approach requirements today he wants it this way, but tomorrow it's different, and tomorrow you say fifth, wait, i don't have time. you want to learn how to skate to play hockey, you often go to hockey yourself and i think that's why it's easy to answer the question. why is football not hockey so called our refusal. but i think that football is not hockey for one simple reason, it is the level of involvement and attention to this or that sport. and with all due respect. hockey. it's relative, local history. if we we are talking about general world processes, yes, then football is a global history. and therefore , for example, and what can be allowed or can work in hockey, it will never work in football. and here, for example, i think that even hockey fans will not be able to visually identify hockey players, because somewhere there they are wearing a helmet, someone in a mask, especially goalkeepers there. yes, some distance from you. but there is no

approximation. straight even. if the frame is large, it's still very blurry. that is, i'm dripping here, so, for example, in life how much i there, i didn’t go anywhere with hockey players, i didn’t meet. no, that is, they are practically unrecognizable . that is, they are still being popular. and indeed, fully established people of their profession, they still do not have that level of public interest with all the minuses that follow from this rather than pluses. rather than football players. well, now i’m definitely talking about the top level, and it seems to me, more. well, that is, this one is in the direction of football. if we speak plus, if we speak in the direction of hockey plus, and then, in my opinion, with hockey, everything is somehow more simple mentally and the human side is more correctly arranged than with the construction of various kinds of football relationships of processes. thank you very much for your time easier. thank you institutsky was under the cast in a hockey t-shirt

at the first. see you soon. bye. hello this is a podcast, today our podcast is called gaidai 100 and we are talking about the centenary of the wonderful soviet director, leonid iovich, gaidai, i am a film historian natalya ryabchikova and today i am talking with my colleague, film historian stanislav medical hello so why gaidai well , because, uh, on the one hand, now we will have such a centenary anniversary parade. eh, amazing thing. in general, no matter what director, how can i not take some major anniversary for me now, if einstein is 125 gaytest 100 years old, and soon there will be a parade of films of the old anniversaries of films in the twenties . and gaidai well, unfortunately, but gaidai

was not hmm, they didn’t give him the proper measure in the soviet era, when he actually created his films here and now the last 10-15 or 20 such renaissance is happening rethinking the work of soviet directors guide ryazanov daneliya each other whose films everyone knows by heart, but now their formal methods are being comprehended skill guessing like a director, because somehow his films are made. well, as it were, somehow seamlessly by itself. in general, it just seems, yes, there is no one here. well, zaum in a good way, like andrey tarkovsky or other serious directors who have always filmed dramas, melodramas, ah, philosophical parables , well, in general, what they usually like to analyze, and film historians and, of course , film critics, for whom this is just the main

bread for theorizing on the basis of a complex film language, but films where the passage of time is very slow. in general, there is no slowing down of time, on the contrary, he has faster time, as it goes right and the pace of his films is, well, which, in general, was more like bli. to a modern viewer, uh, who loves mass cinema, but it seems to me that i need speed up time and get back in touch very quickly and just talk about where he came from and it seems to me that this is very important just for everything else, and gaidai's path in cinema, because he came to vgik at the very end of such a period, which is called small picture forty-ninth year. he entered in the fifty-fifth and graduated and he was lucky to get into the workshop of grigory alexandrov, the master of soviet comedy, and uh , it so happened that gaidai succeeded with alexandrov, then he became an assistant on the set of the film lian boris barnat abarnet.

this is also a master of spectator cinema of the twenties and beyond, and then it so happened that i took the guide under my wing the same person who took ryazanovo and vanturi dust under his wing was very, but friendly towards young people. this was the period when he could afford to be the head of the cartoon studio to attract. new forces and so he attracted ryazanovo and after several documentaries gave him the musical comedy carnival night, and then he offered gaidar to work in the comedy genre in general, of course, for those people who learn from the history of russian cinema from the history of the wild, what are these people who entered in the mid-fifties. almost all of them shot the tarkov konchalovsky ones, which, unfortunately, did not enter the international market, as they would say today, but nonetheless. these are all people of the same generation who made their debut successfully , largely due to the fact that there was a change of era , there was a festival of youth students in the fifty- seventh year, when the soviet saints. union came a huge number of foreigners,

who brought chewing gum in their pockets to their experience at the same time. she began to get into foreign cinema, because yes. yes, yes , discharged speaking, the youth festival, and the moscow film festival, and then it went , it went up to a felline eight-8.5. even at the turn of the fifties. in general, and the film distribution was filled with foreign films, and in this, gaidai was also lucky. yes, they are in vgik , they watched the classics, but modern cinema, but what was filmed from the thirties, yes, and all this came out in the form of trophy films precisely in the late forties and early fifties and brodsky later said that to change the regime for, uh, change, for a start, these foreign films there about tarzan, for example, yes, they played a much bigger role than all khrushchev’s secret speeches about acoustics, these films that were popular, which were musicals, adventure melodramas films. this is also what

influenced gaidai, but of course, but the source of it. it seems to me that we need to look in those films that were shot in the tenth year of their twenties, not only in the soviet union but also in america in france , films that belong to the genre of physical comedies, absolutely right, because sometimes it seems when you look at the film guy yes quite seriously, for example, yes, what, well, as if suddenly some very talented director appeared out of nowhere, who began to shoot from scratch, and films that later, decades later, millions fell in love and are still reconsidering what is the mystery? where will it open, yes, that is, when you start to analyze today, the director’s work, do you usually look at what references are there, yes, what does he like to look at? name ten of your favorite movies the case of the gay. and it was, on the whole , pretty good. yes, yes, policemen run comedies of the twenties the twenties in the soviet union watched american comedies. let's see what they were watching. actually, the comedy

of action, it works precisely in the involuntary cinema, because there is no sound, apart from music there is no speech, and all that the comedian does is fast movement is absolutely in line, and the attractiveness of early cinema. it's running, it's falling, it's tricks. what is the name of da buster kitton, who is an incredible stuntman. why does he do all this without backups and without any support, he's just incredibly athletic in training. there is a personal story about maksan, this is one of just a such teachers, and gaidai , who often had police officers running after criminals and bludgeoning each other in films, maxim recalled that when ross was in the american outback as a child, it was interesting for him to watch. and what will happen if you come up to the policeman and hit him 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 afterwards. in general, all these poke worries are cracks, flying cakes. they migrated to the soviet to the soviet cinema of the sixties, because gaidai a will test all these sets of techniques, we see this aesthetic, there are cakes and blows, and each other. e on the head and so on. all this was then melted into organically into the soviet new type of soviet comedy cosmodemric one of the three. it seems to me that i would consider it so, because, firstly, it was not gaidai himself who came and said. but i want to make an exclusive camera or i i want to make stone. it was not spoken from above. i want to do a lyrical commission, basically invented during the production of the film. i walk around moscow, first in the soviet planned economy, we came up with the idea that we need to do more comedies, the minister herself, of culture, ekaterina furtseva, secured this with her signature. and then search. what kind of comedies actually happened and it so happened that there were three, like, yes, a sad comedy , and there is a comedy and eldar ryazanova, which, well, in

general, is a situation comedy, 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 films, they are unusual to the guide from barbos , how it works, but 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, after all, well, i just finished watching it and remembered. for some reason, ivan is his childhood. there, too, the announcer was similar, birches, birches, birches, and how differently two directors will work here with the same scenery , in general, uh, on the one hand, it seems to us that this all somehow happens by itself. here it is obvious that everything is invented in advance; here there is a place where there are improvisations. there are some graphic tricks here, and acceleration jumping up and here is the breaking birch, which, of course, must 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 basically, but russian firewood. why does it start? where does it all end? it is very interesting that i worked out this visual component very clearly with my permanent operator igor chernyakhov, and chernykh he told 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 would have done all this already. they worked everything out - this is otherwise a genre experiment. game work with genre material, but at the beginning of his career,

that's what shows up most clearly when he just takes it. uh, a whole set of stylistic devices inherent here or there already androy you are a western to the american film noir and embodies them in the form of separate arbitration films. e business people, where the robbers in the performance as well. nikulina enters the house, we see this gloomy atmosphere and the characteristic cinema of the forties and fifties . take it away and dump something there. i'm sorry you got lucky. we are old friends with rheumatism and also in the left. any other would pierce right through you. when did you not understand your left claw? tell me please and for a long time you have been in your fifth year yes, now he will not get rid of.

you just have to enjoy it. write lost. okay, have you tried rattlesnake fat hunger? 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 jovich, gaidai and the history of cinema natalya ryabchikova and with me my colleague stanislav dinsky, film historians. let's continue about noir, why a friend arises again on the movie screen noir in soviet is the same french word. what is the american genre? well, because the french in the circus years watched american films and said hmm some black film dark a and came up with such a term, which is natural in the thirties. in america , there were no critics, in my opinion, after all, he wandered off by himself 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 very big face. uh, the actor's hat. yes nikulin this is typical. well, it's a frame! might be in some kind of double insurance white, 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 this is the mix of everything light surprisingly then appears on the soviet screen. well, why do they say this is necessary, this experiment is a stylization, because the material and the approach to the solution in general. this, of course, atmospheres. it's completely uneven there. yes, that is, such noir is something hopeless, but here the guide takes the stylistic elements of the genre and overcomes them, the same thing happens. there

is another mark in the leader of the redskins, which is absolutely eccentric of which, in my opinion, because in general the domestic grew up, because this is a boy who does not it’s not parents who can break it, not even criminals who don’t look in their own way, but they are trying to kidnap him here. and from this grows, in general, well, a separate direction in edematous children's cinema, as 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. here is this turn, in principle, cinema to mass cinema to genre the return of genres. 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 there are cows here. and so, if it seemed to them that it would be, it’s clear they went further, but in order for the viewer to love these films, of course it was a coup to create a certain group of actors who are constantly with you. work appears nikulin in the cinema, gaidai not alone, but immediately with vitsin and morgunov. moreover , vitsin-guess was filmed even before e, dog barbossa, unusual, cross in his first not very successful comedy, which he experienced. uh, such censorship problems are obstacles, and the film that was eventually named was no longer in the light. here there is one vice, and here nikulin and morgunov appear immediately to the faces and they appear in such images that even the costumes become absolutely recognizable. until now, they are standing in the corridor of mosfilm, and we know who it is without even knowing there are no faces. yes, they are the same mannequins. shurik yes, because the traffic police are actually on the one

hand. he brought his career, alexander ruined the belt to a new level on the other hand, as he himself sometimes thought, because the mask stuck so tightly, and shurik’s mask to alexander demyanenko that, in general, at some point, he believed that he was a hostage after all, shurik can you explain what hmm is the uniqueness of this image, after all, it seems, and so on, common features of a student who has nothing, who has everything all the time even when he is older. yes , he is always such an underdog, 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 lotsman i recalled that once upon a time in leningrad, if you, in principle, walk in glasses in a certain area , you will definitely be attacked, because why are you wearing glasses there, there is such a prejudice among a soviet citizen to a person with glasses, and the guide makes a man out of him on the one hand. a. well, it seems, if not stupid, but with

the other side always gets into some kind of stupid situation, so it's nice to laugh at him. actually. these twenties also found this, because we laugh at masks. oh, what a loser, charlie chaplin's hero is a tramp. falls 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 is tested for a new audience and proves that these techniques do not become outdated at all. but if chaplin doesn't usually get a girl, you say shurik is still a romantic hero . this is such an interesting combination when on the one hand. all busy with his science , as it will be later, let's say ivanovich changes his profession, but at the same time we still go to another effective genre of romantic comedy, which is not so much in the soviet union. in general, people could afford to do well, that shurik was a prisoner of the caucasus. the only thing that comes to his mind, and hmm during a date, is to catch a funny song with a girl in general, work. ah, when i

music - this is a separate topic for a do not know dissertation. probably because after it is believed that he offended the theological and did not use any of his music for but one of his first er, early comedic works on. i had a very creative, but pure zatsepin union, which, in general, in my opinion, was not even interrupted until the death of the guide. yes zatsepin is a wonderful composer, with whom i really guess i was lucky. on the one hand, he is a songwriter, in principle, and on the other hand, he is a master here the same instrumental music that is necessary for such a genre of physical comedy yes, comedy of physical action. and 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, it all

works. let's get back. actually for the movie why didn’t sveta turn out when, oh, a wonderful story, it seems to me, because the film was cut, almost by half. it should have had a different name first. come on, how, well, you make a film, and half of it is cut out 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 no matter how clear the rules, as such, people could make movies in the spirit of court with realism back in the thirties years, and then by whom they came and they 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 so the guide honestly makes wonderful actors actors with a plate, and georgy vitsin adds wonderful supporting actors there

, a story about how, and a person goes, and in well on on his honeymoon, they steal, 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 something there is a prosecutor's office with a lot of signs. if you remember, in ryazanov's office romance there is something similar , too, a building that is hung with a huge number of meaningless, and the names of meaningless institutions. yes, the institutions, one of which is headed by our hero, his deputy does not accept him back, because that, according to all documents, he died and the hero of the plate cannot get this very piece of paper, that he is alive, that 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 , the horns remained from the film, but it seems to me that gaidai learned from this trauma, for example, an interesting story in. e. captive of the caucasus. there was such a phrase. ah, which he spoke the hero of frunze is a moklyuchana, 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, uh, the groom stole a party member. and of course it looks. well, not very well, yes, and uh, according to all the canons, as it were , an artistic council gathers and offers to cut it out. i would also like to remind, uh, about this, maybe it’s a little obvious, but today more and more often there is a study of historians on how the economy of the soviet union was arranged in general what is the shadow

economics, and this is the main material with which both gaidai and ryazanov work in their films and in the sixties, it is precisely in comedy that themes of social justice are best comprehended. why is someone a , let's say, speculating in the market with cherries, while someone makes ends meet. well, take care of the car. this is yar. this topic appeared, by the way, speaking, it appears just in the diamond hand. yes, that is, here are these soviet entrepreneurs who are trying, but somehow bypass, to hack into the system. this is the topic. at ryazanov, it is more vividly comprehended in the sense that he is trying to think about what social justice is, like the zigzag of luck, but here is a film where a is trying to understand how it would be, is it good, and should winning? yes , from a voltaire ticket to belong to everyone in line. it was a ticket bought or only to the one who bought it directly. you guessed it, a little stifled. it sometimes seems to him that this is all he is not seriously talking about any problems, but, in the meantime, all this is also an element. you are this one,

but market economies, which 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, is history - it's about how, like a diamond hand, there should have been an atomic explosion at the end. it seems to me that you know better about it, yes, but it's like such and such, that thin safe called a watermelon on the neckline, he had a scene in the movie julian 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. that's when, apparently , many soviet directors of that time had a similar strategy. yes, he tried to distract the admissions office. there is a state cinema with some outrageous frame scene. well, in particular, a bike is considered such that he mounted the scene with an atomic explosion

as an option. and it's so emotional, and all excited. i click on some moreover, they did not pay attention to things that caused by means of standards. i remind you that this is a podcast. gaidai 100, where we talk about the centenary of the remarkable soviet director, leonid jovich gaidai, i'm a film historian natalya ryabchikova and we communicate with my colleague stanislav diskinsky more, speaking of attractiveness, the attractiveness of movement, the attractiveness of actions on the screen and physical attractiveness, when i could afford somehow 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. this is for you as a spectator. gaidai never shows us the whole thing. we don’t see how , in fact, the bra flies off with the holy if it’s personal and then some frame that was cut out of the movie by coins. there, in principle, it was not supposed. i really

like how this theme comes up in the last movie of the guide. deribasov good weather on brother beach again it's raining, where is our soviet a-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 hero should not pay attention to the beautiful woman. here is the cinematography. gaidai - this agent must destroy beautiful women himself, and the audience. actually. gaidai immediately positions himself as a director of spectator films and this a strange position in fact for a soviet director, because it was believed that, well , there is some kind of cinematographic community and it’s better to close your film, they’ll cut everything, but you will have the reputation of a person who

is fighting the system. but if you're making genre films. even if you play some games with this system and come up with something that will be cut out for sure, so that everything else passes, it seems that you are a frivolous director, that you are, well, here is the genre, well, here is any mass cinema spectators 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, he also earned some money for some time, because the success of the guide and his comedy is associated with such an unobvious name as grigory churai and vladimir pozner, the elder dad of the famous modern tv presenter. after all, these are people with the efforts that were created by an experimental creative, where there is none, where the guide and shot some of his films and where the city calculation system was built,

motivating the director. uh, the more further collects yours at the box office. that, in fact. you earn more your bands yourself , you will have to quickly joke successfully, but it really worked because people were motivated. well, again, this motivation is financial, which actively manifested itself in the nineties. and when already a phenomenon arose in the late eighties, uh, so 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 the soviet union and a. look, ivan vasilyevich, this play was written in the twenties, and the guide itself turns in some of his films, just in time for the theme of the epic, and of which there are 12 chairs directly again. yes, how is it, like a sports raft? this is also a response to the twenties, when they could make films with these very ones, and here are

the last two films of deribasov's good weather films or it's raining on brighton bitch, and this is again a cooperation operation. uh, in fact, such a renaissance of creative gaidai is considered that, well, gaidai has a lot of masterpieces of the sixties and seventies, and then somehow it 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 already not very funny honestly, as i would consider the garage, rather a tragedy and a novel heard rather than funny comedies, but nevertheless here, like this, but a new upsurge, and but a lot of 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, the epoch has such a feeling that it has 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. here you

think, what is the reason for the success or maybe there is a retro creative failure of the guide with these films. it seems to me that even fit in. i suggest watching a small snippet, very important uh-huh 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 not for the kgb would i be in this 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 said two things here, the first is a measure 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 him, and the auditorium of the bolshoi theater and where at some point there is an announcement over the speakerphone of kgb agents vs. go out after chasing to the exit, and at this moment all the visual gets up and goes out 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 you just loved to joke about some here. their realities, which, well, which everyone got sick of, so here are the realities, it seems to me that 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 not an anti-soviet. he does not put under

questioning the basis of the system. 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 stanislav. in fact, we have already begun to move on to the topic of why the guide is now popular and why does it need to be watched? i personally tried, and in due time, to get to the bottom of the reason for this people's love, and i specially analyzed tv programs for 50 years, how often and what films were repeated on new year's eve night 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, the soviet average has inflamed in the usual way. the new year shows some kind of premiere, how would it really be like a movie now, after all, the strategy shows what people really love know, they will definitely look, that they will somehow support a certain rating and really people watch and know, but i would like to break this trend and encourage viewers to watch

the film that a may be the most unknown, if the time in gaidai is here, is the very bridegroom of that world, which 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 and early sixties. here is one movie to watch that i highly recommend. it didn't become light. and for your recommendation, listen, probably, the 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 well, these are the footage of a nightmare, and look at semyonovich gorbungo performed by nikulin, this, of course, absolutely somewhere close to the genre of italian cinema and uh hmm well, the songs of the song of course well, as if the songs are not the main one, but in general it’s like film made from a formal point of view. actually exactly interest, when and in our time, a is connected with the fact, in my opinion, that e menkens are beginning to understand, how difficult, but was arranged for his cinema. how carefully his team prepared. and in general, as if the bridge is not so simple as it seems to many modern critics. it's quite difficult and directed. yes? it's quite a complicated preparation process above all the development phase. 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 what needs to be improvised , 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 that one of the most perfect films, gaidai, although ivan vasilievich may be closer in spirit to me, 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 fortune teller to watch or re-watch? it was a podcast when and 100 i film history natalya ryabchikova and my colleague stanislavsky film history hello viewing.