen who have not yet completed the course in ghika go to the front precisely as cameramen and... and not everything that they film, then immediately it is shown, yes, sometimes it is a chronicle, sometimes it is compiled into longer full-length documentaries, which begin to be released at the same time as the defeat of the nazi-german troops near moscow, this is of course a later work, but based precisely on the work of cameramen over the previous years, yes and a film chronicle of the great patriotic war is being formed, which is stored and used constantly. it is clear that this is often filming at the risk of life, historians have tried to count the number of dead front-line operators, firstly, they tried to count how many there

were, and for a long time they believed that somewhere... 250-260 quite recently, already in the 21st century, they found editing sheets, recordings of what was filmed, yes, they reconstructed from these recordings , how many people made these recordings, it turned out that there were more than 300 cameramen, plus hundreds more people who were part of the front-line groups, that is, there were directors, not only cameramen, sound engineers, but there was also sound filming, and we still really we don’t know exactly how many there were. let's see an example of the work of frontline workers cameramen, welders and teachers, artists and woodworkers join the extermination squads, the work battalions.

this movie. the defeat of the nazi troops near moscow was personally controlled by stalin, he was the main viewer of soviet cinema in the thirties, he looked through almost everything that was done in soviet studios, edited scripts, changed titles, removed directors, and so on, and this film , despite the fact that in the future he had other more worries, he moved away from watching movies frequently, and he really edited this film and...

for example, he removed - this voice-over text was too verbose, even here it was noticeable that we hear the bravura music more, and watch, in fact, see these shots, than they tell us something, and this, of course, was one of the reasons why this film was so successful, so popular, it was sold to america, shown there, although in a re-edited version for american distribution with a different name, but this film received an oscar, that is, it was awarded.

all the major film studios in the country, which are on its western part, evacuating, yes, well, central asia, to the caucasus, yes, yes, first of all mosfilm, which is orienting itself to central asia, volmata, linfilm is not so lucky, and the echelons in which the equipment was loaded remain in besieged leningrad, in fact , they will remain there until the end of the war, practically yes, some things gradually begin to be transferred by plane, but this first winter of the siege...

lighting, one of the main masterpieces of those years of soviet cinema, wesenstein's film ivan the terrible. well yes, this is, of course, the most a big project, as they would say now, central. it is not very clear whether it is necessary to continue making a film about ivan the terrible, but this is an order from above, yes, it is owed from stalin by ezenstein, and ezenstein asks bolshakov, the head of the film industry, is it necessary to continue, yes, but they tell him, yes, it is necessary, but when the moscow train arrives, they traveled for two weeks to almaty, yes...

even unique footage has been preserved where mikhali plays the role of the english queen, and this in itself is very funny. yes, mikhail rom i auditioned for roles from the english one, very similar to the famous portraits, unfortunately, yes, we

only have auditions, the first episode of ivan the terrible included this piece, where the terrible sends his ambassador to england to his sister, which means dear. you will bring them as a gift to our sweet sister, elizaveta of aglita, and on these images you will explain to her how the baltic sea is told to her agled ships. having bypassed, sailed to us in the white sea, outwitting the germans, the livonians, well, here it is clear that

these are not just historical details, although we know that the historical ivan corresponded with historical elizabeth, but there is a clear reference to modernity, and these references can be found in wartime films completely unexpectedly, and... let’s say the film koschey the immortal comes out, well, it seems like a fairy tale, yes, but koschey, played by our beloved baba yaga, george milar, he is such a skeleton, who is also somehow warlike, he has some kind of hat, some kind of iron helmet, which makes him some kind of knight of the levon order, and by analogy it turns out that he too some quite.

with its naturalism, in general, it still amazes us now with its level, well, of a certain on-screen cruelty, yes, they didn’t do that then, then later 20 years later, when torkovsky will direct andrei rublev in soviet cinema, how...