here's a fast-paced movement absolutely in line with the appeal of early cinema as well. it's running, it's falling, it's tricks. yes buster keaton who is an incredible stuntman. and he does all this without doubles without any support, he is simply incredibly athletically trained. naya story about maksan is one of just a such teachers, and gaidai, who often had films whose policemen ran after criminals bludgeoned each other. maxim recalled that when he grew up in the american outback as a child, he was interested in seeing. what will happen if approach the policeman to hit and give him a kick. well, of course, he was a normal person. he did not do this in his life, but he embodied this idea on the screen and subsequently. in general, all these cars are overused, flying cakes. they screamed in the soviet soviet cinema of the sixties, because gaidai is testing all these sets

of techniques, we see this aesthetic, there are cakes and blows, and each other on the head and so on. all this was then melted down into the organic in the soviet new type of soviet comedy cosmocentric one of the three. i think i i thought so, because, firstly, gaidai himself did not come and said. but i want to do an exclusive comedy, or i want to do a comedy after all. in danelia, he also did not come , did not speak. i want to make a lyrical commission. especially, in principle, invented during the production of the film. i'm walking around moscow , first in the soviet planned economy , they came up with we need to do more comedies, the minister herself, of culture, ekaterina fursova - i secured this with my signature. and then search. what kind of comedy actually happened, that there were three, like, yes, a sad comedy, and there is eldar ryazanov's comedy, which, well, in general, is a comedy of positions, but it seems to me that the most radical of these directions is the direction of the guide, because this is legacy of the twenties. suddenly

returns to sound film. and what it will be who these masks? who will replace chaplin, who will replace us with this strange music, yes, on the piano that accompanies all these, and old races, how does it all work? how it works on the material of modernity in the soviet union let's look at the material, just one of the first such iconic footage from barbos unusual cross, how does it work? and here on our material.

here, in fact, the work of the whole team is visible , as it is written, yes, the scenario team , in fact, well, when i looked now, i remembered, for some reason, ivan his childhood. there, too, there was a similar direction, birches, birches, birches, and how differently two directors will work with the same scenery here, in general, uh, on the one hand, it seems to us that this is all somehow by itself happening. here it is obvious that everything is invented in advance, there are some graphic tricks here, and acceleration is jumping up, and here is a breaking birch, which, of course, should also be first made in a proper way here is incredibly thin. it seems to me that work with rhythm in general, how is it all done, what are these masks that appear for the first time and music that you can’t pull out either. this must be clearly understood in advance and the production plan.

why the hell does it all start? where does it all end? it is very interesting that gaidai i worked through this visual component very clearly with my permanent cameraman igor chernykh, and i told chernykh a lot about this, that they sat down at the director's script and drew for each frame. what is not written there? and what needs to be done there and right then it was photographed and distributed to the whole team, and to the entire film crew, and it was clear, but at the same time, on the set, when they arrived, gaidai was engaged in actors and did not interfere specifically there in the composition of the shots. he knew that his camera team already will do. they worked everything out. it's so otherwise genre experiments this game of working with genre material, but at the beginning of his career, that's what comes out most clearly when he just takes it. uh, a whole set of stylistic devices inherent there were on andru's husband, the western american film noir and embodies them in the form of separate

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i remind you that this is a paws podcast podcast. gaidai 100 today we are talking about the centenary of the remarkable soviet director. leonid jovovich, gaidai, historians natalya ryabchikova and, together with me, my colleague, film historians stanislav dinsky. let's continue about noir, why a friend appears again on the noir movie screen in soviet it is the same french word. what is the american genre? well, because the french in the forties watched american films and said hmm black film some kind of gloomy, and they came up with such a term, which is natural, in the thirties. there was no criticism in america when it was, in my opinion, after all, it was wandering

around what the graphic artists came up with the tricks. here actually. ah. when we look at this fragment now, the camera shoots a characteristic technique a little from below, but a very large face. uh, the actor's hat. yes actually. yes yes, nikulin this is typical. well, it's a frame! could be at some. insurance billy wylers, for example, why not? in general , such a look, yes, sharp shadows? yes, a contrasting image, which also, by the way, all this came from, how is it considered that this camera work came from the twenties from e, the cinema of the era of german expressionism, where there was a separate school of cameramen, many of whom later came to hollywood and all this here is this mixture of everything in the world in an amazing way then, appears on the soviet screen. well, why are they guessing this is necessary, this experiment is a stylization, because the material and the approach to the solution in general. this, of course, the atmosphere there is absolutely not thieves. yes, that is, such noar is something hopeless, and here the guide takes the stylistic elements

of the genre and overcomes them, the same thing happens, there is another short film in the leader of the redskins, which is absolutely eccentric of which, in my opinion, because the whole yeralash generally domestic grew up, because it is a boy who me not parents can break, not even criminals who do not look in their own way, but are trying to kidnap him. here, uh, grows out of it. in general, well, a separate direction in the edematous children's cinema, it seems to me, uh, it seems to me that these are the techniques that he uses. they are taken for this, to surely hit the viewer, so that he has fun. this is the turn, in principle, of cinema to mass cinema to genre the return of the genre. as such, to soviet cinema so that, uh, as many viewers as possible watch this film and the film they liked this one, and there are memoirs of one of the authors, gaidai, one of his screenwriters, who said that we checked ourselves all the time when we wrote,

but this will be clear to a grandmother from yoshkar-ola. for some reason, they had such an image of a grandmother and for some reason a cow here. and so, if it seemed to them that it would be, it is clear they went further, but in order for the viewer to fall in love with these films, of course, it was a coup. create a certain group of actors who will constantly work with you nikulin appears in the cinema, gaidai not alone, but immediately with vitsin and morgunov. and vicinta. guess starred before uh, dog barbossa, unusual, cross in his first not -so-successful comedy that he experienced. uh, such censorship problems are tacky, and the film that was eventually named no longer became light, but here nikulin and morgunov immediately appear on the faces and they appear in such images that are absolutely recognizable. even the costumes. until now, they are standing in the corridor of mosfilm, and we know who it is without even knowing there are no faces. yes, these are the same mannequins, shurik yes, but because

guide actually on one side. brought a career, alexander remka. on the other hand, he ruined it to a new level, as he himself sometimes thought, because the mask stuck so tightly, and to alexander demyanenko with the shurik mask that, in general, at some moment e he believed that he was a hostage. it's bad for you after all shurik and can you explain what hmm is the uniqueness of this image, after all, it seems to be common features of a student who has nothing, which all the time even when he is older. yes, he is always so not up to the heifer. what is the meaning of this mask? it seems to me that first remind ourselves what it looks like? how does it work? do we have a small snippet? the driver

shurik, in my opinion, is a typical representative of the soviet technical intelligentsia. here is the eighties yuri lotman. i remembered that once upon a time in leningrad, if you, in principle, walk in glasses in a certain area , they will definitely attack you, because why are you wearing glasses there, there is such a prejudice among a soviet citizen towards a person with glasses, and a guide from him makes a man with one

sides. a. well, it seems, if not stupid, but on the other hand. he always gets into some stupid situation, so it's nice to laugh at him. actually. this is also the legacy of the twenties, because we think about masks. oh, what a loser, charlie chaplin's hero is a tramp. he gets into a stupid position all the time. here, the approach is exactly the same proven methods, when they always use what has already worked somewhere somewhere and tests it for a new audience and proves that these techniques do not become outdated at all. but if chaplin girl usually does not work. you say shurik is still a romantic hero. this is such an interesting combination when, on the one hand, he is all busy with his own. science, as it will be later let's say ivan vasilievich changes his profession, but at the same time we still enter another effective genre - a romantic comedy that is not so much in the soviet union. in general, people could afford to do well. i was always surprised that shurik was a prisoner of the caucasus. the only thing that comes to his mind, and hmm during a date

it’s a job to catch a funny song with a girl. ah, when i'm with music - this is a separate topic for a dissertation i don't know. probably because after it is believed that he offended the theological and did not use some of his music for a-but his first. uh, the early comedy works didn’t develop very creative, but the strong union was hooked, which, in general, in my opinion, was not even interrupted until the death of the guide. yes, zatsepin is, uh, a wonderful composer, with whom i really got lucky. on the one hand, he is a songwriter, in principle, but on the other hand. he is a master of the very instrumental music that is necessary for such a genre of physical comedy yes, comedy of physical action. ah. zatsepin recalls that when he kept asking him to make the music faster, faster, faster , and well, the musician can't play faster either, and zatsepin knew how to make it so that the rhythm of the drums would sound faster. it just felt faster. yes , it was not necessary to play faster, but at the same time, and on

the screen, combined with the image, all this works. let's get back. actually, for the film , the groom became sveta, why didn’t it work out, when oh, a wonderful story, it seems to me, because the film was cut, almost by half. it should have been called something else first, and not yeah, well, like, well, you make a movie, and they cut half of it for you. well, how is it? it's the same, of course. trauma, let's just explain in fact to our listeners and viewers, what was the catch of soviet censorship and its difference from analogues, because there are no clear rules, as such there were people who could make movies in the spirit of court with realism back in the thirties, and then whoever came and said, sorry, but you are doing something wrong. how did it happen? well, here’s the guide and launches a comedy that bureaucracy is bad, it seems like everything is in line with the times, apparently, someone is somewhere else, and the decree was issued that it is necessary to fight bureaucracy ryazanov on carnival night is also struggling with velvet . and now the guide honestly makes a wonderful

actor a plyat, and georgy vitsin adds wonderful supporting actors there a story about how, and a person goes, and in well, on a honeymoon, they steal from him, uh, money and documents. immediately the thief dies and everyone thinks that he died. this very person who left and his deputy is completely, and not necessary. an institution called ku-ku, and something there is a prosecutor's office with a lot of signs, if you remember in an office romance and re-explain something similar, too, a building that is hung with a huge number of meaningless ones. uh, the name of meaningless institutions. well, it's not needed. yes in institutions, one of which is headed by our hero, his deputy does not take him back. because, according to all the documents, he died and the hero is cursed and cannot get this very piece of paper that he is alive, what remains in the film is still very funny. it's interesting how often this happens.

i heard, yes, uh, there, apparently, there was something too much, and the truth is too funny or too much, showing the absurdity of soviet reality, therefore, here is what remains of the film, uh, horns to legs, but on this i think gaidai i learned from this injury, for example, an interesting story in e. caucasian captive. there was such a phrase, and which was said by the hero of the frunzian, who plays the uncle, yes, the heroine, and we are talking about the traditional way of getting the bride, the theft is so ritualized, and he says, but in the neighboring area, and the groom stole a member of the party. and this, of course, looks, well, not very good girl of a party member girl of a party, yes, and uh, according to all the canons, as it were, an artistic council gathers and offers to cut this one out in fact. i i would also like to remind, uh, about this, maybe it’s a little obvious, but today more and more research is appearing,

historians on how the economy of the soviet union was arranged in general what is the shadow economy, and this is the main material with which it works and gaidai and ryazanov in their films and in the sixties, it is precisely in comedy that this theme of social justice is best comprehended. why is someone a , let's say, speculating in the market with cherries, while someone makes ends meet. well here's to the shore there are cars. it brightly appeared this topic. by the way, speaking, it appears just the diamond hand. yes, that is, here are these soviet entrepreneurs who are trying, but somehow to get around to hack the system, this topic is stripped down. it is more vividly comprehended in the sense that he is trying to think about what social justice is. like zigzag of luck, yes, here is a film where he tries to understand, how would it be, but is it good, and should winning? yes, and everything from the londoree ticket belongs to hd money, is the ticket bought or only to the one who bought it directly here at the guide and went a little. it sometimes seems to him that this is all he is not talking about any problems more seriously. at

the same time, all this also has an element of this very one, and market economies that are corroded by soviet society. this is just present, but in the form of a comedy, because when the hero shouts , he says, in the neighboring area, the groom stole the party members, they say, it is necessary to cut out then this phrase is simply passed to the comedy hero nikulin and now, please, all this can be said. a, but the most interesting thing, in my opinion, the story is about how, as it were, a diamond hand should have had an atomic explosion at the end. it seems to me that you know better about this, but it’s like what the hutsif called a watermelon on the neckline, he had a scene in the movie rain. e about the crazy kgb officer. and in the end. uh, like he said himself, i had to make a sacrifice to save the whole movie. here is such a yes and apparently many soviet directors of that time had a similar strategy. yes, he tried to distract the admissions office. there's some kind of state cinema outrageous frame scene. well, in

particular, a bike is considered such that the stage itself was mounted by an atomic explosion as an option. and it's so emotional, and all excited. clicked, that on some more, calling by means of standards things. they didn't pay attention after that. i remind you that this is the gaidai 100 podcast, where we talk about the centenary of the remarkable soviet director. leonid yuryevich gaidai i am a film historian natalya ryabchikova and we communicate with my colleague stanislav diskinsky more, if we talk about attractiveness the attractiveness of movement, the attractiveness of actions on the screen and physical attractiveness, when i could somehow afford to enter the territory of sexuality in soviet cinema. here's what. i don’t even know such sensationalism, or something like what svetlana svetlichnaya does in a diamond hand. here is for you, as a spectator guide. we are never shown the whole thing. we do not see how, in fact, the bra flies off. if it's personal and then some frame that

was cut from the movie of the coin. right there in basically, it was not intended. i really like how this theme comes up in the last movie of the guide. deribasovskaya good weather on brother beach again it's raining, where our soviet a such a secret agent receives instructions from his commander from his mentor, and he reminds him. and if you are seduced and you want to destroy a beautiful woman, what should the agent and the hero of the russians do, the hero says he must destroy the beautiful woman himself, and the mentor speaks incorrectly, and the heroes should not pay attention to the beautiful woman. here cinema. gaidai - this agent must destroy beautiful women himself, and the audience. actually, gaidaya immediately positions himself as a director of spectator films and this is a strange position, in fact, for a soviet director, because it was believed that, well, there is some kind of graphic community and it’s better to close your film, they

’ll cut everything, but you will have the reputation of a person who fights the system. but if you shoot genre films, even if there are some wins, you play with this system and you come up with something that they will cut out for sure, so that everything else passes, it seems that you are not a serious director, that you are, well, here is the genre, well, mass cinema, while any audience is huge. yes, at the same time, this is the very grandmother from yoshkar-ola, who is clearly watching, clearly understands, there is evidence that films are shown to the japanese there, and the guides understand everything. and this is not a coincidence. it tormented the guide. there is evidence that he earns a lot of money. yes, these films earn money in it. and he, too, well, also earned some money for a while, because the success of his comedy guide is actually associated with such an unobvious name as, uh, grigory chukhra rai and vladimir, the late senior dad of the famous modern tv presenter , because people are the efforts that were created experimentally creative, where is the opinion , where the guide i filmed, and some piles of films and where

the system of urban calculation was built , motivating the director. uh, the more collects yours? in the rental of topics, in fact, you yourself earn more from your bands, but these were quick jokes are successful, but it really worked because people were motivated. well, again, this motivation is financial, which actively manifested itself in the nineties. and when phenocarpisy already appeared at the end of the eighties, uh, it means that cooperative cinema is , again, yes. and why are there some non-obvious things, but simple emotions , human desires to earn the desire to live well, these are the basic concepts with which the guide worked, after all, it is no coincidence, again. why the twenties in the twenties in in the soviet sense, this is on and, but. look at ivan vasilyevich, this play was written in the twenties, and the guide itself turns in some of his films, just to the theme of the epic, and in which 12 chairs directly occur again. yes, like his favorite plateaus - this

is also a response to the twenties, when they could shoot films over these very ones, and here are the films of the last two films de good weather or it rains on brighton. ah, and operation cooperation is again. uh, in fact, such a renaissance of the creative guide. i think that, well, there are a lot of gaidai masterpieces of the sixties and seventies, and then somehow goes downhill, so that, uh, the palm tree. uh, in this era of stagnation , ryazanov, as it were, pulls out who make such philosophical films are no longer very funny, as i would consider the garage, more like a tragedy and a heard novel than funny comedies. but nevertheless, here, as it were, there is such a new upsurge, and there are many new formal tricks. that is, if here is the eighties sportloto yes , there are tricks there too. well, somehow it already looks a little strange, as it were, here is the epoch it feels like it's gone somewhere. but the nineties is just such an elephant, when

well, a new growth, it's not clear why, but it seems that it's burning again, it doesn't fit. so you think, what is the reason for success or maybe there. creative failure, yes with these films. i think it even fits in. i suggest watching a small snippet. it is very important to please. please, please. thank you so much i owe you this katz owes you katya you owe me not to you personally. i mean the kgb oh if it wasn't for the kgb would i be in such order, if not for the kgb, i would still be tormented by an assistant professor at odessa university. well, i won't interfere. bon appetit. thank you. i've said two things here, the first is the measure of audience success. i think this is especially true in comedies. and how many phrases will go to

the people one of my favorite cash desks, always offered to stay. well, guess later. how can you say that he is not successful, if, uh, so many phrases from deribasovskaya still live in a time when the audience did not go to the cinema so often. i have a favorite piece. the truth is because of the bad and the other. i adore him when we see ah, the auditorium of the bolshoi theater a where at some point there is an announcement over the speakerphone of kgb agents against leaving after pursuing to the exit. and at this moment, all the visuals get up and go out and go to the exit. and even one of the dancers leaves, and the ballerina goes out. that is, this gaidai really loved not so much political humor. how much he simply loved to joke about some of their realities, which, well, which made everyone so sick. yes so here are the realities, i think this is what is still interesting to see the films of the year. this is the second part. yes, what i like about this is that he

is not an anti-soviet. he does not question the foundations of the system at all. i remind you that this is a podcast. gaidai 100, where we talk about the centenary of the remarkable soviet director. leonid yavichi gaidai i am a film historian natalya ryabchikova and we communicate with my colleague, demolished by namzinsky. we actually started to move on to the topic of why the guide is now popular and why does he need to watch? i personally tried, and at one time to get to the bottom of the reason for this people's love, and i specifically analyzed tv programs for 50 years, how often and what films were repeated on new year 's eve on soviet television, and oddly enough, it turned out that and not so often, that is, a phenomenon, love, guide. this is a phenomenon of repetitions of the last decades, after all , soviet television, as usual, inflamed in a year shows some kind of premiere, as if it were a really exemplary film, now , after all, the strategy shows what is really people like to know they will definitely see that they support a certain rating and really people watch and know, but i would like to break

this trend and advise viewers to watch the film that may be the most unknown from gaidai’s film, that very groom became sveta who , but is available to us in half of its full form. but, in my opinion, there you can see where the legs grow from. there you can see everything that appears later and this is a very interesting bunch, and soviet cinema and soviet reality of the late fifties sixties. here is one movie to watch that i highly recommend. it didn't become light. and for you to recommend listen, perhaps, diamond arm. why? well, because on the one hand there is no shurik and kaidai's economy is a little violated. here, on the other hand, this is formally, perhaps the richest saturated film. c because there are also references to the italian jalol. yes and uh. well, here are the footage

of the nightmare. ah, look at the hunchbacks in performance. e. nikulina is, of course, absolutely somewhere close to the genre italian cinema and, uh, well, songs songs of course, well, as it were, the songs are not the main thing, but the way the film is made from a formal point of view. actually, it is precisely the interest, when and in our time, and that, in my opinion, is connected with the fact that, and makins, we begin to understand, how difficult, but his cinema was arranged, how carefully his team prepared. and in general, as if a movie with her is not so simple as it seems to many modern critics. it's quite difficult and the director. yes, this is a rather complicated preparation process first of all. development at the stage. and in production, where you need to come up with all these tricks, you will never be able to make the kind of movie that gaidai made if you think that you need to improvise, built on improvisation, of course, improvisation is always present in the acting of actors, some ideas and things arise in the process of filming, but still you can’t build complex tricks on improvisation from

tricks. gaidai has quite a lot. they need to be invented first, really in this sense, probably, the diamond hand. it seems to me one of the most perfect, uh, films gaidai, although ivan vasilievich may be closer to me in spirit, but if we talk about skill, probably the diamond arm. i think we've made a pretty compelling recommendation and leave our viewers with a choice. which movie in gaidai to watch or re-watch? it was a podcast when natalia ryabchikova and my colleague stanislavsky film history threw a 100th story, enjoy watching. dear friends, this is a podcast. anthropology on first, its presenter dmitry brov, we are making this broadcast especially for the male part of the population question. and you know what will happen to women, too

, let them look, it will be such a sport for them to stimulate such a sport, anger , too, these gypsies demolish the heads of russian peasants all their lives. see why jahrin. hello now dear friends. we will listen to jazz in gypsy in order to understand, how is it so listen, national melismas are not called by people vocal decorations, but with jazz rhythms. it is fantastic. let's start for starters, because we will speak jacqueline. please, all of you who speak gypsy.

rune and for my russia to distinguish?

mama drink.

well, fantastic, dear friends, the one who hears gypsy jazz for the first time, and you just now listened to gypsy jazz, will listen to it during the next children's conclusions performed by our beloved jaklingal. thanks a lot. this is a famous gypsy singer from moscow well, comrades, now she is also your famous singer thanks. it's a pity if someone hears gypsy jazz for the first time, mankind knows gypsy jazz, i will say that until the time when he came to europe, we, of course, will not go anywhere on behalf of django reyhart. and why should we

go anywhere from him? jacquelinchik is your wonderful guitarist, maybe he can show us a little janga jazz. this is shanga reinhard playing with the guitarist's three fingers. what is the name of oh, i'll be happy to introduce. thank you good evening. hello i really like it and want to tell a little story sometime in 2013 . uh, i entered the competition and where uh. one of the judges was lauren kart. wow. him later. yes, it so happened that i took

first place, and then we wrote off the word and he i was invited to lahnstein in germany for a festival. we are fine. what are we going to call gypsy e jazz, what's so special about this jack? well, groove, first of all, of course, this is groove, this clang that show us the groove and immediately you will be thrown out of the table by some kind of your power. quite right. well, it's a whole school. eh, the gypsies of european gypsies really, starting from the jangu and now it has turned out to be an amazing development and there are a lot of representatives of the magnificent vitaly, you told me so. well, indeed it is so such, uh, pride. uh, i'm proud that and you are with me. please say a few words with pleasure.