read, so i won. this is the podcast gore ognem and me, its host denis gorelov, with a story about the creative path of sergei solovyov, people's artist of russia. and then solovyov pulled out a completely lucky ticket. completely by chance, he decided to help design the script, a big thick novel about a pioneer camp called living souls by his friend alexander alexandrov. they both wrote the script at the moment when... when they put an end to it, solovyov said that he would not give this script to anyone, the script to him i really liked it, the picture turned out brilliantly, it was solovyov's most important film, the film hit an absolute sore point, at that moment, the leaders of the soviet union, the second link, people who were quite sensible, understood perfectly well that all the historical-evolutionary heroics no longer touched the younger generation, at that moment...

girls imagined themselves with a fan at balls and so on and so forth, everyone really wanted to be nobles, the film 100 days after childhood hit exactly this sore point, at that the moment when the panorama of the neva canals began and petya kudzhava began something off-screen about a gray-haired colonel on a bay mare, some unthinkable falsehood stuck out from this, and solovyov overcame this falsehood in an ideal way, he... stopped inventing

some ideal wonderful children who , every minute of their lives, think only about pushkin's beautiful poems. his production of lermontov's masquerade, by the senior detachment of the pioneer camp lesnoy ostrov, quite coexisted with a game of football on the backside, when the goalkeeper and captain of the losing team stood in the goal in the pose of zyu and received a penalty in the ass from the winners, he also had slides with gioconda, who sometimes smiles like her mother, only rarely, were quite close to the extinguishing of the fire in a pioneer way, everyone saw that these were real, normal children who were offered some high circumstances, quite possible in life. solovyov became the unconditional favorite of the then minister of cinema filipp timofeevich yarmash, a much more sane person and outstanding producer. yermash was appointed

to his post in 1972 with the task of returning soviet cinema to the profitability rate of the sixties, which was almost impossible, because the main viewer of cinema is people aged 16 to 24, and if in the sixties the children of the baby boom went to the cinema after the war birth rate jump, then already in the seventies such a half-density of the teenage population simply did not exist... yermash actively pushed through the deeply beloved by the people various genres and action pirates xx century and the film catastrophe and the crew police film petrovka-38, that is, all the absolute hits of the eightieth olympic year, which in that year five films at once crossed the border of 50 million views, respectively, he was quite extreme in his disposition and ...

on a special gift, the hero, 100 days after childhood was called lapukhin, it seems to be an ordinary, popular surname, nickname burdock, but still everyone who is supposed to. know that lapukhin is one of the oldest noble aristocratic families, leading the lineage as much as, probably, centuries from 17th, and thus the hero has very serious roots, most likely, just as lena ergolina goes back to the noble family of ergolskaya, lunev to lunin, only poor sonya zagremukhina is an absolute mongrel, which is what the family name says, but even here ... the name sonechka, of course, goes back to sonya marmeladova from dostoevsky. in addition, in the film there was a clever cynic-gambler in a straw hat, a boy named furikov. this surname was borne by the main forecaster of attendance at the ussr state cinema, lev borisovich furikov, a remarkable

a man with the face of a mafia don, who at the age of 17 ended up in fascist captivity, escaped from there from german camps, then sat down with us and escaped from our... camps, and at the same time had the unique ability, having read the director's script with the distribution of roles, to clearly determine the final output of the film to a million, how many people would watch this film at the time of distribution, even before the start of filming, there were their own methods, he understood this matter perfectly well, when in later times, already post-soviet... all sorts of slutty producers demanded that he overstated the expected success, eh, the evil lion borisovich said: "son, you were hit with a rifle butt on the spine, but me more than once and not 10 times, who are you rolling on, aphid", everyone loved him terribly, when in the film 100 days after childhood

there is a wonderful phrase: "sergey borisovich sees zalikov, and zalikova sees furikova", and furikov does not see anything, although he would also really like to see, the entire mass film laughed at this phrase and furikov himself laughed louder than anyone. in the next picture of solovyov , the rescuer of one of the heroes of the husband of asya vedeneyeva, played by tatyana drubich, was called ganin, which of course also went back to dostoevsky's idiot, where gania ivolgin, the general's son, got the opportunity to marry anastasya filippovna barashkova herself through his kinship, in the film the rescuer ganin was the son of two lieutenant colonels, an ordinary army lieutenant colonel.

in which, as he said, i saw reason in the eyes, but the girl was not going to act at all, she had already played in the 15th spring with inna surana tumanyan before that. inna surenna was a wonderful person, but she could control nothing except the set she couldn't, when she took a large number of children to the southern regions of the country for filming, outside the set the children did absolutely anything. tanya, apparently, had seen enough of all this outrage, the filming process did n't inspire her very much. solovyov shrugged his shoulders, said: we won't impose anyone, perhaps he even forgot about this young lady, but she really caught the eye of his assistants, his

director, the entire film crew, the entire film crew began to slip him photos of drubich, absolutely in all folders, in the pockets of jackets hanging on a hanger, wherever possible. the whole group lobbied for drubich for the leading role, and solovyov was looking for a young lady similar to the pioneer-age irina kubchenko, he had just been extremely impressed by andrei mikhalkov's a nest of gentlefolk konchalovsky, he did not want to see anyone except kubchenko, but since there was no heroine, he presented drubich to the masfilm court, the director of masfilm nikolai. trofimovich sizov sirov man drubich fenced off completely, but one day during one of the filming days - a terrible rain, they were sitting together with tatyana in the gazebo, it was raining for an hour, they didn't even exchange a few words, at the end of this rain

he realized that not only was there no more beautiful performer for the role of lena ergolina - under the oak tree with teacher larik , played by sergei kayumovich shokorov. the film rescuer was, by and large , a continuation of the fates of the main characters. they already had other names, but in the characters of rescuer you can guess all the main characters of the country and after childhood. even furikov, who has just grown up, is played by kaidanovsky, constantly wearing a hat. the film didn't sound that strong, after all... there was a feeling that the main character was missing, himself, the lifeguard of the water rescue society,

willie tishin, didn't quite fit the main character, through whose eyes everything around is looked at, after all, he was a bit simple, but what happened was that the main character was drafted into the army throughout the film, he was at the medical commission at the military registration and enlistment office, he arranges a send-off with a long table in the fog. and they register the young lady for themselves, then he they call him up, then they let him go, then they call him back after 3 days, there was such a story in solovyov's life, when they saw nikita mikhalkov off to the army just from the set of the station master, they saw him off four times, at the moment when the film was already being edited, our troops entered afghanistan, and for the soviet viewer, i will say honestly, there was no tragedy in this at all, in the tenth year i was already 13, the draft age was also approaching, the first year , by and large

, i didn't give a damn about the events happening there, another thing is the western the viewer who was wound up by the boycott of the moscow olympics, who closely followed the battles that were beginning there, and for him the boy who is called up to the army, and who in the finale of the film just goes there, was actually with... in all three films of the first trilogy with tonya after childhood a savior, an heiress in

a straight line, uh, they all began with the awakening of the youth of the young man in the last film of the girl - on the morning pillow, waving curtains, some kind of fog outside the window, flowers in a liter jar, mm, and not in a vase, in liter jar, he appeared there again, performed by sergei kayumovich shakurov, who actually became the core of this trilogy in the first film he played vozhatov, in the second a literature teacher, in the third pushkin alexander sergeevich, well , you can imagine. what a horror it would be if the terribly spiritual pushkin sat on the odessa beach next to a terribly spiritual

girl, and instead pushkin walked along the beach, kicked a tin can and said: "gutsaev passes along the right flank, gives back to chevadze, chivadze to gavrilov, gavrilov buryaku, strike - goal, gray delirium". for a modern viewer, of course, these names will not mean anything, but this was the main cast.

and he actually became the forerunner of modern kazakh cinema, because on the advice of the then chairman of the state cinema of kazakhstan alzhas suleimenov, he took a kazakh workshop for himself, he just in the mid -eighties came to the main

godfather of kazakhstan dinmukhamed akhmedovich kunayev and offered to recruit a kazakh course with one

40 braids in 3 days anyway we will not collect, we will collect, and you can help me with one matter, yes, even in all, and so votkin himself will give everything, all we have to do is take the money, well, leave unnoticed, cool, he is inciting you to a wedge for what reason, let him do what he wants, if only the stalemate would help, i would advise you to give up walks, they want to kill you, ninel, the premiere of a multi-part film, soon on the first. rehearsed with him, i am not going to make excuses, or maybe you like him? this is still the podcast burn with fire and i, its host denis gorelov, with a story about the creative path of sergei alexandrovich solovyov, the best friend of the liliputians, rockers, kazakh filmmakers and girls with a bitten pear. at that moment

, the idea of ​​​​appointing solovyov as the rector of the gic arose. goskino was not at all against it, the union metrogra. was very much in favor, but the first secretary of the morskoy city committee of the cpsu stood up like a wall, said that a non-member of the cpsu cannot lead an ideological university and thus closed the road to the leadership of the gic for sergei alexandrovich, the funniest thing is that the first secretary of the moscow city committee of the cpsu was called boris nikolayevich yeltsin, yes, this was a funny story, solovyov always with it joy. told, thus, the road to top teaching was closed not only to him, but i'm afraid that to me too, i suspect that at vgik, where solovyov would have been the rector, the film studies department would have been headed, of course, by sansanovich timofeevsky, when shura got tired of it, then he would most likely have handed the department over to me, but it didn't work out, neither for

solovyov, nor for timofeevsky, nor for me, well, so be it. however, rashid nugmanov, while still directing the short film yakhkha, introduced solovyov to a korean who threw coal into the furnace in the st. petersburg boiler room, sometimes strumming the guitar in between. solovyov didn't want to get acquainted, he said that there are many koreans who stoke the boiler rooms and strummed the guitar, but he was told that the korean was special, the korean, as you well understand, was viktor robertovich tsoi, already in... at the end of eighty-seventh year in the newborn program vzglyad the final scene from the film ace of changes was launched, we are waiting for changes, with which the entire soviet people... in general, he learned that there is such a tsoi in the world, and he never forgot about it never again. assa was the perfect road to the world of a new generation of youth,

frankly speaking, there was no time for classics, in vassa, however, idelmanov's readings about paul i appeared, but nevertheless, this picture was already based on a completely kitsch nature, a story about how a mafia boss lives with a beautiful young lady, then a young informal with an earring in his ear crosses his path, for which he pays with his life, and then the mafia boss gets shot, of course, it was an absolutely indian story, sergei alexandrovich is very loved indian cinema, in this capacity it was absolutely to the liking of the soviet people , at first. art-rock festival ace was supposed to be in the cinema udarnik, an agreement was reached with the director of the cinema vanyan, this name entered the history of cinema, precisely in connection with this

scandal. on the one hand, a profitable film, it was clear that people and td would go to it, but at some point comrade vanyan perfectly understood what would happen next, because it was already clear that for a whole month around the cinema... in fact, they did whatever they wanted, at night they lit fires there, people waited for the opportunity to blaze up at the box office in the morning, to get the coveted tickets,

the first letter of all the ticket windows had been cut off, on the bottles of massandra, again the first letter and the last three were cut off, there was solid ace everywhere, ace t-shirts were sold, it was the best gift, i gave it to my first love. on the walls, on the white columns there were paintings of all sorts of sayings by a very young dunya smirnova, on the floor a portrait of leonid lich brezhnev was spread out like a carpet, however, so that people would not walked on the face, it was fenced with pegs with a chain, in general, vanalia was absolutely wonderful, before the start of the shows , the grebeshikov tso and bravo performed, it was something. unthinkable, who was there, he remembers. then the second part of the trilogy "the black rose emblem of sorrow" was filmed in the genre of insanity, which for the entire soviet people was filled

with advertising on tv, when comrade stalin turned to the screen and said: "the black rose is the emblem of sorrow, the red rose is the emblem of love." the film was filmed by the creative association circle. the third picture, the house under the starry sky , had to be slowly rolled up because there was a hurry. with the release, because the soviet power suddenly ended, sergei alexandrovich thought to roll it all out longer, but a big upheaval happened, a big revolution happened, by september-october the picture had to be immediately finished and handed over to the rental, and there solovyevsky's son mitya played his first leading role, and later , several years later, he wrote: something like a book about the fate of his generation, the fate those very teenagers of ninety-one, ninety-nine,

who were truly affected by the post-perestroika period, those who were 18 in ninety -one, lived to be 25, very few, and even fewer to thirty, solovyov told me on the eve of the premiere of a tender age that there were 17 people in mitka's company, now four are alive, and that was not all, because the actor who played the role of alexei dagaev's best friend, alexei dagaev's best friend, on the day of the premiere moved a golden dose, there were only three of them, mitya died 16 years after premieres, his father sang the funeral service for him in the nabronnaya church, not far from the pushkin theatre, where three years later they said goodbye to him, and i was walking along the icy tverskoy boulevard, in this wooden fence along the tverskoy boulevard, trying

to overtake the frisky little auntie, i just couldn’t, because she was in a hurry, until i realized that the frisky little mincing shadow was just a midget and she was hurrying exactly where everyone else was. to see off the last journey to ilysium of shadows, the best friend of the lilliputians, rockers, kazakhs filmmakers and girls with a bitten pear, sergei alexandrovich solovyov. when he was taken away, i got out on tverskaya, filled with grief, suddenly slipped so wildly that i almost fell down with a noise all over tverskaya, at that moment grandpa seryoga stuck his head out of the cloud and said, that's how you need it, idiot, that's how it's all absolutely right, there's no need to actually make a sour face, go to my funeral, get drunk there and tell me what a fun, cool guy i was, i went to his funeral and got drunk, now i'll give it to you all i'm telling you how funny and cool he was,

it was under... burnt by fire and i'm its host denis gorelov with a story about the creative path of the people's artist of russia sergei alexandrovich solovyov on his eightieth birthday. you can find all the episodes of the podcast burn by fire on the channel one website. hello everyone, on the air of channel one. everyone wants to fly, i'm its host leonid yakubovich. we want to remember the planes on which the pilots of the country's air force forged the great victory. speaking about the planes of the great patriotic war, we cannot help but say that we prepared this program for the russian air force day. this is always the best that the country's aircraft industry can give, by the way, any country, of course, these planes

are at their peak. science and technology of both that time and today, naturally, we will talk about the planes of the great patriotic war. alexander yakovlev, an outstanding aircraft designer, this is known, by the way, was considered stalin's favorite. he was the head of a separate design bureau, among other things, he was a statesman of the forties held the post of deputy people's commissariat of aviation industry. since the thirty-fourth year, the okb aircraft were continuously in large-scale production and were constantly in operation, a total of 70,000 yak aircraft were built, of which more than 40,000 during the war, 2/3 of all fighters were yakovlev aircraft. now let's touch on some: yak-1, this was

the first combat aircraft. which was developed in the yakovlev okb. serial production began in 1940. there is a legend that the aircraft was personally ordered by supreme commander-in-chief stalin, although this is not quite so, there was simply a meeting at which several promising types of aircraft were considered, stalin drew attention to the yakovlev aircraft. in total, approximately 9 copies of all modifications were produced.

570 km/h, maximum range 540 km. according to the pilot's reviews, the machine had very good horizontal maneuverability, was controllable, stable in the air and in its characteristics, surpassed, as pilots say, the main german fighter of the beginning of the war, the very well-known messerid 109e, almost forty pilots, who, by the way... fought on this aircraft nayak-1, during the war years was awarded the title of hero of the soviet union, but you know these names, these are pokryshkin, gulyaev, meresyev and lidiya litvyak. yakovlev also had an amazing design idea, constantly improving existing aircraft models, all the time came up with new ones, in the forty-second year

, a new modification of the yak-1 and yak-7 appeared, it was an aircraft. here it is in front of you, a wonderful machine, as the pilots said, the most mass-produced fighter of the great patriotic war, in the middle of forty -those aircraft. 9 in all modifications in in total, more aircraft were produced than all the others combined, they replaced the yak-1 and yak-7b on the main fronts, and the yak-9 at the plant, i 'll tell you now, number 153 reached, it 's hard to imagine, 20 aircraft a day, an absolutely unrealistic figure by today's parameters, characteristics. you can say, then, one pilot, maximum speed of about 600 km / h, ceiling somewhere around 875 km. the yak-9 was very similar in appearance to the yak-7, but technically it was more

advanced. the metal used in the design was already duralumin, and not wood and percale, which significantly reduced the weight of the structure, and the gain was used either to increase the fuel reserve. or to equip the aircraft with powerful weapons and more diverse special equipment. what are the main features of the yak-9, this is its ability to be modified into a variety of types for combat use. well, for example, a frontline fighter with conventional and heavy weapons, a long-range escort fighter and a fighter bomber. the yak-9 was very maneuverable, as pilots say, very easy to control, had a significant advantage in the air over enemy fighters, as we said, for example over mess schmidt, another outstanding model of wartime fighters was designed by

semyon alekseevich lavochkin, also an amazing aircraft designer, just like yakovlev, he was , so to speak, good at administrative work and in design thinking from the thirty to the thirty-ninth year he worked. management of the aviation industry, the people's commissariat of heavy industry, where he was the coordinator of the deployment of new aircraft factories. in parallel, labochkin together with vladimir gorbunov and mikhail gudkov, by the way, the plane was called la gge, precisely because lavochkin, gorbunov, gudkov. they developed a project for this very plane, which was called la gg, and submitted it to a competition in the government.

vesen as a material for fighters, but this was for third -generation fighters, the third modification and used it in all subsequent series of this plane, the structure of the material resembled plywood, but it was much stronger, it was specially processed, there was a special adhesive base, the disadvantage of the gg lag, as pilots say, was the speed was not very high in relation to the speeds of enemy aircraft. and the gun-to-weight ratio, pilots complained about this , and this aircraft began to yield in combat to the enemy, therefore, from the forty-second year , the modification of the board began, on the bottom of the fighter there was a threat of closure in the forty

-second year, the soviet government, in general , gave preference, of course, i needed a new engine by the seventh, the production of which was already established at full capacity, and not water-cooled. air-cooled, which is always more promising, the members of the design bureau had to come up with something new in the shortest possible time without drawings, they created a prototype fighter without drawings, it was march 21, 1942, test pilot vasily mishchenko lifted the future la-5 into the air. the first la-5 aircraft entered service in the army in the second half of 1942, until the end of the war... 1,100 approximately 130 fighters were manufactured, in total , about 10 thousand of these same la5 aircraft were produced. the aircraft was controlled by one man, the speed was quite decent 613

km/h, the range was almost 500 km. the engine, naturally, as i said, air -cooled is more reliable than a liquid-cooled engine, had greater survivability in combat. in speed and was much more maneuverable,

this was confirmed by all the pilots who flew it. at the end of the forty-third year , an improved fighter la-5fn took to the skies, which received the designation la-7, the aircraft had better aerodynamics, the weight was almost 100 kg less, which made it possible to strengthen armament, installed a third twenty-millimeter cannon shvakh or b20. launched into serial production, the lasem in the last year of the war became one of the main frontline fighters and, perhaps, one can say, one of the best aircraft of the second world war. here is lavochkin's plane, they are all about the same, la-7, la-9, it was an incredibly flying airplane, maneuverable, easy to control, the pilots loved it very much. yuli borisovich khariton. i know what bombs were dropped on japan, wrote a technical

assignment in which he says that we we will work on two types of bombs. tromer asked when the soviet union would be able to create an atomic bomb, and pimby thought and said: " it's hard for me to name a time frame." trumar said: and i know when, never. the creation of nuclear weapons required a gigantic concentration. this is something new that had to be created in the shortest possible time, everyone was under great tension, 10, 9 remained, i was not particularly worried, but in fact the creation of the first rds-1 product is a warning of the third world war by a completely unknown for humanity as a result. atomic bomb. personal file of person x, premieres on

sunday on the first, on the air of the first channel podcast everyone wants to fly, we continue, i am its host, leonid yakubovich. speaking of fighters, naturally, one cannot help but tell about another unique machine, this is mikiy, here it is, with my appearance the light of the machine is obliged to the tandem of two aircraft designers. these are artem mikayan and mikhail gurevich, both outstanding, of course, thinkers who worked in the aviation industry. they came from the okb of nikolai polikarpov, both of whom both deservedly called the king of fighters. in the thirty-ninth year, they were given the polikarpov i-200 for modification, it was planned as a mass fighter with a speed of over 600 km / h, which at that time. simply enormous speed, that is, the first high-speed

fighter of the soviet union, so it received a new powerful am35 engine, which gave it a characteristic astronomical nose look, the pilot's cockpit shifted back significantly, here it is in front of you, when the plane was improved, it began to be called mig one, the main claim all military pilots, including those of the host country, was the aircraft's range. although it was launched into serial production by the end of may 1940, the air force leadership demanded that the aircraft be made longer-range; the only way to increase the mik-1's range was to install an additional fuel tank on it. as a result, the modernized mik-1, which made its first flight on october 29, 1940, received the index in december of the same year. the big-3 completely replaced its ancestor in this series .

it was produced at the number one aircraft plant. what else can i say? the plane was used in the first days of the war and despite the difficulty of mastering it in units, the machine, in general, one can say, took root. the pilots got used to it, highly valued its characteristic speed qualities, fighter maneuverability. the shortcomings and defects were gradually eliminated, the aircraft's armament was strengthened. to two shkazka . 762 machine guns and one large-caliber bs of 12.7 caliber, they added a large-caliber bk, which were installed under the wings, here they are. were visible, here under the wings, two more machine guns were installed. during the first battles, the main drawback of the mi3 was especially clearly revealed - the lack of armored glass in the cockpit cap. well, naturally, the losses were quite large, the pilot received serious wounds to the head and chest. well, in general, the mig-3

gradually began to be used as a stormtrooper and dive bomber. although the main advantage of the aircraft was precisely in its operation at high altitudes, the armored glass was installed a little later, this greatly increased, of course, flight safety, its maximum flight altitude was quite large, 12 meters, while maintaining a very high speed, about 640 km / h. nevertheless, at the very end of 1941, the release of aircraft for one reason or another ...

their own legends, one of them was created by andrei nikolaevich tupolev, one of the outstanding aircraft designers, about whom we will of course tell separately. he was already considered a famous designer, behind whom he had several highly successful aircraft of the tb and ant series, which were actively used during the war. well, let's say, the tb3 was the world's first four-engine free-carrying monoplane. with an engine installed in a row along the span in the wing tip. this scheme became dominant for all aircraft of this type. these were aircraft of different purposes. another outstanding development of tupolev in the thirties, the ant-40, sb, high-speed

frontline bomber, generally svb. with the most mass-produced aircraft developed by the tupolev design bureau. the speed of the ant-40. was one and a half times greater than the speed of serial tb-3 bombers, and the nt-40 had a smooth skin, the maximum speed exceeded 420 km / h, higher than that of foreign aircraft of that same class. but this is a well-known story, in 1937 tupolev was arrested on a false charge of sabotage, he was imprisoned, worked in tskb-29, nkvd, where he was one of four.