about the environment, about this, this world, which we are only now beginning to discover and get to know in full, yes, the world that made poetic cinema, let's talk about the mykolaichuk family, yes, we will start simply from the apartment, because now i remember the apartment of the mykolaichuks, already the one that was on serafimovich, now mykolaichuk on the birches, yes. i found the main apartment on zhilyanska street, on zhilyanska street, what kind of apartment was it, who gathered there, what did you talk about there and what did you eat there in general, drank, discussed? well, it must be said that marichka and ivan got married in 1962, and they had nowhere to live, and ivan was already, already a star, he had already starred in the film shadows of forgetting. ancestors in the film are a dream, but after

their marriage they lived in a dormitory, there is such a passage in the center on khreshchatyk, there was a huge apartment, somewhere with three rooms, and there was a dormitory of the choir of the veryovka choir, and marichka and ivan slept there on a folding table in the corridor, and this is because of the choir of ropes, because marichka sang in the choir sang in the choir of ropes, and ivan was there fell ill and the director of the film came to him. ivchenko, yes, the director of the film, this, this is the director who later removed the missing certificate, is it his son, his son boris filmed it, yes, or his father, he was ivan’s teacher, yes, on the course, and he came as saw where ivan lives, how he is, where he sleeps in the corridor with marichka, it somehow happened that ivan was given an apartment on zhilyansky, a huge 20-meter room, alone, you can spend 20 m.

20 it was just a holiday for marichka for ivan, but ivan is not so good with marichka lined up, because, because he lived there all his course, many people immediately appeared at the door, and ivan was still studying in the second year of the theater institute, and there was boris brandukov, there was he with his wife kateryna, there was ivan gavrylyuk with wife myroslava, there were many more there, maybe i didn’t know them... not at all, and osyka and his wife too, that is, there was a good company there, who told marichka that sometimes they and ivan had to sleep in the bath, sleep in the bath, but that was really the environment i got into, that's why it was a completely different world for me, because in the rope choir, nina matvienko and i studied in the studio with the choir, then we were taken to the choir and there in the choir we met marichka, and we...

we had an environment of ukrainian folk songs, we were in it , we grew into that song, we delved into it, because avdievskyi is incredible, a brilliant leader, conductor, and we ourselves and our desire, you know, to know more and more, to sing more and more ukrainian songs, and nina and i went to the studio after finishing, and marichka already worked in the choir, well, she worked, but we we knew that marichka had... an incredible husband, ivan mykolaichuk, and so we wanted to see him, so we, of course, we did not really insist on marichka, but one day she invited us to her place, yes, in zhelyansk, , she, you come, and who was there first, you remember it, boris brandukov was there, ivan was there, well, with his wife, ivan gavrylyuk was, uh, osyka, i remember exactly, he was with his wife, uh, well, maybe. and of course ivan

mykolaichuk, as always marichka set an incredible table from nothing, as ivan said, marichka can do nothing for me, so here we are sit down, you know, i have never seen such free people, they were so beautiful and they had so much freedom in their souls, in their movements, in their conversation, in everything, they were unchained, and it was wednesday... this is his , it was his science, because i remember how he was with him, i saw him, in a railway overcoat, his father worked on the railway, and he obviously had a black overcoat, and ivan walked in that overcoat with with a raised collar, here, of course, the handkerchief is like this, it is beautiful and certainly, he walked, of course, but how so, they tied on neck i remember that there are even

photos of him in it, where he is in a scarf, on a neckerchief, he is like that, he is in a shirt sometimes for some boys, yes, some boys started to walk the same way. ivan was simply incredible, handsome, and there at the table we sat modestly, looking at everyone, and then ivan says, girls, sing like that, you know, i don't know if it's god's way or what, that nina spi in the sopranos sang in the rope choir, i in the first altos, and marichka in the second altos with her incredible deep with a beautiful timbral voice, and we sang for the first time... in this house, we sang for the first time, and we knew one song, from beginning to end, all the parts, oh, come on, little green one, widow lon, little one, what a wonderful song it is, yes, and he i heard, i know that he, he is not up to it, if someone in the company

falsified, then he would just step on that person, he is scary, he is scary, first of all, because he was a musician first of all, that's what the derege ended up with, the truth is musical school, but and so he heard you, so he heard us, he, they were silent for some reason when we finished this song, there was such a silence, you know, there was, and in this silence suddenly ivan says, well , girls, you are mine, and after that, you guys, we became his for sure, we became a part, we became a part of that family, already nothing was done there without us, we came to our house, if marishka was gathering guests there, we helped her, he already started going there. and nina's husband, petro gonchar, and we always sat at the table, ivan, ivan was, you know, uh, the master of everything, he didn't eat, he just treated everyone at the table, yes, eat, eat, eat,

eat, he was like that, you know, so much in he had some kind of that, you know, and to kindness and height, well, he is all of me recently... i was asked, well, ivan is a village boy, and what kind of a village boy is he, he was a village intellectual, an aristocrat, all that he, what he was wearing, everything somehow looked very aristocratic on him, such, you know, such a posture, beautiful, his look, and his conversation, and his special vision of the world, all this greatly elevated ivan, but on the other hand, so did maria mykolych. .. for me it was, but i don't remember a single time that i and my mother were there in them in the family and that they either did not have someone living, or there were no people, or there were no children, nephews, grandchildren, brothers, cousins, and so

on, that is, but this, this must also be all, not every woman is this would endure, yes, and marichka mykolaichuk accepted everything, first of all, the whole... she accepted ivan mykolaichuk's family as her own family, yes, and all his friends, she accepted as her own and a permanent friend this whole huge company that in khati got fat, she was also very hospitable, yes marichka, this, well, it is separate, of course, it was such, you know, the phenomenon of women and devotion, i already said that marichka had two wings, one wing is a song, and the other wing is ivan. mykolai, his, her husband ivan, she threw a chorus of ropes for him, yes, yes, it happened, and tell me, it’s true that she could fly from riga, she could fly from riga in order to, in order to , that’s why, in the morning she could, when we had a free

day on tour in reza, uh, in latvia, we, marichka, get up in the morning, run, go to the airport and fly to kyiv, fly to kyiv for... to cook borscht at home, wash everything, iron, kiss every shirt, it's true, she, she kissed every shirt of ivan when she folded it, and in the evening returned back, back to riga, by plane, she could only do that marichka, and it happened more than once, you know, she could meet him, for example, in chernivtsi, come to the railway station and meet him from the train, when he did not say anything to her and did not say when he would come. marichka felt everything, marichka was his, well, i don't know, she was

a part of ivan, because everything with ivan, what ivan did in his life, marichka was indispensable, and you know, i remember how she told her dream about taras shevchenko. that she dreamed that someone knocked on the house, in the house, she opens the door, taras grigoryovych is standing, and she, oh, taras grigoryovych, oh, it's good that you came to us, come in, come in, and here she comes , as if she is dreaming like this and shouts to ivan, ivan, taras grigoryovych has come to us, he is inviting, invite, and she woke up, told ivan in the morning, ivan says, maria, well, you are dreaming of something, and he left, he went to the dovzhenka film studio, he comes back in the evening, he says, you know, i was approved for the role of taras shevchenko, and by the way, he is beautiful in this role, i watched it. he is, that is, how organic and how, well, first of all, he is beautiful, i and one more

fact that marichka, i apologize, that marichka gave ivan two books, shadows of forgotten ancestors and taras shevchenko, and well kobzar and there it turned out that ivan starred in one film shadows of forgotten ancestors in the film dream, we will definitely talk about shadows, i want now to go to the missing certificate, i planned earlier. but because i wanted to ask you about your own creation of the golden keys trio, and in 1972 he already invites you to the missing letter and there is a very interesting moment, unharness the horses, boys, and which song does it start with? unleash the lyric like this. buy the horses and go to bed to rest, and i wrote

a green sotkrinychelka. here is this change from a march derivative to a lyrical one, this is also a very mykolachuk story, how is he, how is he invented that it was so, well, he was before the filming, he asked the girls to sing, here for some reason the film was cut, we sang, oh, unharness, he says, please say, oh, unharness, boys, horses, enough already fight, don't fight, why do you need these... come, untie, go home, that's how he set us up for the role, for this

song, and we sang it lyrically, and beautifully, and now for me this song sounds only like this , that is, with his presentation with yours, now this is the only way i hear it, it is not a derivative for me, but there was another song, already 300 years like a cossack in captivity, tell me about it, it was not included in the film, it was not included, unfortunately, and not only that... not even a recording remained, you know, we sang there with such inspiration , we sang, he brought a car, this tonwagen is called, to the river, over the river pslo, we sang over the river there and we never even could imagine that there could be such acoustics , something is reflected from the water, they put microphones on the sand , and in the end this song was sung under the yoke of the moscow guard, the girls asked us, we can't sing... under the turkish guard, we did everything so that this song sounded in the film, and when

we sang, it sounded like, hey-hey in captivity in the yoke, under the turkish guard in the prison, so and this hey-hey in three voices sounded so loud that we listened to ourselves, well, i also told about this funny moment when someone from the fourth behind... sang, sang, it was a dog, that is, a dog from the side, ivan, how always hospitable, at that time there were no packages, there were sandwiches wrapped in newspaper and in the sand for buried, the dog dug, you ate our sandwiches and sang with us, but you sang so much that even the sound engineer did not understand, she ran out of the car and said: ivan vasyliovych, why didn't you... you said you would sing, i would be your fourth i will put the microphone, that is, he is our mykolaich, then we already

met, and then, as your mother, nila kryukova, told me, you know, my parents and i played small roles in this, in the lost document, but my mother remembered this krasnohorivka all life, she said that these were not the happiest days of her life, in general, the eyes of the shooting, here... the filming that took place there in poltava oblast above the pslo. tell us what the atmosphere is like there, there is such a concentration of people and in general all this cossack life, that 's all, besides. i recently read that borys ivchenko, the director, well, actually there were two directors, ivchenko and mykolaichuk, to be honest, yes, he understood that this might be the last thing that would be allowed, and he said, cheer up, guys, because it's probably the last film we are shooting about the cossacks, and it happened, litgazeta called the lost letter a cossack philistine, and the film got

on the shelf for 10 years, but there you all experienced this colossal atmosphere, tell me what kind of... atmosphere there was such a creative atmosphere, not only, for example, during filming, the whole village lived in the same way when we arrived at shooting and we were driven around the village by a motel, this is in ukraine, at that time motels were extremely rare, but there was a motel near krasnohorivka, and there were all the meadows, there were incredible little lakes, and there was a dry tree in the middle of the lake, i thought it was everything specially from... but ivan found such a one nature, as they said at the time, he found it, and we really felt somehow incredible there, fedor strygun was there, ivan drach came to shoot there at the time, he looked, he looked at what they were doing, it was the script of ivan drach, yes he, he said, guys, do what you want here, i left, because they are so creative,

they were reworking and doing everything there, and i remember that... ivchenko woke up ivan every day, in the morning kavan, get up, they discussed the acquaintance day and all that, here ivan was the only one in the group, he had a cut herring on his head, all the others were glued to themselves, he cut a haircut, and he proudly walked with it, this is the 72nd year, no, my father, this, my father was also with a heron, i remember, he came here, he slept in this, i was scared, what, what is it in him for this, father. maybe he really is ivan, there was such a created atmosphere there, some kind of cossackism, you know, and, but i didn’t read the script, we didn’t know, we took it on the set, this hell that was filmed, it was such a miracle, it's simple, you know, eh, but it's interesting that this devil, satan,

who is mykhailo holubovych, he and the innkeeper played and it was, ugh. and i wonder that it is he who, after the start of the war, will head the luhansk drama theater, and he actually explains it now, well, at least a few years ago, it was like that, he said that he was doing it because they were allowed in luhansk , that is, to play in the ukrainian language, that is, he actually became a collaborator, yes, could you then imagine at all what you think about it, i only saw him on the set of holubovych, so you didn’t know holubovych , so i didn’t know either, and i was very i was surprised, he was absolutely the same as the same as the same all the other actors, what happened to him is obvious, the environment where he is, for example, or

some misunderstanding, he did not understand something in this life, well, he is there with... there is another wonderful memory, mrs. valya mentioned fedor strygun, and there is a wonderful memory when strigun mykolaichuk and, by the way, golubovych, they filmed this part in peterhof, where they go to kateryna, and there they slap potemkin, and by the way, there is a version that this film was banned because of this slap, because allegedly it a slap to all the russian people as if they are on well, a fly sat on my face, well, a fly , so that’s all, i have to kill a fly, and there is a wonderful story told by fedir strygun about how they took revenge, like mykolaichuk and golobovych and srygun, they took revenge on kateryna in peterhof, tell me this beautiful story the story, well, it seems to me that

only strigun and ivan were there, and so there were two of them, they were on vacation, they were staying. there are shopping palaces, such and such canals, different, such beauty , here and there, and in the breaks between filming, when it was necessary to leave this palace, they stayed they hid behind the curtains and closed the palace, they stayed there, they prepared a drink for themselves, they laid down on catherine ii's bed and said, "here we are going to have a walk." there is a quote, strygun quotes mykolaichuk, what does mykolaichuk say, so that this whore knows that the satisfaction took place, i don’t know, it’s a beautiful story, yes... now you have already mentioned the shadows of tangled ancestors, what do you remember about this film , when they first saw him, first of all, when was it and what do you remember about how ivan mykolaichuk reacted

to this fame, because it was a great fame international already, what do you remember about it, i remember how ivan traveled around, marichka told us that ivan went to argentina for an international festival, for a competition, that's how they didn't let parodzhanov out, because... they didn't let him out at all, he had to go, he, kadochnikova and ivan mykolaichuk, and they arrived already with awards, ivan was already a star, but on that star, you know, ivan's star was popular, he did not hang around with those stars, he remained himself, because he was gutsu. and he knew that he, what, that he is proud, like that cheremosh, as he said, my will is proud as a cheremosh. there are versions i don't know if it's true that paradzhanov

didn't even realize the strength of his talent at first, he initially took mykolaichuk for his beauty and because he was hutsul, and no, he was originally supposed to be in the main role, i forgot his last name him, a russian actor, i understand that. i understand this, i even know, maria mykolaichuk told me that kadochnikova insisted that it be the russian actor, and yet illenko and peradzhanov, they still chose ivan mykolaichuk, well, the same ivchenko came to the rescue and said, listen, i have a hutsul boyfriend, well , you don't have to teach him the real thing, he's hutsul, you need to take it off, it's already a parody , ivchenko or ilyanko, ivchenko asked. parajano asked him to look at ivan mykolaichuk, yes, of course, so that he could try. well, paradzhanov says, he said to luyank, you're there , don't spoil him, this girl, just look at

ivan, and when yuriy liyanko saw mykolaichuk in the frame, he flew out of this studio and started catching up with paradzhanov, saying: come back, look. paradzhanov returned to the studio, looked at ivan, and asked him for something there to do something and... approved him for the role of a palychuk, and we will see it now, because as they fell in love with mesi, the dry dumps bloomed, and as the mice were sledded by the lilacs, oh marichko , sweet aunt, so many things, if only the capes fell in love for at least one summer, remember me, ivan... i will kiss my daughter twice, and i will remember you seven times an hour, and i think that for me this is

the strongest film, and another film that for me, well, in fact, his ivan mykolechuk swan song, yes, this is babylon 20, babylon 20, which... i think absolutely a brilliant film, and here are all the inventions that, for example, when the oxen sigh, when they lie down, yes, when the cows also sing, yes, when they lie down and seem to meow like that, the zebra's legs were walking, or when these guys walk in a line like that and sing , yes, yes, with such a swan wing, oh, let's see. you married the world to aryna, it would be better if you married the world to aryna, lived with a young wife, got lazy, here i

bowed to my mother, that i bowed to my mother, at the threshold. do you remember how you perceived this, he invented, this is how it was done, this more, it’s more a countryman, or it’s more mykolaichuk, who is it, who, who is more here, eh. well, the countryman himself, when he reread the scene, ivan wrote the script, when the countryman read the script, he says: ivan, i’d rather not write, this ivan

mykolaychuk. uhu, well, ivan could do something with everything, he, he was so talented that he had these different ideas, there were a million of them, and he gave them to everyone, everyone, everyone, he advised something to everyone, did something, also, he was very supportive ivan gavrylyuka, very much, gave him advice, here he is, he plays here, yes, ivan, and ivan gavrylyuk and yaroslav gavrylyuk play, hryts. i know that ivan gavrilyuk, yaroslav gavrilyuk, well, stepankov, of course, and lyubov polishchuk, like mallow, and khosyukoev, did you mean khosyukoev? well, in a word, it's actually, well, these guys were absolutely brilliant guys who created this movie, and there it was, it was also on the shelf, that's right, this movie, i don't

know what babylon, i know. that the missing certificate was on the shelf for quite a long time, more than 10 years, because when he two, almost out of two series, they made one, and then they took it to moscow for a commission, this film lost its certificate, and there they said, well, you know, it's not a bad film, well, there's something in it with a nationalist spirit, that's it, huh, and then director borys ivchenko said, well, i can’t cut the spirit anymore, so much so that in this film there really was such an inner energy in him, ivan mykolaichuk was not allowed to work for 10 years, i understand correctly, but all the time they were still pissing in the apartment scenarios, there were some guests, there were some creative ones people, and aspen was there all the time.

he says, here i am, he spoke in russian, bykov was very supportive, sometimes he brought fish that i caught fish, well, but that fish was sold under the house there, and tell me , please, did you meet parajanov and osika in... . so the mykolaichuks met osyka, and what memories do you have of osyka, osyka, very creative, even when we were at the house of kadochnikova and yuriy elenka, osyka was so creative there, you know, the director that he is, valya, stand up here, here we were singing, and you stand here, and you, nina , stand here, and you marichka, stand here, we already have to stand next to each other, that we, no, he

placed us. i understand, he had his own vision, he had his own vision, yes, a talented man, yes, i want to separately ask about the death of ivan mykolaichuk and about, about the film trizna, which was shot by vasyl viter, already after, already after the funeral, but i want to start, there are actually opening shots showing the ivano village of chortoria, i want to talk to you separately about... about chortoria and about the world of his childhood, about his mother, and what it meant, this is now the yard, we will see, and what this world of the bukovyna village of chortorija meant for him? not high, hide not low, a leaf on the thaw, not far, hide not close, sweet on... and the foreign land fall-fall

not a leaf from that thorn, oh come back, my dear, i will not return from that foreign land, my dear, far away, from kinush. was filmed right after ivan's death , i bow down, be nice, be healthy, we see many very familiar faces, this is the film that mykolaichuk, this is the first film, the first a film about ivan mykolychka, and by the way, vasyl viter was not familiar with ivan, so it turned out, yes, because he, well, he studied, worked at ukrtelefilm, and...