silently in it the forest, according to the old man, feeling guilty for himself, the plane remembered every time. how many times did he grab him in the wings after the battle. how many times, showing concern, stroking, gently duralumin side said without a doubt to the pilot, he would be ready to take off on time, he knew what petrovich promised to fulfill. thank you, they believe. what else before dawn?

and it works not for awards with bare skin of metal, touching, at - 30 + 50. who, like a windy face, hands from sunburn are black and not without reason that the enemy is afraid of them, because their bombs are accurate. these are those who from morning to sunset seeing off with excitement. the engineers are waiting for the earthly guys, without which the flight is unthinkable from the pilots bow to you guys.

we have forgotten those who are waiting, but not that we have forgotten. but in general, it is, as it were, an integral part of ours. my mom. these are the wives of officers. this is the pilot's wife. they are pilots' wives. yes, and i remember when batin was such a comrade uncle kolya zelenov, the navigator of the regiment, and he was with a cadet. they came in for landing, and their flaps went out incorrectly one by 30 and the other by 15, and they did not have time to taxi at low altitude. well, in general, they died, and sasha is his son a year older than me, we were friends, and when i don't talk about his mom, because there, well, it was a tragedy. i remember these events. when sashka came out after the funeral , time had already passed and he came out to our yard, we didn’t know what to say to him, we were so amazed by

all this, because any catastrophe in the regiment. this is grief for everyone. and no matter who it is, when a pilot dies, it's a terrible thing, a great profession. yes, friends , you have patience and well, let's hope and pray that everything will be fine. this is where we end our flight in the podcast. everyone wants to fly. today i am from my old friend, sanechka marshal i wish you all the best, good luck and happiness in heaven on earth to everyone. hello this is a podcast, today our

podcast is called gaidai 100 and we are talking about the centenary of a wonderful soviet director. leonid iovicha, gaidai i'm a film historian natalia ryabchikova and today i'm talking to my colleague stanislav medical film historian hello so why gaidai well , because, uh, on the one hand. now we will have such an anniversary parade in centenary years. uh, amazing thing. in general, no matter what major director you take here, i now have some major anniversary from einstein 125 guide test 100 years, and soon there will be a parade of films of centenary anniversaries of films in the twenties . and gaidai well, unfortunately, but gaidai wasn't. hmm, he wasn't rewarded properly in the soviet era, when he actually created his films here and now it's been happening for the last 10-15 years. here is 20 such a renaissance rethinking of the work of the soviet directors of the guide, ryazanov daneli. with each other whose films everyone knows by heart, but

now there is a comprehension of their formal methods in terms of the skill of directing, because, as it were, for very long years, well, somehow the skill of guessing as a director was not obvious, because somehow his films were made. well, as it were, somehow seamlessly by itself. in general, it just seems, yes, there is no one here. well, absurd in a good way, like andrey tarkovsky or other serious directors who always filmed dramas, melodramas, ah, philosophical parables, well, in general, what they usually like to analyze so much, and film historians, and, of course, critics, for whom it’s just the main bread for theorizing on the basis of a complex movie screening, and films where the passage of time is very slow, and gaidai in general, there is no time dilation, on the contrary, he has faster time, how it goes right and the tempo of his films is, well, which we were rather like. to a modern viewer, uh, who loves

mainstream cinema, but i think i need to speed up time and come back at five very quickly and just talk about where the guide came from and it seems to me that this is very important just for everything that follows, and gaidai's path in cinema, because he came to vgik at the very end of such a period, which is called the forty-ninth year of the small picture. 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 learned from alexandrov and then became an assistant on the set of the film lian boris barnat abarnet. this is also the master of spectator cinema of the twenties and beyond, and then it so happened that guide i took under my wing the same man who took both ryazanov and the dust vanturians under his wing was very, but benevolent towards the youth. this was the period when he could afford to be the head of the cartoon studio to attract. new forces and now he attracted ryazanovo and gave him after several

documentaries. uh, the musical comedy carnival night, and then he suggested that gaidai work in the genre of comedy in general, of course, for those people who we know from the history of russian cinema from the history of it's wild that these people who entered in the mid-fifties. almost all of them shot tarkov konchalovsky, yes, which, well, somehow, unfortunately, he did not enter the international market, as i would be told, but, nevertheless, these people of the same generation made a successful debut largely due to the fact that there were interchangeable epochs was the youth students' festival of the 57th year, when the soviet saints. union came a huge number of foreigners who brought their experience gum in their pockets and at the same time, foreign cinema began to appear, because it is all moscow cinema. yes, yes, yes , i was discharged speaking of the youth festival, and the moscow festival went on and on, it went up to a fellini 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 ok. they were in vgik, they watched classics, but modern cinema, but what they 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 in order to change the regime for a shift to start. the thaw, these foreign films about tarzan, for example , yes, they played a much greater role than all khrushchev's secret speeches about acoustics , these films that were popular, which were musicals, melodramas, adventure 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 or in the twentieth , not only in the soviet union but also in america in france, films that belong to the genre of physical comedy, absolutely true, because

what sometimes seems when you look at films guy i’m completely serious, for example, yes, that, well, as if suddenly some very talented director appeared out of nowhere, who began to shoot from scratch, and films that, decades later, fell in love with millions and is still reviewing what is the mystery? where will open yes, that is, when you begin to analyze today, the work of the director, you usually look at what references are there, yes, what he likes to watch does not depend on a dozen of your favorite films, in the case of the gay. ah. 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 daytime 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 with the appeal of early cinema. it's running, it's falling, it's tricks.

what is the name of america and buster kitton, who is an incredible stuntman? why does everything this is without doubles without any support, he is just incredibly athletically trained. this is one of just a such teachers, and gaidai, in whose films the police often ran after criminals and bludgeoned each other. maxim recalled that when he grew up in the american outback as a child, he was also interested in seeing. 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 is testing all these sets of techniques, this aesthetic. we see, there are mouths and blows, and there each other. e on

the head and so on. all this was then melted down into the organic, into the soviet new type of soviet kosmodey comedy. one of the three, it seems to me that i would consider it so, because, firstly, not myself. gaidai came and said. and i want to make an exclusive cameo. i want to make stone. it was over did not tell. i want to do the lyrical commission first, basically 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 comedies actually happened, and it so happened that there were three, like, yes, a sad comedy, and there is eldar ryazanov's comedy, 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 here is the legacy of the 20s suddenly returns in the 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 combinators, namely a guide from the gods with an 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's childhood. there, too, there was a similar directorate, 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 it all somehow happens by itself. it is obvious here that everything is invented in advance , there are some graphic tricks here, and accelerations are jumping up, and here is a breaking the birch, which, of course, must also be made properly , is incredibly thin here. it seems to me that working with rhythm in general, how is it all done, what are these masks that appear for the first time and the music that accompanies this must be clearly understood in advance and the production plan, and russian woodwork, what does it all start with? what it all ends up with is very interesting that gaidai worked out this

visual component very clearly with his permanent cameraman igor chernykh, and he told a lot about black people 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 they photographed it and distributed it 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. squeal. yes. this is so, otherwise a genre experiment. you play work with genres of material, but at the beginning of his career, like times it shows up most clearly when he just takes. uh, a whole set of stylistic devices typical of androy western's american film noir and embodying them in the form of separate arbitration films. e business people where robbers are in execution. uh, nikulina gets into the house, we see this

gloomy atmosphere and the cinema of the forties and fifties. stop making faces. take the integrafti, back off there. i'm sorry you got lucky. we are old friends with rheumatism and also to the left. anyone else would have holed you through. when did you not raise 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. just get this pleasure. write lost. okay, have you tried rattling fat?

he is my voice of spring in an updated state, march 3 i will 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 i historians natalya ryabchikova and together with me my colleague stanislav devinsky film historians will continue about noir, why does a friend appear again on the movie screen? noir in soviet is the same french word. and what about the american genre? well, because the french in the forties 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 was no time when this criticism, in my opinion, nevertheless wandered into it, some kind of microfists themselves came up with tricks. here actually. ah. when we now watch this fragment, the camera shoots a characteristic technique a little from below, but a very large face. uh, the actor's hat. yes actually nikulin here it is typical. well it's a frame, could be when in some double insurance wilder's underwear, for example why not? in general, such a look, yes, sharp shadows, yes, contrasting images, which also, by the way, all this came from, as it is considered, this camera work came from the twenties, from the cinema of the german expressionism era, which had its own separate school of cameramen , which many of which then came to hollywood and all this , this very mixture of everything in the world surprisingly then, it turns out on the soviet screen. and why do they give it ? this experiment is a stylization, because the material and the approach to the solution in general. this is,

of course, the atmosphere there is completely unfamiliar. 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's a boy, which not parents can perform for me, not even criminals who do not look in their own way. aged tries to kidnap him. this is what it grows out of. generally. 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. 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 moved on. well, 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 vicin something. guess starred before uh, dog barbossa, unusual, cross in his first not -so-successful comedy that 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 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, they are the same mannequins. shurik yes, because gaidai is actually on the one hand. he brought his career, alexander emelianenko ruined it to a new level on the other hand, as he himself sometimes thought, because the mask stuck so tightly, and to alexander demyanenko the shurik mask that, in general, at some moment e he believed that he was a hostage to everything -shurik can you explain what hmm is the uniqueness of this image, after all, it seems. these are pretty common traits of a student who has nothing, which all the time even when he is older. yes he is everything this time is not warm enough. 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? enter

shurik, in my opinion, 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 like not stupid, but on the other hand, he always gets into some kind of stupid situation, so it's nice to laugh at him. actually. these twenties also found this, because thoughts 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 method of the guide, always using what has already worked somewhere somewhere and testing it for a new audience and proving that these techniques are not outdated at all. but if a chaplen girl usually doesn't receives. you say shurik is still a romantic hero. this is such an interesting combination when, on the one hand, he is all busy. for his science, as it will be later let's say ivan vasilyevich changes his profession, but at the same time we still go to another effective genre - a romantic comedy that 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 our mind, and hmm during a date, is to catch a funny song work 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. they use some of his music for and one of their first, uh, early comedy works. then i developed a very creative, but strong 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 a master of the very 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 cannot play faster either, and zatsepin knew how to make it so that the rhythm of the drums was laid so that

it sounded faster, 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 to the film didn’t become 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 first been called differently. yeah, well, how, well, are you making a movie? and cut it in half for you. well, how is it? it's trauma, of course. let's just explain in fact, to our listeners, viewers, what was, and two by two , 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, and then they came to them 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 decision was issued that ryazanov needs to fight against burkotism on carnival night, he also struggles with velvetism. and so the guide honestly makes the wonderful actors the fifth artists, and george adds wonderful supporting actors there, a story about how, and a man goes, and in well on a honeymoon they steal from him, and money and documents. immediately , he dies and everyone thinks that he died. this is the very person who left him too. deputy in a completely unnecessary institution, which is called ku-ku, and something there is a prosecutor's office with a lot of signs, if you remember in an office romance. ryazanov's building is something similar, too, which is hung with a huge number of meaningless, er, names of meaningless institutions. yes institutions, one of which is run by our the hero, his deputy, does not accept him back, because according to all the documents, he died and the hero cannot get this very piece of paper that he is alive, what

remains in the film is still very funny. often this happens. i heard yes, ah and uh, there, apparently, there was something too much, and too true funny or too much, showing the absurdity of soviet reality, therefore , the horns to the legs remained from the film, but on this, i think gaidai learned here on this injury, for example, an interesting story in a. there there was such a phrase, ah, 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 of theft so ritualized, and he says, but in the neighboring area, uh, the groom stole a member of the party. 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 like

to remind you of this, maybe it ’s obvious to a few, but today more and more often there is a study of historians about how it was in general the economy of the soviet union is arranged what is the shadow economy, and this is the main material with which both gaidai and ryazanov work in their films and in the sixties exactly, just in comedy it is best. about the meaning of fucking social justice topics. why is someone a speculating in the market with cherries? someone makes ends meet, well, in beware of the car - this topic appeared brightly. by the way, speaking, it appears just the diamond hand. yes, that is, these soviet entrepreneurs who are trying to but somehow bypass hack the system this topic. ryazanov comprehends she more vividly 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 lottery ticket to belong to everyone a with whose money the ticket was bought, or only

to the one who bought it directly. here you can guess a little shady. sometimes it seems to him that this is all, he doesn’t seriously talk about any problems, time is also everything it is present elements. this is the e- market economy that corrodes soviet society. well, well, in the form of a comedy , because when the hero shouts, she 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 on to nikulin's comedic hero and now, please, all this can be said. a, but the most interesting thing, in my opinion, is history - it's about how it seems that diamonds in the hand should have been an atomic explosion at the end. i think you know better about it, yes, but it's kind of like what thin safe called a watermelon on the neckline, he had a legal rain in the movie, a scene. 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, it is considered a bike such that he mounted a scene with an atomic explosion as a variant of his hand. and it's so emotional and everything excited and distracted. for some more. calling things by means of sockeye salmon, they then no longer paid attention. 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 dividensky more, if we talk about the attractiveness of the attractiveness of movement, the attractiveness of actions on the screen and physical attractiveness, when i could somehow afford to enter on 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. for you, as a spectator, we are never

shown everything in its entirety. we do not see how , in fact, the bra flies with the light, if personal and further some frame that was cut from the film by the coin. there, in principle, it was not supposed. i really like how this topic appears in the last film of gaidai on the basovskaya tree, good weather on the back. ah, this rain again where is our soviet, and such a secret agent receives instructions from his commander from his mentor, and he reminds him. and if you seduce and want to destroy a beautiful woman, what should the agent and the hero do hayan says the hero should 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, yes. the agent must destroy the beautiful woman himself, and the audience. actually, gaidai immediately positions himself, how is a director of spectator cinema 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, everything will be cut, but you will have rena, we are a person who fights the system. but if you shoot a genre movie, even if you play some games with themes and come up with something that will be cut out later, so that everything else goes away, it seems that you are not a serious director, that you are, well here is the genre mass cinema while any audience is huge. yes, at the same time, this is the grandmother from yoshkar-ola, who clearly looks at this, clearly understands, there is evidence that films are shown there to the japanese, and gaidai and they understand everything. and this is not a coincidence. it tormented the guide. there is evidence that he earns a lot of money. yes, on these, or rather, he earns films earns a quantity. well, i also earned some money for a while, because the actual success of the guide and its comedy is associated with such an unobvious name as e grigorievich krai and vladimir is the late senior father

of a well-known modern tv presenter and flowers people moved, which was created experimentally creative, where not, where the guide and filmed, and some piles of films and where the city calculation system was built, motivating the director. uh, the more collects yours at the box office. that, in fact. you earn more yourself. your bands will need to be quickly pinned down. it really worked successfully, because people were motivated. and well, again, this financial motivation, which actively manifested itself in the nineties. ah, and when the phenomenon already arose in the late eighties of the population of the nineties cooperative cinema. again, it is, yes. and why are there some non-obvious things, but simple human emotions, the desire to earn the desire to live well, these are the basic concepts with which the guide worked, it’s no coincidence, again. why the twenties are the twenties in the soviet union and a. look, ivan vasilievich, this play was written in the twenties, and the guide itself also refers to some of his

films, just in time for the theme of the nep, which 12 chairs directly occur again. yes, whoever has lotto is also a response to the twenties, when they could make films on these same films , the last two films of deribasovskaya, good weather or bright. ah, and the operation is cooperation again. eh, in fact, such a renaissance of creativity. gaidai is considered that, well, gaidai has a lot of masterpieces of the sixties and seventies. and then how it goes downhill, so that the palm tree. uh, in this era of stagnation , ryazanov, as it were, pulls out who do such philosophical films are no longer very funny honestly, as i would consider the garage, more of a tragedy and a novel heard rather than really funny comedies, but nevertheless, here, as it were, there is a new upsurge, and well, a lot of new formal tricks. that is, if here is the eighties sportloto yes, there are also tricks there, but somehow it

already looks a little strange, as it were, here is the epoch, there is such a feeling that it has gone somewhere. but the nineties is just such an elephant, when well, a new growth, nothing is clear, but it seems that burning again does not fit. here you wondering why the reason for the success or maybe there is a creative failure when with this film, it seems to me that even fit in i suggest watching a small fragment, relevant please, thank you how much i bath passy, ​​it's katz you owe kazza you me you owe me not you personally. i mean the kgb. oh , if it weren't for the kgb once, i would be in this order, if it weren't 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.