i would say such a consistent policy towards ukraine, we need to understand well that china respects the sovereignty of ukraine and speaks about it out loud, this is where the twelve out of twelve point plan begins and is negotiated, yes, it views ukraine as a partner, it trades with ukraine, it i even provided a little humanitarian assistance when i was taking out chinese students in 1922 during the outbreak of the conflict, i was working in china at the time, i was in... all this is true and none of the chinese leaders have ever allowed any, well, so that offensive or offensive, but even negative epithets, metaphors, demonstrating the restraint and dignity of a great power, one remembers, well, just a well-known fable by krylov, i won’t even say which one. and

so everyone, everyone understands, really, what zelensky said, that china is putting pressure on someone, well , no, china announced its position, a position that is generally well-established and logical that, you know, here as they say, you can’t clap with one hand, it’s the same here, but if you want to negotiate, let’s do it, moreover, recently there have been reports that china and brazil are discussing some options for creating a platform for...

the st. petersburg forum, which will be held very soon, 136 countries, so it turns out, as they say, in whose favor the game is, you see, thank you, we’re leaving for advertising, we’ll be back in just a few minutes, for the poet’s anniversary, pushkin is really not just our everything, but this is something that can be done again, again, of course.

stlab is on first today. the big game is on air. there is a lot going on in the united states official statements on foreign policy. senators and members of the house of representatives talk about foreign policy. and we understandably pay attention to these statements.

there are people like scott ritter, the madness of the brave, we sing glory, there are people less harsh, but still. kind of defending their positions, but these are not the people who appear in the new york times, on the main channels of american television, and we were just talking about tucker kralzen, he even had to leave the fox channel, he is very influential, but he doesn’t, clip if you want american establishment, today i noticed a statement that seemed to me very...

a representative in nato, this is a person whom, in general, we all considered reasonable, reasonable and respected. let's listen to what she says. the risk of war between nato and russia from nato's point of view is zero because nato is a defensive alliance and will never act aggressively to attack russia. this is a statement, but i don’t think it needs to be analyzed particularly, understandably.

abilities, or this, well, excuse me, like hitler's germany, where there were knowledgeable and internally, probably, people who wanted to be decent, but in their objective behavior they became cogs in the official political, ideological machine, they were in the dark about what we were dealing with, well, we have to decide, we are still we are dealing either with fools or with liars, it seems to me, both. there are, and even those positions that they allegedly believe are very cleverly conceived, with regard to the middle east crisis, not to mention ukraine, they, well they so betray a complete lack of conscience

despite everything, even if they simply show some kind of conformism, that all that remains is to throw up your hands and laugh at them, that is.

trolls, and as president putin said the other day, everything fundamentally is decided on the line

of contact, and that of course this was a figurative expression, but in general we are talking about the fact that everything will be decided, first everything will be decided by force, and then it’s possible it would be natural for a diplomat to discuss how to translate this into some kind of agreement, but for now, for now... we have been forced into a situation where force will be the main decisive factor, your opinion, that’s the way it is, you know, that’s the chinese expression, fight edge against edge, that’s what’s happening now, edge against edge, contradictions are growing, you say, diplomacy is powerless, diplomacy is not exactly powerless, diplomacy will never lose its role, sooner or later it will be in demand, but now it...

here we are talking about winning, losing, losing can be different, there can be a loss, well, very unpleasant, very painful, but as they say, well, well, you lost, yes , lost, well, the americans lost in afghanistan, they spent some trillions there, as it turned out, they spent 20 years there in dollars, well, they basically left, let’s say, somehow it’s not very nice, this could be an existential loss, apparently promising a loss to ours enemy, in ukraine around ukraine, in their understanding, and in ours too,

has an existential character, which means we cannot stop, because on that side everything is determined, in my opinion, by ideology, look, this is not the ideology that stands between us, between the west let's say, the global majority, including russia, we have different views on the situation, they have been expressed repeatedly, but that’s not the point. ideology, unfortunately, has reigned and won there, you can be tougher or less tough, but definitely tough, any step in the other direction, well...

to say, unfortunately, this doesn’t sound very optimistic, but here’s the russian offensive in ukraine continues, despite all the west’s attempts to support kiev. and only in the world majority, especially if we are talking about china, is there an increasing understanding, firstly, where the wind is blowing from,

and secondly, that the wind is from another country. would bring it to the world majority, would bring it to china, if that hostile wind prevailed, there is a chinese expression, the wind from the east will overcome the wind from the west, i think that on this note we can end the program, we will meet tomorrow on the air, thank you. 2024 is the year of the family, well, it is also the year of pushkin, he is a famous person who wrote a lot of poems, he had a nanny, the beginning of childhood, when we

somehow began to understand a little, to become involved k... every russian person knows remembers the words from childhood: i loved you silently, hopelessly, sometimes with timidity, sometimes with jealousy, i loved you so sincerely, so tenderly, when i love you god to be different, pushkin is the founder of that language, in which we speak today, pushkin’s work teaches morality, and probably teaches us to love our homeland, to love our nature, read pushkin, friends. pushkin gets up, falls, no, pushkin gets up, stumbles, the devil again about gogol, and so on and so forth, i like the other one much better, another joke, which

attributed to kharms, pushkin sits and thinks, okay, i’m a genius, but then... gogol is a genius, and tolstoy is a genius, and dostoevsky’s kingdom of heaven is also a genius. when will all this end? that's where it all ended. on the contrary, we are just getting started, and this podcast features lisenstein and his leading film historians, natalya ryabshchikova and stanislav didinsky. we talk about who made them and how they watched soviet films, favorite, cult, little-known, forgotten ones, and we tell you how to watch them now, how to get even more pleasure from them. usually we... cinema turned to pushkin, this year marks the 225th anniversary of the birth of our great poet, writer, philosopher, in general , our everything, including cinema. well,

why only soviet? the appeal to pushkin began long before soviet cinema arose. yes, even before cinema appeared, because the year of birth of russian cinema was 1908, when the first film made in russia by russian filmmakers for russian viewers was released. here's the first one. the film based on pushkin was made in 1907, it just never came out and they thought that either the actors let us down, or the technology let us down, and these were scenes from boris godunov, which were released later, moreover, it was a sound film in an era when cinema was just beginning and was not popular, it was a film shot under film recitation, that is , a film was playing on the screen, actors stood behind the screen, most often those who were also on the screen, in fact, every time at every screening.

in one of these films, the main role was played by ivan mazhukhin, probably the biggest star of russian cinema, who in in general, appeared more than once in film adaptations of pushkin, an example of which is the queen of spades, and the queen of spades is probably the most famous early film adaptation of pushkin on the russian screen, they were generally counted by historians, our colleagues, before the revolution there were about 50, not queens of spades, but in general films based on pushkin, and films, films based on pushkin and about pushkin, and there were two queens of spades, something...

world cinema, we can see why this is considered so. actually, ivan mazhukhin, yes, who is already going a little crazy, he has already figured out the secret of the three cards, they are withdrawing. his against the wall for a reason, before this there is also a similar shot, where there is a very beautiful shadow on the wall from the actor, very graphic, everyone really liked it, and here is preparation for the real special effects of that time. well, this is an example, a very simple example of double exposure, but very expressive for those times. well, this is literally a horror film.

it is clear that the people who took away this early russian cinematography, including mazhukhin, the partisans, took them with them to europe after the revolution. and interest in pushkin and the ability to use him for commercial purposes, after all, pushkin is really not just our everything, but this is something that you don’t have to pay for, copyright, something that can be done again again, something that is understandable to a foreign audience, remember, as lewis milestone, yes, he was known there as lewis milestone , in fact, he was a russian emigrant, lyova milshtein, as he introduced himself, then from chisinau. so, during the film adaptation of one of pushkin’s works , a journalist called the office of his film company, who actually persistently

sought a meeting with the film’s screenwriter, even came with his feet, and came with his feet to meet with the screenwriter mr. alec pushkin, and we had to look for this alec pushkin, the secretary says: we don’t have such a screenwriter, well, how come it’s announced in the newspapers that olek pushkin will make a shot with milestone has arrived.

to modernize it, for example, and everyone, everyone, everyone tried to do this, there was even such an enterprising person who registered, although they already say in the thirties the titles of pushkin’s works in europe, as if he were their author, the title and the first five lines of the script, when did anyone want to make another captain's daughter, then they told him, and the rights to this captain's daughter already belong to this gentleman, a patent troll, it's called a patent troll, who appropriates other people's property.

a prominent director with wood-revolutionary experience , vladimir garden, took his co-author, student evgeniy chervikov, so they decided to make a film about the poet and the tsar, that is, it will be a film about the relationship between the creator and a representative of the progressive intelligentsia of the 19th century with the court, this particular court, and himself the emperor is basically killed by the hands of dantes

this pushkin. for a long time they could not find an actor for the role, in fact, the main one, until garden looked at his assistant chervyakov and co-author said: “evgeny, let you play pushkin.” and it so happened that the screenwriter, director, and also the actor played it, we have a small fragment of how he did it, what was important there. here is a typical installation. twenties, while pushkin is in a duel, the courtyard continues to have fun, it’s not the sleigh that’s flying towards him, it’s in a completely separate place, everything is serious here, and meanwhile, the tsar is laughing, the tsar looks somewhere into the distance, and pushkin has already fallen. and in

its time this was a very, very modern montage. dantes is also played by a great theater actor, boris tamarin. the story seemed simple to the critics, and it did not live up to pushkin, especially since the movie is not my thing. how can one even show the genius of pushkin in a silent film? well, all the time he is there, illuminated by inspiration, writing something, and then the teacher comes with another quatrain, or he, illuminated by inspiration , reads, raising his hand to the sky in the circle of friends, and then of course and derzhavin is nearby, and gogol is nearby, the whole set of cliches, let's say, but here he raises his hand to the sky, reads poetry and we again see them on the screen and remember that,

yeah, there was such a poem, but after that for some time pushkin was not filmed in the soviet union, have they forgotten, because in the twenties it seemed like something archaic, something that was even exported? well , indeed, then, firstly , the era of the first five-year plans comes, socialist realism comes as the dominant style, somehow there was no time for pushkin, yes, while sound was coming, while it was being mastered, but then the era begins, which was then called the third literary period, now we have the opportunity to really write. a serious script, serious film adaptations, we have sound that helps us do this , the anniversary of the centenary of the death of pushkin just arrived, yes, indeed, 1937, interestingly, the film was shot in the soviet union in europe. fyodor otsep, who left in the twenties, settled in france, germany, then canada, and moved in the forties, he filmed his version of the queen of spades, several were filmed in the soviet union at once.

pictures related to pushkin, if you shoot, shoot like that, they made the poet’s youth, the captain’s daughter, who was very warmly received by the emigrants, here and... we didn’t see wonderful theater actors, we hear russian speech on the screen, she is at the same time pushkin’s screenwriters, yes , but here the pushkinists provided consultations, of course, during the filming, and in general they somehow tried to elevate this into such a cinematic classic, we also, by the way, have a fragment, we can remind you to the audience: deforge, i am not a frenchman deforge, i... “dubrovsky, don’t be afraid, you shouldn’t be afraid of this name, i can’t stay here much longer, i’m parting with you this very hour, think sometimes

about dubrovsky, know that he was born for a different purpose, that his soul knew how to love you, that never, forgive me, my name, a minute can destroy me. i remind you that this is a podcast of witnesses from einstein and his leading film historians, natalya ryabchikova and stanislav didinsky. today we are talking. about paintings based on pushkin and dedicated to pushkin. the anniversary has passed, but interest in pushkin has passed. well, what’s interesting is that in 1938, by the way, esenstein helped his students make a film adaptation of ruslan lyudmila, it didn’t turn out very well, then, of course, everything was covered up already in the 1970 version by alexander pushko, because well, the color and

special effects were already more interesting, but esenstein became interested in pushkin, in general he believed that pushkin was a great editor, he told students about how in poltava... and lines can literally be filmed in stills, he can see where the close-up is, yes, swede, russian, pierces, chops, cuts, everything, it’s straight, take it and shoot it, director’s script, storyboard, then tynyanov wrote his story, he even had several works related to pushkin, but he had a theory that pushkin loved all his life , he had a secret love, that’s what the work was called. tynyanov to karamzin’s wife, and esenstein became interested in this idea, because he needed to make color films, in the late thirties, at the very beginning of the forties, so he thought how, how to make such a film, this is the plot, but for color in

soviet cinema to choose, and he decided that it would be pushkin, as - colors are very important there, they told him that there would be a white man who would kill him, on the one hand there was a white man, on the other hand, and such blackness that covered pushkin, this very thing is an alien class that surrounds him, paslyaks and so on and envious people and villains, and it should have been a picture that would start out in full color, and then the color would be eaten up, esenstein failed to do this, the technique was still not quite the same, then he was given a new task to do. film about ivan grozny, but he continued to think about pushkin, this idea that in fact in pushkin you can put, as it were, laying quite a lot of philosophical ideas in general, take some from him, yes, well, and rethink, this is this

tendency, it later it arose again already during the thaw; in the forties, pushkin appears a little anecdotally, because there was a film about glinka, about the composer. where pushkin was given to play, well, typically similar to him, but not that stronger than the others, pyotr olennikov, and olennikov was a hero of comedies, there is, for example, boris andreev, who plays the right one, a worker or a traktarist, and there is pyotr aleinikov, who jokes around, plays a little hooligan, sings songs, everyone loves him, this man plays pushkin, everyone looked at it and said, well...

in the movies, and this absolute romance, this kind of thaw romance, only transferred to the 19th century, it’s really fascinating to watch, and new versions of that... captain’s daughter somehow attracted attention to the works of pushkin himself, no longer framed by pushkin or pushkin through some composer, after all, what we will find in pushkin began to be found. it is much more important that pushkin seems to fill soviet cinema so much that, in general, it no longer matters whether there is a film adaptation or not, some elements of his work, his poetry. his prose, they appear in films where, in general,

nothing is directly connected with pushkin, yes, everything, well, a significant part of the films of the same solovyov, they are filled with pushkin’s work, yes, that is, as if heir in a straight line, comes his report from pushkin calls himself, in fact, his great-great, great-granddaughter, but this is the eighties, in the sixties jokes still appear, in fact, they are published.

“i didn’t invent a single line, it’s all taken from real sources, i’m not a writer at all, i’m not a person of feasting, so i collected everything, so i want to make a big film out of all this material, then he’s been looking for actors for the leading role for a long time, and nothing, it all seems to end in nothing, in this sense, of course, one of the most ambitious projects about pushkin or according to pushkin, perhaps those that were not filmed, but those that were filmed are really film adaptations of the bird."

this is your daughter's daughter. the whole film is some kind of incredible recreation - the environment, and in general pushkin's prose here is arranged in the visual fabric of the film, and the dialogues are here play a service role, we... just as readers who remember this story by heart, in general we can

think of all the etiologies in our heads, but here, the landscapes themselves, the very views of st. petersburg, which replace each other, something like this , well, actually allow us to remember the lines of this story, everything somehow develops on its own, one of the most underrated, in my opinion, small masterpieces of solovyov, there are not very many of st. petersburg, here... the recreation of this station gatehouse, this house, of course, in the pavilion, yes, what they filmed inside was really work, terribly painstaking, and solovyov writes about it, how... they worked with the artist alexander borisov, how they really did, like a town in a snuffbox, i don’t know what - so terrible, beautiful, short-lived, yes, which is sorted out as soon as filming ends, and that’s all, you can see it right on the screen, and all these leaves that they attached, these

logs and so on, by the way, about st. petersburg, these shots of st. petersburg in pushkin, everyone was always very worried about this . let’s say, if you’re filming the queen of spades, why don’t you make a winter groove, because it’s so important there, so the reviewers noted that there’s a winter groove in this one, here at the fill in the queen of spades, well, of course, they filmed in paris, yes, they reproduced it all on location, they built an entire st. petersburg street, but there was no winter groove there, and how to shoot the queen of spades if you don’t shoot night shots at night, but there ... it’s very important that herman came to the countess at night and hid, and so on and so on, and for example, for 916 there was a big technical problem, which they successfully solved, let's film it, really, as if this carriage is approaching, this carriage is leaving, herman is entering, and we will film it

in the dark with the help of lighting devices of 916 , that is, pushkin performed every time such an inspirer of some kind of... technical innovations, solutions, everyone wanted to grow up a little like him, or something, at this moment pushkin really appears in films that are not about pushkin at all, in torkovsky’s mirror, in addition to some stories from the childhood of andrei tarkovsky, in addition to his mother, suddenly a quote from pushkin suddenly appears, and from pushkin not a poetic one, but this is a quote from a letter to chadayev, and for many this quote, this... is the one when suddenly some mysterious woman, as if heroes fail, either in pre-revolutionary times, or right back to the 19th century, it turns out that this is the semantic core of the film, again from pushkin, well, where can we get away from him, nowhere, because he is already so diffuse, but in of all this cultural element,

that even when you’re making a children’s film, there’s no escape in order to elevate our little heroes a little. it’s all quite like a puzzle, so it comes together in separate pieces, and such a puzzle really appears at some point, like pushkin, it seems, is not pushkin, but how in general if you compare with chervyakov with the poet and the tsar there is a lot there, in the scene of this duel there is a lot in common you can try to see let time pass, it doesn’t matter

, the knights remain always always ready to meet again. they are sometimes not noticed, but although the years fly by, knights are needed at any time, bring me armor, saddle my horse, and don’t even wish me luck, all this is of no use, since i have... it can’t just, just, just life can be different,

we continue.