the wow of our cinema, maybe not always fully conscious, but completely natural, because uh hmm let's face it , our uh people knew much more about the war than all other peoples more or less. eh, in proportion to us, about military affairs. uh, only three nationalities, germans, japanese and yugoslavs, had representations. but the germans and the japanese, as the losing side, could not afford to speak out. at least somehow about the heroism of their armies. they should have blamed the whole planet and shows how uh hmm their guilt is not redeemed and no so ours turned out to be the only one of any photographs that uh fully and adequately speaks about the war hard times, and in a decade of uh hmm military cinematography. we've filmed 22-23 truly, outstanding classic

war films. uh, i will name most of them during the podcast, and it may seem to many that 23 is not too big a number, but for comparison i will say that there are about five decent polish films about the war , five german ones are also five, and americans they didn’t make a single decent film about world war ii, and more or less the first 20 minutes of saving private ryan showed what the normandy landing was like. however, spielberg was simply afraid that all sorts of pregnant spectators would start from the same plant right in the hall and each plan cut off by 2-3 seconds. e from all the most shocking, so i ruined my own picture, even about it impossible to talk seriously in some old years, uh, i uh put together a rather funny periodization

of military cinema, which in my opinion fully corresponds to e, periods of the direction of styles, e, culture of art, e, c. e, ancient centuries, and the first part is the military cinema of the times of the war and immediately after it, it most corresponds to e, fundamental classicism of the 17-18 centuries , good and evil are very clearly outlined from the first frames, good, majestic, courageous heroic e, and the last degree of extremeness, which as far as evil is concerned, the bearers of evil are always stunted, short-sighted, legs short-sighted and sometimes one-eyed, always wearing german helmets with horns. e. looks extremely unpresentable in in these paintings, from the very beginning, by last name, as it should be in classicism, it was clear who was the positive hero, who was the negative of the positive divisional commander was called ognev

, the negative commander was called glotov . , obligatory in the films of the feathers before classicism was that the hero never dies, if they are the bearers of absolute goodness and absolute truth, then in any case they must stay alive, they can only be hurt. ah, so thus, the picture, bandaging his head with bandages, uh, or hanging his hand on the uh screw garter , and the hero always made some kind of pathetic speech right into the frame in the finale, and nikolay kryuchkov said so to the immortal garrison and mar. i have two fighters and vladimir druzhnikov in konstantin zaslonov and ivan pereverze in the film ivan nikulin is a russian sailor something, like. e, who will come to us with a ball, that will die from the sword, and then

the russian land stood and will stand the words of alexander nevsky folk music, and all these films, of course, looked quite tedious there were rare cases when especially gifted screenwriters. uh, they knew how to saturate completely stilted events. uh, links to great dialogue. in particular. that's what happened with the movie. uh, according to the scenario of evgeny gabrilovich two fighters. and the phrase i am sasha sura almasha. uh, remember, on the tram , i handed out 3 kopecks for a ticket and treated them to timochki in the park forever in the memory of the people and in the history of russian cinema with other films it was worse, and the people of russia developed slowly. of this total hat became a slander, and national cinema, together with world cinema, at the end of the fifties moved to the stage, uh, some kind of graphic military

romanticism . the fact that a boy and a girl, holding hands, runs along the promenade and kisses with a view of the sunset classic romanticism. e implies the constant disappointment of the current reality.