so she writes that she wants to empathize, but it doesn’t work out, it’s not my aesthetics, i won’t invent anything, that’s how it was written, we talked in class, but i sighed there, but my pre-question is, is it possible to do something? , maybe some?

with my students in ovgik, and for myself , i rediscovered this picture, because i watched it a long time ago back there during my student years, the seventy-third year, by the way, turns 50, yes this year, but i discovered the hero for myself, and then something you can really really empathize with, because this is not a crisis middle age, when the hero says: i’m 40 years old, there’s nothing to say, this is an ontological crisis, this is a crisis -

because a person is trying to find something in life, to understand who he is, this is the most important thing when we begin to follow prokudin in this movement of his, it seems to me that empathy arises, because he is moving away from something, we sometimes do not read the cinematic text very accurately, but he is leaving the collective, and he wants to become himself, yeah.

talk, and we’ll talk about this too, seryozha, here’s how to help a person, well, first of all, in my experience, since i often lead film clubs with students, also young people, in principle, at this age there is, in my opinion, a limited set of film techniques that people empathize with, that is, after all, the subtlety of what is happening on the screen, in my opinion, it is better perceived when you yourself gain some experience. in general

, you begin to think, but still, if the first part of this film is just popular, yes, it’s understandable, intentional, perhaps popular, then the more subtle everything here becomes, the harder it is, it seems to me, for a young person to perceive this, but to help, can i agree with alv aratovich here, when you explain, perhaps a little more than is necessary with an older viewer, but do you explain what it’s about? so let's stop here about what this is about, because look what a thing, somewhere on the internet i found, what is this film about? recidivist criminal yegor prokudin, nicknamed grief, who has seven walkers, is trying to give up the past, start living in the village, in the house of lyuba, whom he meets by correspondence, but has a criminal past in the person of his former accomplice, the lip-slapper does not let him go, yesterday’s colleagues find yegor and kill him. prokudin dies in lyuba’s arms, and her brother, the driver pyotr, knocks the gangster’s volga into the river. the end of the film is correct and

absolutely nothing is said about the film. when i read it, i remembered two things, the first was mikhailovich natman, who said that it was a work. cinema, of course, he dominated in general in the sixties, after all, shukshin is a non-standard sixties, this is the main, as it were, question of the sixties, how to live, that was posed in the film i’m 20 years old, he’s also the outpost of marlena khutsyeva, in sixty-three, khutsieva and

shpalikov, of course, we need to say it more correctly, if you remember, there’s a fundamental conversation with his father who died in the war, such a metaphorical scene, and the hero asked, well what, what should i do, what? and, by the way, his story stalled in a remarkable one of his best stories of the seventy-first year , a theme arose when the hero, it’s not that he suddenly realized that the bird troika was carrying chichikov, the swindler was carrying, how come, he went to the teacher

literature, the hero, he said, you don’t need to perceive everything directly, but the point is not chichikov at all, the fact is that he thought about himself, what was happening to him, and there is a phrase there... a key one, not connected with chichikov, with the hero himself, lived half his life, so what? so, the second half of life will pass and nothing at all, shukshin’s wonderful word will not happen. yes. that's what. and it was this pain—this misunderstanding, this desire to understand—that was what motivated him, and not an attempt to affirm some soviet dogma and stereotypes; he moved away from them. and if he did, but...

couldn’t be unhappy, isn’t this the sovietness of this film ? to come to some result, even if it is a tragedy, but an optimistic one, it should not be otherwise, and he came to a tragedy in the full sense of the word, because he is not on...

eastwood has one of the main themes of his creativity - this is also a person who sticks to his line, let's just say, yes he is does the right thing, he doesn’t look back at what’s around him. goes across, an american hero, yes, in this sense, if you take the plot of, say, this picture, and not only the plot twists, but also the aesthetics in many ways, in my opinion, this is absolutely the aesthetics of an american western, that is, a hero for a reason unknown to us , by the way, this is also a problem, i’ve been reconsidering it a lot, why is he suddenly tormented so much, well, that is, he is a repeat offender, yes, the crisis of age is doubtful, the hero comes out of prison, understands that he can’t live like that, there is money, there is money, yes , they are burning the frog, trying. first , it doesn’t work out to settle in the environment in which he is used to, and then this yearning of the soul

leads to repentance, to death, if we remember the film gran torino, for example, yes, i also wanted to say grantorino, when the hero ultimately yes, in the end he allows himself to be killed, yes, that means, and thus, in fact, in this case, the hero of shukhshan finds his place among the birches of his loved ones, in my opinion, this is absolutely not a regional story, that is, you don’t like it. no, does he find a place, he, having met with birch trees, with his daughters-in-law, he says: i’ll be there, he actually greets them, he says goodbye to them, this is not his find, this is not his path, not his opportunity to get out of the situation in which he found himself, as for why he got out, well, he’s a repeat offender , came out of prison, what’s wrong, he wants to become a farmer, let him be, but in general this hero has nothing to do with repeat offenders. this is not a social hero, this is shukshin, in general shukshin didn’t

succeed for a very long time, but except for such a guy lives, of course, this is just wonderful a movie based on something like a revelation of innocence made, but it didn’t work out because he himself wasn’t in the frame, and it’s a miracle that - kuravlyov went to film in 17 moments of spring to play - and kuravlyov had to play, but in stove-benches , and shokshin threw up his hands. feeling that he had been betrayed, he began to play himself and oh, and he entered the frame as a hero with his own problems, prokudin’s problems - this is shukshin’s problem, and not some kind of social hero, i agree here, but we are more likely talking about the fact that shukshin more than an actor, a director or not, that’s not the point, that’s what the movie is about, etovich, but what about a holiday, a holiday, like which one exists, yes, after all , there is a question at the limit, is there such a holiday, he is tormented by this question all the time . because he doesn’t understand what a holiday is, he goes through trial and error, mistakes, yes, and

complete mistakes, he doesn’t make a single right decision, except maybe one right decision to die, because he has dried up, because that he can’t move on, he doesn’t know how, that’s the most his terrible problem, if you remember, one of his last conversations, i forgot the name of the hero, but he appears. just for a split second near the boat, they stand and talk, and after what is called fate came for him, prokudin in the person of one of these bandits, he says: maybe it would have been better not to have been born, why do we live, here he didn’t understand this, that’s the whole horror and tragedy of the prokudin, and they should have missed this in soviet cinema, by the way, in principle yes, in principle yes, but since it seemed that, well, why not, the recidivist thief wants... to become good, it’s as if what was told, in the annotation that you read, slightly clouded the

true meaning of this picture, which makes it, it’s not the fact that it is anti-soviet or not anti-soviet is not a question for shukshin at all, but that this picture is about a man who wants to understand himself, himself, finds it difficult to do this, based only on the realities of life, he achieves a lot, but he with any not...

didn't get there didn't get there, holiday, about holiday, or maybe about the soviet, i’ll still say about the soviet, in my opinion, this is precisely in this sense a soviet film, because - here - if we remember, especially the seventies, yes, this is a set of some such symbols, every house should have a kromskaya, yes, uh, if we’re talking about the civil war there, then this is a kolchak, and so on, yes, that’s all we remember about the civil war at the time of the seventies, in one room...

to go a little further than the soviet worldview, i know, so that i can also find, when i was thinking about our meeting, someone wrote in one of the articles that why does he die, why does he kill the hero, because in soviet realities this hero has no future, in a sense this viewer is right, in which i will explain , the fact is that whoever takes him is a collective, this is a gang, this is a bastard. the leader of the gang, he could not become himself, because this collective took its toll, and this, by the way, also how it took it, you remember, there one of his girlfriends screams, why yes, that it shouldn’t be like that, no need, squeaks she says, this is how it should be, this is how it should be, this a person who knows the social world,

who knows how to behave in it, and he takes it away, no one, he didn’t send anyone, he came himself, a leader, he came and killed, this is very important, this is very important, because i read a lot where that the thieves and so on wrote to shukshin, the film is cool, but the ending is absolutely, it doesn’t happen that if he wants to leave, they were so impressed, so to speak, well, in life you can’t do that, you want to leave, yes, no one will not kill you, but he, this is exactly it, this is a parable level, yes, this is from there isn’t any, that’s the whole point, it’s not about not about...

shukshin was sitting in the back on the top row and he was crying, because such incredible applause rang out, and people stood and applauded, he just didn’t expect such reactions, indeed, and he even had a few months to live, and of course, this made an incredible impression on her, but people did not decipher what impressed them right away, it was so serious at that moment, if you look at the reviews of those years, very serious, interesting critics wrote, what...

he understands a holiday within life, he does not understand a holiday as an internal holiday, and if you remember the famous episode after he came to see his mother at udelikha’s, when he did not meet with her, but heard her talking to anyone, yeah. with his correspondence correspondence, yes he comes out and he, in principle, this is a prayer, this is a prayer of repentance, this is not lord, my god, but lord, he says, forgive me, yes, this is in what other soviet movie does the hero say: lord, forgive me, yes, no, this is a prayer of repentance, and it stands in the back in terms of church, church, yes, it’s not in the field, a difficult topic for shukshin, it’s not in the field, but it’s all meaningful. it’s all been done, he chose the location, it’s clear that it makes sense, but here’s shevkshintu, what does he say then? he cannot stop at this point, and he

says: give me time, lyuba, give me time, he is not yet ready to actually speak to himself in the language of the spirit, in the language of inner existence, look, because , sorry, it’s a race in width. not in height and not in depth, about this, let's, by the way, let's see about the race, the people gathered to the point of debauchery, oh my god, my god, just girls with peaches, nice man. you still explain to us what we are celebrating, well, uncles and aunts, let's start eating, the question is in

the film story, as i understand it, this is a director's script, yes, that's just what we called it, yes, but the film story was such a genre, even in the film story, he has a whole speech here, he says that we are people here, let’s love each other, because i love you, otherwise we live like... karamazov, i’ll take myself so careless, the opportunity to say, yes, because, yes, let me not allow you, and nevertheless,

because he, there is no need to narrow him down, he narrowed himself, you know, he, he himself came to the point that what he arranged the holiday is tinsel, he’s the one who says it’s tinsel, he understands that this is not it, and the only thing he can rely on is this... pantheistic motif associated with birch trees, which he also went to for a long time, after all, this is also three times, this is a very thoughtful dramaturgy, first he goes out and tries with them he can’t talk, because the crows are bothering him, if you remember, the second time lyuba is bothering him with her conversations about her first husband, uh-huh, he says, what vasilisa is growing up, it’s time to give birth, then there is also such a powerful erotic motive, he’s trying connect with it, but that’s all, all life.

and the two gospel stories of the prodigal son and the repentant thief, well, with the prodigal son everything, everything is clear, everything is clear, although here again here is what we started talking about - a mixture of real history and screen history, yes, how do we if we remember the fate of the heroine? this one who played, but didn’t play, actually talked about herself, yes, who you mean mom, yes, this is a document, by the way, an amazing thing, yes, how organic it looks with the documentary sound, with this yes.

and for her the real prodigal son who left her, we always speak from the side of the son , yes, here also from the side, in fact, in this case of the mother, and for her this return took place, she never saw her own son - the missing one , but shukhshin for her was the son who returned to her, about the robber, here i am i probably agree with alv aratovich, here in general, well, the robber is not so obvious, that is, he really is for me, no matter how many times i’ve watched him, maybe that’s why the first part of the film is about... robbers, it’s like that, yes, forgive me , the late gaidai, but in general it was filmed rather in his vein, yes, here it’s this kind of deliberate pubic thief’s raspberry, here’s the bardelier, again mentioned so deliberately, and even if you remember the episode when after the raspberry the police are chasing them and he's hiding on the embankment these cartoons are policemen, and the policemen are like cartoons shukshin himself, he suddenly does such steps with his feet, well, it’s more like the hero ivan vasilyevich changes his profession, that’s a step

back, a step, if we remember. then from what he comes to himself, that is, there is this robber, he’s somehow not very real, well, for me it’s not a story at all - a gospel story, but it seems to me that in any good movie you can find a gospel story, because that there are archetypes is impossible to argue, so for me there are stories, yes there are gospel stories, but there is a very shukshin-esque story here about how a person never found himself, never got to himself, this is the race. there is no width, how to say, then in razin, even in the novel that he wrote, the width turns into breadth, this is a little different , but still this is the concept of real life, the specifics of life, but to feel not something that cannot be touched spiritual matter with his hands, he couldn’t, he tried but he couldn’t, this is a man in search, of course,

a completely different outcome, there the hero dies, because he is faced with such vital material from which it is impossible not to die, but he dies in order to live, and he lets go of this bird, which flies away, this, well, maybe too much, even for torkovsky such a direct symbol, yes, the holy spirit, but he speaks, almost inaudibly, several times, when i looked at the picture for the first time several times, i did not notice these

words at all, he says everything, it will happen, he opens a new life, what arseny torkovsky in his in the poem that sounds in this film, life, life, just speaks about that there is still life, life, not only life, but shukshin’s hero ran into life, he did not feel this life, life, did not discover it for himself, this is his tragedy, because, well, let’s say, like this, yes, here , a classic picture of gadar on his last breath, and there is a famous dialogue with... he says, i choose death, sadness is a compromise, that’s the whole point, for prokudin, and this is an existential choice, quite, i choose , there is no god, let's go, but here an existential choice is impossible, because for him death is a compromise, he's a failed hero,

that's the thing, he was determined. maximalist, and there’s an amazing episode when he’s riding on a hydrofoil, he says: listen, maybe we’ll drag him away with a couple, that’s the idea, yes, dragging the hydrofoil, he’s a broad man, but he can’t this breadth, cannot fit this breadth into some kind of internal message into a spiritual movement, he nevertheless tries to do it, yes. there are his words of repentance, yes, when god forgive me, right there when he says: give me time, this sounds kind of crazy, he says, at least let my hair grow back, but what does your hair have to do with it, well, it’s like a person who says: yes, i want to go to church, but tomorrow, i’ll go tomorrow, but it seems like it’s painful for him, it’s all putting it off until tomorrow, it’s like the wraith of the sixties, by the way, dear friends, i

want to tell you... uh, at the end, but the fact is that the story with my student had a continuation, she was expelled, no, no, no, no, she mm, after 2 years suddenly writes to me, this is: a student, she says, remember, we watched the film kalina krasnaya, i watched it here, it’s an amazing movie, advise me something else from soviet films, well , films of the soviet era, yes, so that, and i know, i would like to conclude with you ask, let's recommend something, from non-soviet soviet, to those same students of ours, there are 21, 2, 3, that...

something from german alexey sr., accordingly, i would recommend, because again this, will probably make you think about what soviet cinema is and expand these, so i would at least... start with this, and then we’ll see, and then we’ll see, and since we ’re talking about students, i would recommend pedagogical films, because the mirror and herman, i think, will be watched one way or another, because that these are basic paintings that, one way or another, a person touches them sooner or later, and there is a wonderful painting by ilya verbach, other people’s letters, about a teacher who cannot understand the character of her student and gives in to him because she can't explain why you can't read other people's letters, because, and this picture is good precisely because of this, because it cannot be explained,

that’s the whole point, there is something that should be inside, something that should be like an internal law, inside us, this should be , because this cannot be explained, but... soviet reality, unfortunately, was closed to these internal laws that cannot be explained, they simply must be, and there the old teacher, amazingly, says, why not, because everything is impossible. thank you, dear friends, lev maratovich karakhan, sergei vladimirovich verikin, we we were gathering our thoughts about kalina krasnaya and vasily makaravichan. hello, this is the podcast life of the remarkable, i am with you, its host,

writer alexey varlamov, and today we will talk about shukshin. valentin rasputin has such words that if at some world gathering, where one person would have to be represented from each nation. so that it is by this person that one could judge the qualities of the entire people, so if such a person had to be chosen from the russian people, presented, then such a person would become vasily shukshin, when i began to really study shukshin, when i began to sort of delve into the details of his fate, i realized how right rasputin was, because of course shukshin was a complex person in the literal sense of the word, complex, that is, complex. indeed, in the history of shukshin, in the personality of shukshin, the history of russia of the 20th century is reflected, as they say, like in a drop of water. and of course, talent is the main quality of shukshin, but his story is amazing not only with talent, but with amazing will, i would

even say cunning, reaching resourcefulness, in fact, this is the mechanism of movement, the advancement of shukshin’s takeoff, this is the most interesting thing, because this is vasily. so, imagine that in 1929 in the village of srostka, this large village in altai, a boy is born, the first-born in the family, who was named vasya, one of the millions of russian children born in peasant families in those years, and after another 3 years in a terrible misfortune comes home, because in 1932 in the village of sroski there was a special operation of the nkvd, as a result of this... operation several dozen people, there over eighty people, men, were immediately arrested, taken to barnaul and soon shot, which none of their relatives knew about, because for many years they were not

told what happened to these people, but one way or another vasya was orphaned at the age of 4 i didn’t really remember my father, although a little memory of this image was preserved for him, from that moment on... shukshin’s mother, the widow of this repressed, executed enemy of the people, these women were called the word sibulonki, these were the wives of prisoners in siberian camps, after 44 years. well a little less, shukshin will be buried at the novodievichy cemetery among the soviet elite, this is actually this rise, this rise from the very bottom of the soviet to the very top of the soviets, this is how he managed it, this is, perhaps, in the fate of shokshin, one of the most interesting and most mysterious phenomena, so how did this happen, it must be said that shukshin’s mother was truly an amazing woman who endlessly... loved her son and, apparently, felt that he was a very

unusual child. immediately after this misfortune happened in the family, she wanted to commit suicide, she was simply afraid of the future, i also had a little daughter, shukshina’s sister, her name was natasha, so she simply opened the stove so that, or rather the opposite, she closed it, and the damper in order to so that carbon monoxide would enter the hut, so that they could simply die, because they had no strength to live, a neighbor came running and saved them. and after that, as it seems to me, the pendulum seemed to swing in the other direction, and marya sergeevna, that was the name of the mother, she just felt, that she must live, she must do everything so that her children live and not just live, but so that they live well, a few years after this tragedy she gets married for the second time, she ceases to be an enemy to the wife or widow of an enemy of the people , she becomes just the wife of an ordinary...

to school, then the war begins, and marya sergeevna’s husband is called to the front, he soon dies, so she is actually widowed for the second time and then she returns as an adult, returns to the village with two children, because in a village where there is land, it’s easier to feed herself, it must be said that her second husband, since he was such a relatively wealthy man, he managed to build a rather large house in joints by local standards, and on the second half of this house during the war years... the first secretary of the district party committee settled, because the splices during

the war years made the regional center, this man who knew nothing about marya sergeevna’s past, he was imbued with great sympathy for her children, for her son, who loved to read, and later a legend was born that shukshin was like this here is a dark, uneducated one, that when he came to enroll in vgik, it means that he said there that he had not read anything, did not read anna karenina, did not read war and peace, all these were shukshin’s fairy tales, he was a very well-read child, this is evidenced his classmates, and his fellow villagers, people who knew him well in his childhood and later years, so, well, these are splices, war, yes, there was naturally no electricity there, you needed a kerosene lamp, but marya sergeevna didn’t have kerosene, lived in starvation, then this man, the first secretary of the aikom party, he simply began to give kerosene to the boy so that the boy could read, and shukshin remembered this very well, shukshin has had it since childhood...

abandoning his native village, how he managed to do this, how he managed to get a passport, what was absolutely, as if impossible, unthinkable for the majority of soviets. again, my mother helped, shakshina’s mother trained as a hairdresser during the war years and she worked as a hairdresser, now let’s think about who in this village goes to get their hair cut, the bosses go to get their hair cut, and my mother gave haircuts to bosses, she was a very good master, she knew how to negotiate with these people, she really wanted for her son, in whom she

felt something extraordinary, she wanted some kind of great destiny for him, she means a lot in his life, it is no coincidence, and he loved it so much. his mother and dedicated so many wonderful lines to her and in general the image of the mother in shukshin’s work is truly a shrine. so, precisely dreaming that her son would get out of this collective farm poverty, get out of this everyday life, she agreed with the first secretary of the district committee party so that vasya would be given a passport, and then, it means that my mother thought that having received a passport, vasya would go to study in the nearby cities of either barnaul or novosibirs, and vasya waved to moscow, this was, perhaps, the most unexpected , the sharpest turn in his life, a turn that was then actually perceived as an escape, because in essence, having received a passport, he abandoned

both his mother and his sister to the mercy of fate, of course, they did not starve, but in any case case, there is a version, yes, that in order to equip my mother sold her son there. the last cow, well, the only one, of course, and the cow, one way or another, whether it’s a myth or a story, a legend or not, it’s hard to say, but he actually ran away from his native village, ran away for several months, and maybe even several years, from he was neither heard nor spirited, because his life where he ran away was very difficult, and we don’t even fully know the circumstances of his entire life, but let’s remember the film kalina krasnaya, let’s remember... yegor prokudin’s repentance before his mom, this is actually repentance itself shukshina. yes, his life turned out much happier than the life of his hero, but just like in borhis’s story the garden of diverging paths, here too shukshin seemed to feel that his fate could take different paths, along

different paths, and as an artist, he could not don't react to this. what happened to him? he was going to conquer moscow, he wanted to become a writer, he... wanted to study at a literary institute, but this was impossible for two reasons: firstly, he did not finish school, he dropped out of school as an adult, he was a poor student in general, dropped out of the automotive technical school where he studied in barnaul, but he was still bored by it, he dreamed of a different life, a different destiny, and felt his calling, so he comes to moscow, but moscow does not accept him, he does not belong to moscow needed, he doesn’t have a certificate to enter the institute, besides, to enter the literary institute, he must pass a creative competition, send some of his own... and essay stories, shukshin didn’t have anything like that, then he just starts look for work, come home back to nothing he doesn’t want to, he comes to kaluga and goes to work at the plant, this is the most difficult period of his life, this is post-war russia, this is devastation, this is rampant crime. it is no coincidence that shukshin

felt so keenly the theme of this criminal environment, describing it not as a detective, but describing it with incredible sympathy and even with some kind of knowledge. business, because he was very close to these people, because the people who worked on the restoration of the plant in koluga, many of them were also former prisoners, future prisoners, and he actually walked around the very edge of the abyss, but survived, and there is a very interesting recollection of georgy burkov, a wonderful actor who will play in the last shukshin films, the bench stove and kalina krasnaya, and shukshin, according to the recollections of burkov, once asked: did you know that you would famous? no, where from, said burkov, and i knew, said shukshin, and this is the honest truth, yes, we continue, this is a podcast about the life of the wonderful, i am with you, alexey varlamov, and we are talking today about vasily shukshin. shukshin felt his incredible calling,

felt the talent with which he was endowed, but, as they say, the fairy tale soon tells itself. soon the job is done, first he works in kaluga, then he moves to vladimir and he is still very far from literature, cinema, art, and then he is drafted into the army, he is drafted into the army into the coastal part of the black sea fleet, he serves in sevastopol , and a few years later he was discharged due to illness, and shukshin, who is already 24 years old and who has lived practically half his life and has not yet managed to do anything, finds himself in his native... he doesn’t have nothing, he doesn’t have a certificate of secondary education, he doesn’t have a profession, from this moment, from the moment he returns to adulthood, he just starts to actively plow, he starts... to work, he starts to make his life, and it’s amazing, what kind of efficiency this man had: he quickly graduates from school, then, when he receives a certificate, the next year he is made

the director of this school, these are such somersault paradoxes of soviet life at that time, but psychologically it is quite possible to understand them, because in the eyes of the local leadership, local authorities, shukshin is a valuable personnel, a valuable reserve, and what is also very important, yes, that this is a person who has served in the army and worked at a factory, this seems to work in his favor when shukshin tells his superiors about that he wants to study in moscow, and he wants to study at the institute of history and archives, in the correspondence department, he treats this very favorably, because, again, for a future soviet employee, higher education is a necessary thing, but that shukshin deceived everyone , because in in 1954, he left srostok for moscow and... he did not submit documents to the institute of history and archives, but he submitted documents to vgik. there are many different legends: there are

many different stories about how shukshin entered vgik, well, perhaps the most famous story, i think it was told by director alexander meta, it is that shukshin did not even know that such a profession existed the director, that he thought that the actors on the set themselves agree on who will play whom, therefore, it means that this is precisely the kind of baggage he actually came with... to enter vgik, then he was accepted by the great soviet director mikhail ilgievich rom, who immediately saw incredible talent in this young man and so took him, despite the fact that the competition in avgig then was more than 100 people per place, and in general how did shukshin manage to do so? to one of the most elite soviet universities, there is certainly something surprising about this. in fact, not only something amazing, but this story has another rather interesting backstory of its own, how shukshin found out that there is a profession

director, because initially he wanted to become a writer, this is why it is important, because later he will be a writer and a director, and also an actor, these three professions, they will seem to interfere with each other, but there is his own memory, which he really attributes to different years, but i think that this is a reliable memory that once shukshin met... pyryev, having learned that this guy, such a restless guy soltai, invited him to visit him and told him about his profession. again, was it really or it wasn’t difficult to say, but it seems to me that meeting pyryev really meant a lot to shupshin’s fate, because. shukshin at some point

realized that the profession of a director is cooler than the profession of a writer, in general, that a director is the most wonderful job for a man, so i think that of course he entered vgik, and the documents that we have today say about the fact that he consciously, purposefully went for no actor, he went specifically for the director, and then he passes... the exam and indeed, he entered because he was talented, no one argues with this, but besides, he was really very well read, in order to enter vgik, there was little etiquette, there was little interview, he also had to write two essays, now these works have been published, and if you read them, you will see that they are written in an amazingly literate language, deep, intelligent, beautiful works, what is called an intelligent person, and intelligence in...