we are polishing the publishing house, we are checking , we are correcting. i really want the rules to be longer, so that there are fewer inaccuracies and more corrections. i posted on social media. yes, yes, from this book, ah, in the hope that someone will wake up and say no, it was not at all like that. i am very grateful to all my social networks under this reader and in a short word brought to this will also be great, too, under thousands of pages of gratitude i will say exactly. what is it. this is a biographical dictionary. there let's say i have a course on the essay, brotherly where am i? well, i'm trying to give a slightly different view of this historical figure than usual. uh essay.

oh yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, and thus, as it were, planted brodsky uh-huh and, of course, about some titanic figures, like tvardovsky’s peugeot man, says the colleagues of the new world i write, they are worthy people dementiev lakshin and vinogradov and and here i am myself who are obliged to very, very many writers of that historical time in a wide range. he began to marry us before the war. well here we are immersed now at the end of our conversation in the era. uh, dominance literature centrism literature centrism, when every letter. opinion every literary gesture resonates sometimes delight yes sometimes unfortunately repression and an act of no freedom, and uh, i think that hmm this paphos serves as a very good end to today's

conversation, because life goes on , the magazine znamya continues to come out. you keep working. we are waiting for new books and i am happy to thank you for today's conversation. eh, all the best. we see you. goodbye sergey ivanovich thank you. you watched the next issue of the literary podcast, which is called let them not talk, let them read, and i, dmitry bak, tell you, as always, with pathos and energy, read with pleasure. 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 am a film historian natalya

ryabchikova and today i am talking with 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. eh, 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 old people anniversaries, a film in the twenties . and gaidai well, unfortunately, but gaidai was not. hmm, he was not properly rewarded in the soviet era, when he actually was. yes, he created his films and now the last 10-15 are happening. that is, 20 such a renaissance rethinking the work of soviet directors guide, ryazanov daneli. whose films everyone knows by heart, but now there is a comprehension of their formal methods of their creative heritage, and from the point of view

of the skill of directing , because, as it were, for very long years, then 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 andrei tarkovsky or other serious directors who they always filmed dramas, melodramas, ah, philosophical parables, well, in general, what they usually like to analyze so much, and film historians and, of course, film critics, for whom this is just the main bread for theorizing based on a complex film language, and films, where there is a very slow flow of time, and gaidai 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, we were more like. to a modern viewer, uh, who loves mainstream cinema, but i need it seems to speed up time and get back in touch very quickly and just talk about where the guide 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 period, which is called the small picture of the forty- ninth year. he entered 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, then became an assistant on the set of the film lian boris barnata 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 vanturiyev pyre 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 we know from the history of russian cinema, from the history of the wild. the same as these people who entered in the mid-fifties. almost all of them shot tarkov konchalovsky, which, well, somehow, unfortunately, he did not enter the international market, as i would be told, but nevertheless, these are all people of the same generation who successfully debuted, in many ways they say that there was the change of epochs was the youth students' festival of the 57th year, when the soviet saints. union arrived huge the number of foreigners who brought chewing gum in their pockets to their experience and at the same time began to get foreign cinema, because yes. yes, yes , the youth festival was discharged, and the moscow film festival went on and on, up to uh, sirloin 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 in the late forties and early fifties, and brodsky later said that to change the regime for uh, change for a 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 you need to look in those films that were shot in the tenth year and in the twentieth not only in the soviet union but also in america in france , films that belong to the genre of physical comedy are absolutely true, because sometimes it seems when you look at films ha. i’m quite serious, for example, yes, what, well, as if suddenly out of nowhere, some very talented director appeared, who began to shoot from scratch, and films that, decades later, were loved by

millions and are still reviewing in what mystery? where will open yes, that is, when you start to analyze the director today, you usually you look at what kind of references are there, yes, what does he like to look at? name ten of your favorite films. in the case of the gay. ah. it was, on the whole, pretty good. yes, yes , some mac but we are a chapling policeman running 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 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 attractiveness early cinema. it's running, it's falling, it's tricks. what is the name of yes buster keaton who is an incredible stuntman, why does he do all this without a doubles without any kind of support, he is

just incredibly athletic and trained. there are things night story about maksan. 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 ross was a backwoods american in childhood, it was interesting for him to see. 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 poke worries are cracks, flying cakes. they migrated to the soviet soviet cinema of the sixties, because gaidai was testing all these sets. these are the techniques we see this aesthetics, there are mouths and blows, and yes, each other. e on the head and so on. all this was later melted into organic into the soviet new type of soviet comedy, one of three. to me i think i would think so, because,

firstly, not myself. gaidai came and said. but i want to do an exclusive comedy or i want to do comedies. all this was not said. so i want to do a lyrical commission, a term, in principle, 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 and it so happened that there were three, like, yes, a sad comedy, a there is eldar ryazanov's comedy, which is, well, a situation comedy, but it seems to me that the most radical of these directions is the direction of the guide, because this is the 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 computer is exactly a guide from barbos unusual cross, how does it work? and here on our material. the work of the whole team is actually visible here, how is it written? yes? scenario team, in fact, after all, well, now when i looked, 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. here it is obvious that everything is invented in advance, that is, here there are some graphical arrows, and the acceleration is jumping up, and here is the breaking birch, which, of course, should also be first made in a proper way here is incredibly thin. 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 music that you can’t pull out, you need to clearly understand in advance and pos. a scientific plan, a-a russian firewood, where does it all begin? why it all ends is very interesting that gaidai worked on this visual component very clearly with his permanent cameraman igor chernykh, and he told a lot about chernykh 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. yes it is otherwise genre experiments. it's a game of working with genre material, but at the beginning of his, uh, career, that's what really shines when he just takes, uh, a whole set of genre-specific stylistic devices. western american film noir and embodies them in the form of separate arbitration films, e business people, where robbers are performed by e. nikulina enters the house, apparently, this gloomy atmosphere and typical cinema of the forties and fifties. stop making faces. get it on instagram. won,

what's on the toilet. i'm sorry you got lucky. we are old friends with rheumatism and also in 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 rattlesnake fat to make you hungry? 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 iovich, gaidai and historians natalya ryabchikov and together with me. my colleague

is the history of cinema, stanislav dinsky. let's continue about noir and why does noir suddenly appear again on the film screen in soviet what is the word noir 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 were no critics, in my opinion, after all, he wandered around with what graphic artists came up with techniques. here actually. ah, when it makes sense to watch this fragment, a characteristic technique the camera shoots a little from below, but the face is very large. uh, the actor's hat. yes nikulin this is typical. well, it's a frame! could be with some kind of double underwear insurance, 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 then came to hollywood and all this, this one, this mixture of everything in the world, in an amazing way, then turns out to be on the soviet screen. well, why are they giving this advice? this experiment is a stylization, because the material and the approach to the solution in general. this, of course, the atmosphere there is absolutely thieves. yes, that is, there are such, but this 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 are absolutely eccentric from which in my opinion, because the whole yeralash in general has grown domestically, because this is a boy that not parents can perform for me, not even criminals who don’t look in their own way, but he’s 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. this is the turn, in principle, of cinema to mass cinema to genre the return of the genre. as such in soviet cinema so that, uh, as many viewers as possible watch this film and they like this film, and there are memoirs of one of the authors, gaidai, one of his screenwriters, who said, then we checked ourselves all the time when we wrote, and here this will be clear to the 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 fall in love with these films, of course it was a coup to create a certain group of actors who constantly with you. here nikulin appears 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 are absolutely recognizable. even the costumes. here they are still standing in the hallway mosfilm, and we know who it is without even knowing there are no faces. yes, these are dummies the same as shurik yes, because the guide is 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 shurik's mask that, in general, at some point, he thought that he was a hostage and now. still, 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 no, who has all the time even when he is

older. yes, he is always so short. what is the meaning of this mask? it seems to me that first remind ourselves what he 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 are 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 man with glasses, and a guide makes a man out of him on the one hand. 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. it also flies us in the twenties, because we laugh at the masks. oh, what a loser, charlie chaplin's hero is a tramp. stupid situation attacks 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 never get old. but if chaplin usually does not get a girl, 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 us head, 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. they use some of his music for and their first, uh, early comedy works did not develop further, a very creative, but a strong union is hookable, which, in general, in my opinion, did not even stop 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 composer songbook, 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. and zatsepin recalls that the guide kept asking him to make the music faster, faster, faster. and well, a musician can't play faster either, and zatsepin knew how to make it so that the rhythm of the drums was laid out so that it sounded 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 we'll be back. actually, for the film, the groom became light, why didn’t it work out, when oh , a wonderful story, it seems to me, because the film was cut, almost by half. he had to first be called differently was a biography. 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 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, and then by whom they came and they said, sorry, but you are doing something wrong. how did it happen? well, the guide is launching 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 in the carnival night also spoils the velvety. and so the guide honestly makes a wonderful actor an artefal with a plate, and georgy vitsin adds wonderful supporting actors there, a story about that like, but a person is going, 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 is the same person who left him too. a room in a completely unnecessary institution called peek-a-boo. uh, something there is a prosecutor's office with a lot of plates. 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, in institutions, one of which is headed by our hero, his deputy does not accepts him back, because according to all the documents, he died and the hero of the whip 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, uh, there, apparently, there was something too much, and too true funny or too much, showing the absurdity of soviet reality, therefore, there are horns and legs left from the film, but on this, i think gaidai learned here on this injury, for example, an interesting story in a. the accumulation there was such a phrase, and which the hero spoke frunzekchan, who plays the uncle, yes, the heroine , and we are talking about the traditional way of getting

the bride, the theft is so retrozed, 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 the history of how the economy of the soviet union was arranged in general what is the shadow economy, and this the main material with which both gaidai and ryazanov work in their films and in the sixties is exactly the best thing in comedy. in a sense in this topic, social justice. why is someone a speculating on the market for 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, here are these soviet entrepreneurs who are trying to somehow bypass the system to hack this topic. in ryazanov

, she is more vividly comprehended in the sense that that he is trying to think about what social justice is, like the zigzag of luck, but here is a film where he is trying to understand, how would it be, is it good, and should winning? yes, from a lottery ticket to belong to everyone a whose money is the ticket bought or only to the one who bought it directly. guess the mouse is extinguished, it sometimes seems to him that all this is not something he is serious about talking about, but in the meantime, all this is also present elements of this very one, but the market economies that are corroded by soviet society. well, just is present, but in the form of a comedy, because when the hero shouts, she speaks in the neighboring district of the groom of the party, they say it is necessary to cut out then this phrase is simply passed on to nikulin's comedy 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. it seems to me that you know

better about it, yes, but it's like the one that called the worst watermelon on the neckline, he had a legal rain in the movie, a scene. uh about 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 just when and apparently many soviet directors and couples 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 built a scene with an atomic explosion as an option. and it's so emotional. and everything excited distracted. for some more. calling things by means of sockeye salmon, they then no longer paid attention. i remind 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. and also, 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 for you, as a spectator, we are never shown the whole thing. 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 latest film by gaidai on the bass tree, good weather on the brother. ah, again this rain, where is our soviet, and such a secret agent receives instructions from his commander from his mentor, and he reminds him. a if a beautiful woman seduces you and wants to destroy you, what should the agent and hero of russia do? she says the hero must destroy the beautiful woman himself, and the mentor

speaks incorrectly, and the hero must 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, gaidaya immediately positions himself as a director of spectator films and this is actually a strange position for a soviet director, because it was believed that, well, there is some kind of graphic community and it's better . but if you shoot a genre movie, even if you play some games in this one. themes and come up with something that they will definitely cut out later , 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, she clearly looks, clearly understands, there is information that there films are shown to the japanese, but gaidai and they understand everything. and this is not a coincidence, it

tormented me when there is evidence that he is earning a lot of money. yes, on these, or rather, he earns films, he earns quantity, too, well, he also earned money at some point, because in fact the success of the guide and his comedy is associated with such an unobvious name as e grigorievich paradise and vladimir pozner, the elder dad of the famous modern tv presenter, after all people with the efforts that was created experimentally creative, where not, where the guide i filmed, and some piles of films and where the system was built, like the city of the account, motivating the director. uh, the more collects yours at the box office. that, in fact. you earn more yourself. your group was successful, it really worked, because people were motivated. well, again , this motivation is financial, which actively manifested itself in the nineties. ah, and when the phenomenon of the late eighties and nineties cooperative cinema already arose. again, it is, yes. why are there some

non-obvious things, but simple emotions , human desires to earn the desire to live well - these are telepathic concepts with which the guide worked, because again, it is no coincidence. why is the twenties the twenties in the soviet union this is the nep and , look, ivan vasilyevich is a play written in the twenties, and the guide itself also refers to films for some time, just to the topic of the nep , which directly occurs 12 chairs again. yes, like him, how he loves the plateau. this is also a response to the twenties, when they could make films on this same and here are the films of the last two films of deribasovskaya good weather or at brighton hd ah, and the cooperation operation is again. eh, in fact, such a renaissance in the work of the guide. i think that, well, gaidai here are a lot of their masterpieces of the sixties and seventies. and then how it goes downhill, so that the palm tree. uh, in this era of stagnation, it’s like ryazanov who makes such philosophical films is no longer very funny

, honest, as i would consider the garage, more like a tragedy and a heard novel than really funny comedies, but nonetheless less here, like this, but a new upsurge, and well, a lot of new formal tricks. that is, if in the eighties of sportloto yes, there are also tricks there, but somehow it already looks a little strange, as it were, here is the epoch, it feels like you left, 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 think why the reason for success, or maybe there creative failure. yes, with this film, it seems to me that even fits, i suggest watching a small piece corresponding to the coffee, please. please. thank you so much i bath this katz you owe 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 the measure of audience success. i think this is especially true in comedies. uh, how many phrases will go to the people one of my favorite katz 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. true, because of this film is different. i love 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 against leaving, and then chasing to the exit and at that moment all

the visual gets up and goes to the exit. and even one of the dancers leaves, and the ballerina goes out. that is, this gaidaya actually really, but he beat them, not so much political humor. how many just loved to joke about some? their realities, which, well, which have set everyone on edge. yes, and so 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 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 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 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 much often, that is , a phenomenon, love, guide. this is a phenomenon of repetitions of the last decades, after all, the soviet average was usually built before the year shows some kind of premiere, how would it be a really exemplary film, now, after all, the strategy shows what people really love know, they will definitely look, that they support a certain rating, and people really watch and know, but i would like to break this trend and advise viewers to see that movie which a is perhaps the most unknown of the films. gaidai, here, the same groom became sveta who, but is available to us in half of his full form. but, in my opinion, there you can see where the legs grow from. there you can see everything 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 you to recommend, listen, probably, the diamond arm. why? well, because on the one hand there is no shurik and the economy is violated a little when java is here, and on the other hand it is formally, perhaps the richest saturated film. c because there are also references to italian jalol. yes and uh. ah here is these here frames nightmares. ah, look at the hunchback performed by nikulin, this, of course , was absolutely somewhere close to the genre of italian cinema and uh , well, the songs of the song of course well, as it were, the songs are not the main thing, but in general the way the film is made from a formal point of view . actually , it is precisely the interest, when and in our time, and due to the fact, in my opinion, that, and makins, we begin to understand, how difficult, but was arranged for his cinema. how carefully his team prepared. and in general, no matter how the movie with her

as 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 that you need to improvise the built improvisation, of course, improvisation is always present in the acting of actors, some ideas and things arise in the process of shooting , but still complex improvisation tricks are not build 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 of the gaidai, although ivan vasilyevich may be closer in spirit to me, but if the electro skill is, probably, the diamond hand. 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 and 100th movie history natalya ryavchikkova and my colleague. history of cinema stanislavsky hi viewing.

a free program podcast with you tonight. i am maxim tarankov, and we have absolutely unique guests . elena anatolyevna tchaikovskaya, deeply respected by me and i am sure by all of you, good evening. good evening, it’s true to see you, as the head coach of the russian figure skating team, are you satisfied with the state of affairs in russian figure skating? do you know that i am the head coach of the national team for the third time in the entire history of my coaching work? i have now accepted a very strong team. there were times when it was worse. now i have in my hands a very strong very interesting team in terms of composition. and i, uh, i hope that how would they continue to go and show. what is our

russian figure skating. and what is the strength of our national team strength in ingenuity strength in ideas? the strength is in the discoveries, because there were many elements that were very suitable for the programs. created here russia has always been distinguished by amazing ingenuity of ideas, musicality and excellent production. this is our strength, it remains and what is the work of the main coach of the russian national figure skating team, because after all we are an individual sport, we each have our own personal coach, coaching staff, and so on, but the head coach. we do not have a hockey team that is assembled for the world championship and a head coach is appointed. our head coach looks after all the athletes who are currently a member of the national team. and my task is hmm to help see, and somewhere

to suggest if people want to hear it, and somewhere to slightly change direction to say that if you did this. that, probably, it would be more weighty and more advantageous, then after all my task is to create. most importantly, i say that in training , the coach is obliged to create this atmosphere in which we always want to come to a difficult sport. and when everyone says, how beautiful you are a cat, and these are easily in light dresses with flowers, then no. we have a very hard job, and so that this hard work does not turn into such a terrible job, when you don’t want to go there, the task of all coaches, and especially me, is to create an atmosphere, and interest in discovering new elements. they got it. yes, i succeeded and when

it happens to an athlete. he wants to move forward. and this is the creation of a common interest. and most importantly , athletes should trust me, they should trust their coaches that we will never betray them. that we will never do something that would harm them, they should know that we are for them, that these are our children, that this is our creativity, that they are with us, and we are with them, this is the head coach . well you said you look after everyone athletes, and for coaches. well, i mean coaches. of course with the coaches. i talk to a lot of people. i myself drive up to the training and watch. and whoever needs to be consulted, who doesn’t need it, for god’s sake is very good and everything is going well. fine. i rejoice in you most of all in general, the task is to create the conditions

and the federation is mine for our sport. it thundered the way it thundered, the situation is always difficult now, we do not enter the international arena well, what did we have during this period the magnificent russian grand prix now we are waiting for the junior grand prix, then grand prix for adults. that is, we are on the program. everything is the same as we had in those years when we were admitted to the competition, in general, the task of the federation is to preserve the national team in the amazing form in which it was . we must understand this very clearly and try to do it. we are ahead of the rest in pair skating and women's singles, but men and dance. to put it mildly, we are a little behind. we don’t agree at all, it’s all

there, we are beautiful. we had dances; now we are on a generation; now we are. yes, we are a little bit, but i don’t i want to say we lost now, uh, you know, like a whole step. those are gone, and now we will have to go up and eat a few pairs. again, you need to come up with their face to reveal their individuality to find some kind of new image. if you want, in general, our entire dance art was famous for the fact that we set the tone in the development of world dances. now the french have pushed us back for a while. from their league with their e some new plastic hmm like the french, there were still the americans of the team. this is still the same pleiades, so now we need to return it again our dominance, and you can return it by giving new incentives a new direction. this is what

needs to be done. this is the head coach too. and we have reserves coaches. maybe the coaches should catch up with the notion of a dacha, that you don’t just train either forward or backward, but there are interesting athletes, so i can’t say anything, but not now. couples that would lead the world of dance art, so the corridor is open, go ahead. that's it, let's go back to the men's singles, because 20 years have passed, and we are all talking about the confrontation between gude and plushenko of the athlete and what we are talking about the world cup. here he should be the world champion, he needs to be seen, he needs to be discovered.

if mishin revealed plushenko from a little boy. the same thing happened to tarasovo. nobody expected yagudin to succeed. this is what tanya understood his essence. and on this i created this bomb and worked only for him, but his individuality. there should be a coach who will find an athlete for himself. not just let's work there for 3 hours. here there 3 o'clock in the evening and we will disperse. yes, no, the coach must show the best qualities of the athletes, show the best to show his personality, so i and at the same time cover up a little, because each athlete has some who have more who have fewer flaws, so here is our task - close it with something, and leave

only this symbol. the championship of everything else and i see them very well, i follow them very well, i won’t call them, because someone will offend a good one again. you have already said that for the sport of high achievements, we are doing quite a lot even in this difficult time, and many athletes come for children's sports. here thanks. projects that started there 10-12 years ago and the ice age and many others. it's just that the shaft fell on the children who sign up for figure skating. what is the difficulty? now it used to be considered the most expensive species. this is tennis. yeah, and now suddenly we got to the same line, it is believed that figure skating is someone i know here. i

'm saying that you won't give up bringing me, right? no, it's very expensive. i went straight to the heart of neighing, lord, because a lot additional have to be taken under the rollers. this is all very well managed to do. no , i, too, have approximately the same opinion that tackles are good earnings for the vision to be in time, at the time allotted. give everything that you have to get with a guy to still interest him. i am to all young coaches. now i’m saying, please don’t discourage children from skating. do not yell, put up no obstacles, on the contrary, support him. whip it up, that's it. oh, it turned out. oh, it's gone, that it got to the music, in general, everything is interesting then. but it's not gingerbread. this is himself

feels like a gingerbread, not what i tell him yes , i am myself i have a task to make him feel like a person to whom something has happened then it will be a gingerbread. no, it doesn't work when he's on his own. that's a friend, and that's it. even the eyes are different. i look, my eyes are burning. in general, i'm looking for athletes whose eyes are on fire. and you are now following the european championship , for example, which has qualified for the world championship. and how can i not follow, but then i have a question for you then let's just say the level, well, without us , figure skating did not collapse very much. pairs in pair skating, well, what are these pairs

? lord, house, my god, what is it, so i looked, i couldn’t watch all the women. i have such 12- year-old children at the rink, they skate much better. yes, so i do not know what he thinks of himself, i su international soviet skaters. so i wanted to say, who benefits from it and it benefits me, for sure, they lost all the money. i just received a call from japan, they had the japanese championship and if they collect somewhere up to 14-15 thousand always. well, the truth was hani, this is it, now they are collected six. and sponsors began to turn their heads to say that this is actually not for that. they sponsored all this here, so i think that soon they will grab their heads and realize that without us it's not the same, and then i was interested in the audience.

god forbid it was maxim, well, you yourself understand, if it’s not interesting to watch who will go who will buy tickets, because there was always a struggle and people saw it and they understood that it was going on all very serious facets, that everything is very high, that these sports are of the highest achievements. yes nobody does not allow himself. that's how to ride in europe now, there's somewhere the fourth fifth number. well, god well, it's even indecent, but after all, the european championships here in recent years. here, uh, it was a fight of three russian single skaters of three russian couples. in europe, it's probably not very interesting to watch how the russians hold the next russian championship. let them pull themselves up. who is to blame for not being able to do this. why? i say that we always asked tom in all forms, because we were reaching for ourselves, but america held on with japan held on, someone else jumped out. i understand that the easiest way is to push us back in all forms, so as not to get in the way. well, let's move further, for those who are interested.

our return to the world arenas is being actively discussed now. and what conditions do you consider? acceptable none i consider unacceptable no doubts raised questions did not set boundaries for me. you will only come out when you are there something. sign something else without a flag without anything. what it is. what is it? why? who has the right to tell us what to do? well i agree like if we go under the olympic anthem and the flag it's good for our athletes to come out, because i have crazy pain for those who will not make it for another four years. thank you very much, honestly, a great honor. i was really worried, to be honest, before this interview, because i didn’t know how to go talk to you at all, but it turned out very cool. thank you very kindness. i have emphasized a lot of you worth a lot. thanks i was afraid. don't be afraid,

i've found a job, i'll definitely support you. thank you i am very glad thank you success. gentlemen