muzzle and belly and everything in the world. but when you leave somewhere, he stays with someone or goes on a trip with you. if, for example, we go out into nature, we take him with us, no matter how much nature is he loves. all these trips are right, they love trips, they love by car, they absolutely tolerate long long trips, and we pull him out of the carrier, respectively, he approaches driver a and, accordingly, he sits on their feet and looks out the window. here and when we leave for nature, roughly speaking, we also immediately release it. he goes into the woods, and he is on his own. yes, he leaves some forests there, first he looks at the area that is near the house, because to settle down, how long he leaves for so long, but don’t worry about him in an hour that he is. well

, he returns. or, for example, if he needs to speak roughly , somehow go there for personal needs, he usually returns to the house , goes the whole thing into a tray, and then again goes into the forests, it’s not clear at all, that is will definitely return to their places. okay , through the forest, in the forest there is definitely not a beautiful sunrise thank you for coming, you, too, charm not your family a lot. hello to you. thank you for watching. go to the site of the first, where you can review the video, vote for them, send us yours, so that we will definitely meet here, bye. hello, my name is natalya ryabchikova, i am a film historian. and today we have a podcast

called giant 125, it is dedicated to the 125th anniversary of the birth of a wonderful soviet world director theorist teacher sergei mikhailovich eisenstein my name is artyom sopin. uh, i'm a film critic and i also welcome you to the podcast engine 125 was born at the very end of the 19th century, when cinema was just beginning, he was one of those who first saw in childhood, and the films of a méliès, for example, and for him it was a discovery not only the films themselves, but some new kind of entertainment. it's not even art yet. the businessman went to study with vsevolod meyerhold, a remarkable innovator director who opposed himself to the art of konstantin stanislavsky a and student at the same time. in general, here it is. the property of negation continued this continuity, and when at some

point he decided to leave the world of hold, and his own performance, which turns out to be a circus of ostrovsky for every sage of fairly simplicity in the twenty-third year, he is brought to the cinema and he is instructed to make a large state order to make a film for 20th anniversary of the first russian revolution of 1905 . and an idea. actually it consists in showing what happens in the fifth year in russian empire. summer 25. they went to shoot in leningrad, the weather did not indulge, and it was decided to shoot one fragment of a small 12 lines in a librett not for hajian jokes, where the action unfolded around the armored potemkin , and from these lines in the libretto in such a rhythm, and scripted by a from einstein built a whole film, born from these few lines of the script from einstein and everything i could afford to shoot without a script at all. he came uh to the south, he locked himself in the

room for a few days and uh, prescribed fairly detailed time-lapse. here is this script, which linka konstantinovich kozlov is a wonderful story, the cinema published already in the thaw only years until the thaw there was a legend that supposedly there was no script and uh, in general, the spontaneity of filming often offered a really interesting solution and in the process film production. uh, because the question arose of where to find the battleship itself, because the most authentic potemkin was brought to that time, there was no time, but then two identical battleships were released potemkin and armored 12 apostles. and now brings the 12 apostles to the mid-twenties , he still existed, but he just stood in the bay and he could never swim anymore. it’s just that it was in such a technical condition that here is the only frame in the film and we can also see fragments from uh about how uh, here uh, the deck looks like, that is, this is the

only point from which they were not visible. uh, rocks all around. uh, only in this version, however, in the frame there is one single shot with uh, the whole armadillo. this frame is the layout. eh, because accordingly, the present brings could only be removed in this way, respectively, the layout. here it was, uh, delivered. yes, in the sandunov baths and there, uh, this wonderful shot was taken. in addition, he also used the chronicle, and some warships that he called. yes , even official statements of indignation seem to be in england when everyone was interested in the question. why are there such wonderful warships in the soviet state that we see? and in one of the frames of the film, eisenstein knew about this, knew about this request and it will be a lot of fun, because in fact , he took the old chrony. it is the english fleet, but uh, history is important here,

not only uh, factual such, but very important. this is the very model of the historical processes that took place in the potemkin film, which, uh, shows, uh, very important accents in how a person, uh, fights for his right to respect. for not being fed. with this very wormy meat of people, that this is unacceptable for the existence of a person and unacceptable, uh, to mock people is unacceptable, and to treat them like slaves. and in general, this one here, but a protest against humiliation. it's absolutely universal where it's not even a communist idea. this is not an idea. this soviet idea is precisely the general civilizational world of any. yes, that is, this is, uh, such a general humanistic idea , absolutely, by the way, correlating with the idea of ​​russian literature of russian culture of the 19th century. i thought that the unit of theatrical action, and

then any action on the screen, and this attraction is what affects the viewer for eisenstein, the attraction is and, the voice of the actor and the firecracker that he places under the viewer's chair, but in fact, later he specified what he had in mind much broader. and in general, everything that is an asset, that is, everything that can affect the viewer, that is, in fact, any artistic medium is an attraction to one degree or another, and the installation of attractions is all the placement of artistic means even before how he became world famous said that his montage is not a connection of meaning, it is a clash of meaning. this is conflict. his interested. not just art, as such, he was interested in constructing art and life through this, but the connection of pieces. and if a has a person in our frame, then we should immediately understand who this is? a theory of type appears, this manifests itself in potemkin.

when it is necessary to show the mass, we see a short separate frame, that is, a hero and we may no longer see him, but we understand what kind of person he is, what kind of biography he has in his appearance, because he holds on because he is clothed. here we see, for example, a teacher. yes, we immediately understand what it is this allowed people to come in to use actors not actors. and you even bring patents to your own mother. he didn’t fall in love with remembering that his mother also participated in the odessa stairs there, for example, we see e as uh, the protesters are running up the stairs. we see their faces from the other side. we see only the boots of these very cossacks who march down absolutely without hesitation, performing this cruel one. uh, murderous orders and uh, known the story of how eisenstein, uh, after many, many

years, was told about how uh in america showed in some small cinema. uh, the battleship potemkin, and uh, he was surprised to learn that there was only one spectator. once taken out. just in hysterics almost hall. this man sobbed. uh, and uh, couldn't stop. and then the owner of this small movie theater asked. but what happened? why did your loved ones suffer so painfully there, perhaps you yourself were on that very staircase, to which the weeping man replied that no. he was one of those cossacks who walked and fired at unarmed people, and uh, in general, it was just when he saw this film that he saw people's faces up close. although these were already types, of course, the film was shot 20 years later, only then did he realize his guilt. actually, when the film came out, there was a very curious cut of responses. uh, directly in the winter of 25. the sixth year, when in the cinema newspaper, uh, on the one hand, uh,

his friends and peers are young, even younger young avant-garde artists are completely grigory koznits trabberg, uh from leningrad u dali gave his review in just three syllables ha well, with the other side. leningradsky is also the director of the older generation, alexander ivanovsky, on the contrary. e wrote in the spirit that e. in general, here. eh, the picture, of course, is done correctly, but to a young man. we still need to study and study at a time when avant-garde directors were saying that we need a hero, they are love triangles. yes, in the same darkness, no, viktor borisovichsky saw just a love triangle and said about it from ein. you know, but in fact he made the same triangle, but on a different material. how what is being done for which viktor borisovich, known for his wit, said, well, how do you have an armadillo, you have it, the city mass, and the population that support it. here it separates them, the royal troops, yet it’s directly

logical on the other hand. the most zanstein students. he said that he used, but editing techniques and structure, and in the final , wester in american, but he said, i used it in such a way that no one guesses. i moved the editing structure. this is the acceleration of parallel editing, which was developed by griffith in the 10s. their idol american director. yes, i took this structure, but transferred it to these very ships that are rushing towards each other, and we don’t know, and how it will all end is important it’s very important that this final meeting with the frame, when we see this solidarity itself again there is an image of brothers. let's look at how here, uh, once raised guns. e admiral squadron again. e. here, they first rise, we see how the sailors are worried. and actually in the credits. we see a shot or

here is almost such a hitchcockian suspense. all the audience is waiting, what will be shot in the remaining potemkins or not, and the exclamation of the brothers? gives us to understand that it is not, that the admiral squadron passes potemkin and lowers it. um, guns, potemkin is leaving, but we know that he will be arrested, but, but in the film it is not shown in the film, it is shown that potemkin leaves proudly, waving a red flag. and uh, here is this rush to freedom, with which the film ends, this is what is important. by the way, as for the red flag, unfortunately in those e-copies that we can now show the flag does not look painted, because it was hand-painted by hand on film by the very original films, and in which the flag was painted, they did not reach us and it is known that from einstein, uh, just uh, the first copy, even u- he himself with his assistants. e discussed. how to color the flag. and then they already entrusted it, and

the monters who did it, in general, must be told that when the cinema had just appeared at the very beginning of the 20th century, then many we tried to paint entirely by hand. it looked rather rudely sticky, in general it is curious how e is in it cinema, uh, cinema gradually lost color from fully colored frames. here are these here such oafish ones in the ninth or tenth year, then in the middle of the tenths. uh, the frame was painted entirely in some one tone, and potemkin. in general, here from einstein fundamentally. i just gave up coloring films. generally. it was a tougher picture. it was more of an uh, sympathetic decision to show it was. here is a chronicle stylization. eh, it is the principled rejection of color throughout the film and color concentration. only here are some such red ones, but these accents, because the red flag. he's red as blood. it is interesting that wizanstein was interested not

only in the fact that in the frames not only how they are combined, but also how the entire film work is organized as a whole. ah, here is the red flag, one of these rides, another one was supposed to be the finale of the film at the premiere at this solemn meeting, and in honor of the twentieth anniversary since the time of the first russian revolution, and initially thought, and the nose of an armadillo, like this, tearing the approaching camera, and such a dark wing, a dark corner that was supposed to break the screen physically and further dispersed, as if in his imagination these halves of the screen, like a curtain, the curtain was parting and on the stage it turned out to be this one, and a festive table for meetings with e own people who survived that time and e such a showman's decision. it, unfortunately, did not work out, but did not

have time. they prepared it, only this final most uh, frame, a nose and armadillo, but nevertheless a big premiere was organized in the cinema. own where the facade of the cinema itself was, but processed. uh, an armadillo design was created. the whole team of coppeldiners and the people who handed out checked tickets handed out programs, but were dressed in a sailor's uniform, and we even have preserved footage from this premiere - it really was like that. here. uh, a public event that was interesting enough to waste tape on, but tonight we're watching from potemkin. actually. and why does it bring darkness - it seems to me a movie to the maximum. and from eisenstein at this moment he thinks about how to involve the viewer entirely with emotions, and the physiology of the feeling reason and his viewer is a person who , perhaps, is not even going to watch his

film, but he sits down and allows himself, and he is imbued with these is actually created from einstein from the very beginning, despite the fact that he is often called such a director a dictator, and he did not speak a movie voice, we need a movie fist. he what he wants to say is born in the head viewer his film - a textbook for reflection. we leave you with the film, damn it, they're wearing tyomkin. enjoy watching, and historians were with you. all the best to you , goodbye.

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