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Understanding 9/11tv Taini sledstviya-9 RUSSIA1 May 2, 2024 2:30am-3:16am MSK
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nikitin, vesti petersburg. debris on the roadway caused a serious accident on the ring road. a car and a truck collided at the exit to preportovaya street. everything was recorded by eyewitnesses. the driver of the foreign car wanted to overtake a heavy truck in the far left lane, but at the last moment he saw an obstacle on the way and tried to go around it. due to sudden maneuvers at speed, the car was thrown onto the bump stop, then into the same truck, which eventually fell on its side due to the impact. fortunately, the drivers did not receive any serious injuries. injuries, but here's the movement. the overhaul of historical buildings in st. petersburg is breaking records in terms of volume of work and financing, said denis udot, interim acting chairman of the housing committee. the day before, he inspected several architectural monuments where work is already underway or will begin soon. in particular, this is house number one on rimsky korsykov avenue. the internal facades are already in scaffolding, the situation with the external ones has yet to be assessed and a detailed plan drawn up. the difficulty is
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that it is necessary to meet the project deadlines and at the same time preserve the restoration of all decorative elements, the condition of which can only be determined during the work. the head of the housing committee also commented on the same requirements for two ancient houses on furshtatskaya street, where major renovations had not yet begun, when fragments of plaster fell on the head of a girl passing by. in order to avoid these loose elements falling on people, we set a task in the spring. management companies to tap the façade for in order to detect in advance those elements that are ready to fall, and accordingly carry out preventive measures to prevent these cases. in total , 226 historical facades must be overhauled this year - this is one and a half times more than last year, officials noted, and funding will also increase to 37 billion rubles. this amount is the first time in the modern history of st. petersburg. let's find out the forecast for...
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maybe in volkhov, also from 12 to 14° in kirishi, gatchina and vyborg. in st. petersburg all day without rain, sunny too +13 it's moderately windy according to thermometers. on friday night the city is no more dry than plus four days of good mood in any weather. the theater is celebrating the anniversary of the ballet
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the bronze horseman, which was first staged by rastislav zakharov 75 years ago. the music is well known to st. petersburg residents. dmitry skovsky will continue. the bronze horseman ballet is, if not an encyclopedia of russian life, then of russian dance, classical folk dance for sure. already in the first act the performance becomes clear; the viewer will not get bored waiting for the crowd scenes. walking crowd on the senate floor the square is replaced by a military band defile. and after this the russian pleso sounds. this version of the ballet is the second most important after the 1949 production. the first was created by rastislav zakharov to the music of ringold glier. the play ran on the stage of the kirov theater until 1980. baletmi. yuri fatiev came across it while still
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a student at the choreographic school. the performance still evokes in me very warm memories of some very solid, well-made work. probably not without reason in 1949, when it was held in leningrad in kirov theater, then a few months later it was transferred to the bolshoi stage and was shown in two theaters simultaneously. the current work of yuri smikalov has preserved the dance episodes and the best scenes of the first production, but made the actions more dynamic and spectacular. in order to return the performance to the stage, they turned to the veterans of the ballet troupe for help, some movements, some remembered, some remembered some fragments, but in essence the performance turned out to be completely new, and probably 15% of zakharovo’s choreography was saved. a modest official, evgeniy, falls in love with a poor girl, parashenka, she dies during a flood, and he goes crazy with grief. the plot is not too epic, that’s why the creators of the ballet back in 1949.
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that’s why both the queen of bala and the arab peter appeared in one alibretto in this work, that’s why everything expanded, the great. the cross-cutting character here is peter i himself, who builds the city, launches ships, and invites zamozh merchants to revive trade with europe. such a kaleidoscope of actions enriches the choreographer’s palette. there are also elements of ballroom dances of the 16th century, wild sailor dances, folk round dances and lyrical duets. special attention. paid attention to the costume, there are almost no conventional elements in them, everything is as authentic as possible, even the performers of the main roles had it not easy, there are different situations, sometimes a braid will fly off, there is this cap in a fashionable fashion, well, that is, modern women no longer wear such headwear, and you suddenly
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seem to turn around and your vision is blocked by this visor, well, that is , you need to get used to everything, long dresses, we we’re used to dancing in tutus, there’s such a sundress, well, in general... but at the same time, i really love this performance, evgeniy, who has lost his beloved, literally goes crazy on stage. this expression and drama expressed in dance requires full dedication. this is the choreographer's idea. he deliberately leads the performers to exhaustion of all physical strength. they have an absolute feeling at the end that they are really going crazy and are already dancing in complete madness. and in this very state there is, probably, the main principle, as it seems to me, of this performance, so that... the hero’s desperation, how physically hard it seems to be for him already, he doesn’t play at it, but in fact it’s hard for him. the descendants of composer ringold glier came to the premiere of the revived ballet. his granddaughter irina considers the music of the bronze horseman to be the emotionally strongest of her grandfather’s works. she was small, but i remember how
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the bronze horseman rushed after me. this is what i remember well. it was so real that it was even scary. that's how my grandfather's music always sounds to me, the famous melody of the hymn to the great city, unlike the very first production, sounds not at the end, but somewhere in the middle of the performance. peter ii, as it were, lifts his city from the swamps and carries it in his arms. this technique creates not only emotional, but almost physical empathy. in the hall of the marinsky theater there is applause, both in honor of those who told the audience this story, and in memory of those who built the northern capital of russia, that is, the entire performance from beginning to end can be called a hymn to the great city. dmitry skovsky,
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vyacheslav rakov, alexey chubka, lead st. petersburg. this was the st. petersburg news, all the best. may 9 on rtr.
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we will be sitting for a long time. yuri egorov's film, a simple story, appeared thanks to by order of the management of the gorky film production company, tell more in the cinema about collective farmers' rural life. lev kulejanov has just released the film "father's house". he was placed in... an example, ordinary people, everyday worries, unpretentious life,
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touching collective farm stories. they immediately called the screenwriter of ochy's house, budimir mitalnikov, and asked if he could quickly write something in the same spirit, especially for murdyukova, who played brilliantly in ochy's house. the audience likes her, she looks convincing on screen, the screenwriter with nodded his head confidently. i still understand that i am material for sculptors, for artists, i have such a physique, a folk one, i have always had many offers to mold me there and draw. to paint a picture, behind her you could feel the inner strength of human beings, and
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at the same time beauty, she was a beautiful woman, spectacular, probably that’s why, looking at her heroin, women tried on their destinies on her heroines, they could try them on, because there are a million of them it’s just that on the one hand she seemed like one of her own, on the other on the other hand, it is still clear that it was an actress. here is my own actress. it was decided to entrust the new folk film to the experienced director yuri egorov. he knew how to make ideologically correct films, but at the same time make them soulful. his paintings touched the hearts of viewers. the widow soldier sasha potapova becomes the chairman of the collective farm. vanka lykov is looking after her. but this relationship is not serious. after the election, the new chairman of the shaet. understands well that in her life there is a meeting with secretary raik and danilov. alexandra falls in love, but doesn't
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can take the first step. the party leader is also in love, but for some reason he hesitates to show his feelings. even when life offers them convenient situations, and then he gets a promotion, he leaves. goodbye sasha. you're a good man, andrey. for the sake of her native collective farm, the chairman sacrifices her personal happiness. i’m a fool, i’m a fool, my mother is a fool.
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yuri egorov was an experienced director, but he did not know rural life at all; anona mordyukova knew this life well. her mother, irina petrovna, was the chairman of the collective farm, and the chairman was strong, authoritative and famous throughout kuban. nona viktorovna decided to dedicate this one to her. picture, she played her here, her closest person, her mother, maybe that’s why behind every frame of a simple story there is so much love and warmth, everyone noticed that i have such organizational skills, and she is always in charge, that’s what the collective farm says retarded, you take irina and i raise him, and mom there, the collective farmers get up early... in the evening they staged plays when nona was growing up, she was in such an environment that in the evening
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they showed some people there, someone sang, someone danced, well, my mother wrote the script herself, director yuri egorov had already filmed mardyukova before, in his film volunteers she played a metro construction worker who hums aria from the opera carmen in a mine, in that film she is not even in the credits, if only all efforts had been united. again, the activity itself was distracting; in a simple story, everything was different. she was in charge here. every day nona viktorovna came out with her suggestions on how to make people believe in what they see on the screen. she could simply slash: there’s no need to shoot like that, it doesn’t happen, or she could say: here here, my heroine, sasha potapova can only do this, and it was almost impossible to convince her. but here’s the thing, general, give
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the command, since you are the head, now you give the command to everything, how do we now? you can only stay in the present. you cannot disgrace yourself in front of ordinary workers, fellow countrymen, and cossacks. they were her party, her government, her harshest critics. my heroine is the people, said nona viktorovna. nona viktorovna always reciprocated with her spectators. she was part of them, she understood who she was to them. she
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was woven from these people, she worked for them, she burned for... them, so she happily accepted their love, it was real. in this film , she was supposed to play these very people. oh, you are my golden fish, but you are of no use, what should we do with you, women, shouldn’t we drown him, he was lying, she was born at the right time, in her, there is such a nation that is not being created, which is born along with...
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the set was wonderful, they filmed in this atmosphere without fuss, with feeling, sensibly, with had a lot to offer, the atmosphere of the shooting arrangement, if you look at the pictures, a simple story, a discussion of complex, so to speak, human problems, it’s all very somehow transparent, simple, now they don’t play like that, now they either tear passions, or with the eyes of a nightingale.
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in his free time on a film set, on an expedition, especially when you live in a village, on the banks of a river, we all swim there, talk, laugh, tell all sorts of incidents, the actress nona mordyukova had a unique way of humanizing her roles, she had notes, she kept them all her life, when she was called for a new role, the actress opened an old... chest that she brought to moscow from her native village, there from under cuts, laskuts, dresses for a day off, she pulled out a stack notes and began going through them, looking for lines, plot twists, just sketches that would help her in working on the character. she called this process the choice of nature. for this ability
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to notice important details from life, she was accepted into vgik. at first they wanted to wrap it, i arrived late, how can you wrap it if it’s from you can’t take your eyes off her, portly, bright, real, and thinks what a girl, thin waist, beautiful figure, tanned, incredible, they went through, they didn’t let her go, despite the violation of deadlines, they asked her to tell something, but then they couldn’t stop, girl, someone is there from the commission, do you know any cases from life? well, here she was at her best, well, good, good, because so many things happened in kuban.
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they are still somewhat unambiguous in solving problems, they take with their hearts, how to say, soul, emotions, dramatic actors,
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theater actors, i know which teacher they studied and worked with, they still somehow sort through the bones, somehow look for solutions, where to win, cultured people, god, you allow yourself to grab a woman with your hands, ah-ah-ah-ah . how many times, when discussing the future scene with nona mardyukova, mikhail ulyanov tried to sort out the relationships of the characters, discuss, reflect on the nuances, this gave a feeling of peace, nerves were not wasted on what was not necessary, actors and directors often argue a lot, i stick to the other one positions, try, how do i know that i am the only one. is he doing the right thing or are you doing the only right thing, on the contrary, let’s try an option, one option, another option, a third, this is better, i’ve officially arrived, no, i’m on the lookout, but viktorovna
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wasn’t happy with this approach, she couldn’t wait to play, blood was burning, and we will help you, so that, what, come on, what, really, we won’t take it, and then hold on, and often during the filming it was like this, well, let’s film, she says, she tells me, i say, wait, i’ll think about it there to think, that's all, everything is clear, let's do it all immediately, such mobility, so to speak, of some kind of internal sensations, and not analysis, careful, in some way we, theater actors, we saliers, film actors, well, the best, of course, is mozart, but i’ve already met mardyukova on one site with mikhail ulyanov and even played feelings towards him. i knew ulyanov, a wonderful artist, especially since he is an artist of the vakhtangov theater, he always had a wandering smile, he was an artist of improvisation, but all
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his roles were very harsh. when the simple story came out, everyone saw that chairman sasha potapa is played by a truly loving woman. to the novel, we all women 100% believed and believe her feelings for him, because she had a secret that many now actresses, especially young ones, uh, don’t know and don’t use, but to play love, you have to to love your partner is, of course , such a very difficult line, because you can go beyond it, take a step and change your life story. and his partner, in this case the artist-partner. in fact, nona mardyukova related to mikhail ulyanov
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only as a partner on the set. she knew and respected his wife and generally believed that she had no right to intrude on a relationship with a married man. for her there was such an immutable law: a family man, not her man. but the audience was not mistaken. while filming a simple story. she lived a real normal life, and not an unfinished life there, you understand, that’s why the directors loved her, they knew that she didn’t need to be there according to the script, you only
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give her a little direction, but from this it turned out to be a block, everything was more meaningful, as it should be . everyone loved shukshin on the set; he was welcome in any company. vasya shukshin, he was special, he was looking for some grandfather or grandmother to talk, to talk, to smoke a cigarette, to talk, here he is, he took material from the people, very... interesting, he himself was a villager , deeply rural, and he was all stuffed with folk songs, he knew how to find a common language with everyone, you could easily talk about the nature of things with him and just be silent, all the women were in love with him, including me, he was single, but it’s okay, she’s a warm woman, huh? and
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when vaska left, the group somehow became an orphan, both men and women, and grandmothers, aunts, vasya, vasya, shukshin came straight away, and he didn’t do anything special for this, he just pulled everyone towards him. little by little, day after day, nona mardukova began to lose power over herself, her feelings were noticed by those around her, the women from the film group gave her advice, warned her, and pulled her back. sit down, what is this? for everything, for love, for affection, for your meanness, for your filthy ass, here i sit down and grieve, i just hear where his boots are clicking, he wore a soldier’s uniform, i hear his submissives walking along the corridor, and we lived
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in something like this. darling under his head, hands behind his belt, without snoring , he quietly fell asleep. anona viktorovna admired him and kept her eyes on him all night. to be honest, i fell in love with him, i just fell in love very much, but no one knew about it except the director cleopatra sergeevna. and he didn’t show it, but all the time, he was
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always the third among us. we were so glad that he came to drink tea there, so the moment came when we could open up to each other, talk about our feelings, suddenly one evening he comes and says: let's go, let's go out to the ring, i almost lost consciousness, you know, we sat down, i was sitting, shaking, i thought that he would start to declare his love, and he... says: you know, i planned to write a book about stepan razina, i sit stone-faced, that the conversation is not about love, but about stepan razin, it was difficult for nona viktorovna to understand at that moment, that he told only her about the book in
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the whole wide world, that like this... the most inopportune moment for her feelings, and even brought her little son, suddenly she whispers, tikhon arrived and brought a volodya, but she , you know, was a little upset, because well, that’s it, her husband arrived, tikhonov arrived exactly on the day when vasily shukshin did for none viktorovna, the recognition she had been waiting for, all in the same unusual shukshin manner, suddenly comes to me...
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let's go film the enlargement, vyacheslav vasilyevich and his son went to the river to fish, and vaska says, maybe for a minute, i say, maybe i'm coming, nezheva is not dead, and he tells me she says, i already told lida that i love you, i say, who is lida, my bride, to suffer from suffering from her love, oddly enough, the film saved her from a hasty step , a simple story, it made nona viktorovna think, think about the consequences , remember that she is an actress, and this obliges her,
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people look at her, she is an example to follow, mardyukova reasoned to herself, like the chairman sasha potapova from the film in which she was currently starring, the warbler does not think of leaving. and child, they caught this bird, covered it with a basket, it rustled, doesn’t let me sleep at night, but i have to get up early for 5 hours, take off the regime, well , then they left, i was a little dull, and then i thought, what can you do, well, i’m married, he told his fiancee, then i became dull , dulled over, my passion didn’t end with anything, it just... ended, nona viktorovna was destined to abandon vasily makarovich, overcome the suddenly flared passion, finish the picture to the end, as if nothing had happened, it was difficult for her to do this, but she restrained herself , as best i could. next time shukshin
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and mardyukova met on the same set 7 years later in the film commissar, and then in the film by sergei bondarchuk, they fought for their homeland. she didn’t want to play there, it was hard for her to meet her ex-husband, vyacheslav tikhonov, who also starred in this film, even her old friend and fellow countryman bandarchuk could not persuade the stubborn mordyukova, so shukshina, she immediately listened and came, forgot about pride , about grievances, because vasya is calling, hello! the film a simple story also talked about how two loving hearts cannot be together. mardyukova’s heroines decided not to give personal happiness. no matter how she asked, insisted, or demanded, nothing helped. this was decided in the most important offices
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of the gorky film studio at a party meeting. perhaps the picture would not have caught our attention if they had just played sympathy. stand by the chairman, because in those days of socialist realism, it was impossible for a communist to move away from his moral principles and allow this novel to manifest itself in life, and we all hoped so, they so suited each other, this is a wonderful, strong man and a strong beautiful woman, the screenwriters also understood this, but they also could not miss this script, because then the film would not have been released at all... after the release of the film , tens of kilograms of letters arrived at the gorky film studio . inspired by the success of the film, the screenwriter was ready to write a sequel, where sasha potapova meets her destiny with her man. but
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the film studio did not give the go-ahead to such a turn. the chairman should become lonely. for there were reasons for this. only 15 years have passed since the war. there are so many widows in the country, so many hearts that have not found their outlet, and the filmmaker should spare these women, let them see that it’s bad not only for them, that this is the chairman of the collective farm, she is beautiful, and bright, with character, with a spark, but she , too, did not succeed in her personal life, the pain of unborn happiness, the unborn love of two heroes. they went through life alone, perhaps she would have had a husband, he had a family, but they would never have had that the happiness that would exist if they were together. according to the script, after saying goodbye to her loved ones,
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sasha potapova was supposed to run home and cry all night. mardyukova said that this is a weakling, such a separation is not for her chairman, for the actress... well , so that everything is good, like people, and you didn’t even say a word that he was leaving, alexander vasilyev, wait, sasha, entered into a polymic, but of course, she knew how, she knew life, in all its, its manifestations, both kuban and like mother, there were cossacks and...
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after that, to put it mildly, not an eagle, goodbye, sasha, you’re a good man, andrei egorovich, but you’re not an eagle, no one would have said that if she hadn’t lived in kuban, you’re a good man, he ’s not an eagle, they talked like that there, you know, it was a phrase from life, but ... mikhail ulyanov was then embarrassed all his life
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when he was reminded of that phrase: as if it concerned him personally, and even this is a puddle, a puddle, she is truly a wonderful partner, no doubt, she is a wonderful actress, no doubt, she is an actress from the people of the dispute no, like a good diamond, so to speak...
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chairman of the collective farm, and the ending was also suggested by nona mardyukova, telling how her mother was transferred several times from one collective farm to another, to raise a new farm, and how the local residents, who had gone through a journey with her that lasted several difficult years, came to the whole village to say cherished words: petrovna, don’t leave. they assigned her the first time to raise a collective farm, well, as you know, for no reason one can say so, after the war there was devastation, and his mother brought him to first place, then she was given even more, then she is a secretary the city party committee, this was already a very responsible job in the city of yeisk, it means that if not so, then it went to the region, raised people. there were some, i don’t know, but
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such enthusiasm, they raised the country, i won’t go anywhere, goodbye, of course, you can fix it yourself, and we will try here, for the first time the production issue in our cinema was revealed. her mother, chairman irina petrovna. and my mother also drove tractor drivers to do just that.
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of course, the song in the film could have been performed by mardyukova herself, it would have sounded organic, but in in the sixties, acting was not accepted; it was necessary to invite a real singer and let him sing to the accompaniment of an orchestra. that's why in the film we hear soprano mets, soloist of the bolshoi theater, valentina levko. then the song was performed by lyudmila gurchenko, tamara senyavskaya, claudia shulzhenko. at her anniversary at the cinema house, she came out on stage while the introductory story about her roles was still in progress. in violation of the pre-
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approved script, she took the microphone from the presenter and sang on that highway, and was happy. i was lucky to see. her in house of cinema during her anniversary evening, when she came out, some spectators in the hall, clapping with joy, simply fainted, we had an ambulance on duty, so called, yes, the people's artist of the ussr, nonna mordyukova, on stage, the hall simply exploded, applause, oh, like this, like this, and for a long time, this is the feeling that we really are.
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how to come to such an event, she didn’t have many premieres before, where she played the main role, they told me that when the film premiered, it was a simple story, nona viktorovna came, delighting everyone, she came in a cocktail dress, she had long sleeves, gloves, boots with semolina soles, which were fashionable at that time, and she had ice cream in her hands. it was amazing , you can imagine how she would play in historical films, it would not be incompatible, well, imagine, the chairman of the collective farm is a manager from a diamond hand, the film has a simple story, director yuri egorov uses a cinematic technique to
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which the audience usually responds sensitively, he asked cameraman igor shatrov transmit feeling the characters through the eyes, thanks to this on the screen. a dialogue between mikhail ulyanov and nona mordyukova arose in a house where the lights were going out, and then the same technique was used in the finale, when the conversation between the collective farmers and the chairman takes place from look to look, which means from heart to heart. the love for her was universal, she could not calmly walk the streets, take almost two steps from the house, because people ran up to her, wanted to touch her, gave her pies and jam. even i remember moonshine they brought it, i was in her homeland in yeisk, i saw the monument, there are always fresh flowers there. this explains her heroine’s decision to sacrifice her personal life, because the locals are now her family, with them she had both victories and problems, with them she
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