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. i want to remind you that this is a podcast from ashten 125, we are discussing sergei eisenstein's film ivan the terrible and i am the history of cinema natalia ryabchikova and with me in the studio my colleague film critic. artyom sopin, artyom what happened next filming uh, about uh, actually began in february 43 and uh, the tension continues on 43 44 and the fact is that at that time the evacuees in alma-ata studios gradually returned, but uh, there was no longer any need to interrupt the shooting in the middle, as it was in the forty-first. and here they have already planned the production in such a way that a director finishes a film in alma-ata and a new one starts already in moscow and zinshtein. today i didn’t finish and didn’t finish, because the long and difficult shootings have actually all returned to moscow from einstein, one of the last remained in almaty in the forty-fourth year.

and uh, since the question arose that one series should be completed before the others, and it is important that in almaty 3 series were filmed in parallel and e, here, after all, uh, completed the shooting of the missing scenes. the first series returned to moscow in the fall of 1944 in moscow, they are editing the first series of grozny and in the winter of 1944 , forty-five , they continue filming the second series . a the second was banned for 12 years, but it is less often mentioned that in the first series there were quite serious censorship bills. e, there, er, just at the end, he creates. this is the most oprichny army. that is, he ceases to trust, no matter who you are , surrounds yourself with this flock. in general, almost such a pack of wolves, and in general. leave these well-trained people around you and it was pretty scary there, judging by the photographs that have been preserved and

published. uh, the terrible scene of the guardsman's oath, when the chief's son speaks oprichnik alexei basmanov, fedor says, i renounce my father from my mother. for the sake of the russian kingdom of the great, and in fact, the composition was built there in such a way that, uh, this son looked at his father, his own father, who led the oprichnina army and said i renounce his father from his mother and then turned to ivan and spoke for the sake of the russian kingdom of the great, but more and more puppy faithfully watched. these are separate frames. static preserved they are published. and uh, actually. it was clear that he was saying what, supposedly for the sake of russian kingdom. although in general. the parents of the motherland do not oppose things, and we, as a rule, but here, but it is important that he looks at ivan and this is for the sake of the russian kingdom. we understand this great one, that he gives a commentary with a glance, that he interprets it differently than it is written in the text.

this was very important for eisenstein , because after that experience with the ban on a film about a village in the thirties, he realized that it was not necessary to put everything in the text what? you need to uh, still do some things related to plastic to a greater extent and through plastic just agreed. well, it seems to me that this is the most interesting part, so far not for me the first series, but removed it, but inserted it into the second , this is the prologue about little ivan yes, and it seems to me that it is very interesting in the second series, lay down like memories and uh, he tried in the second series. in general, you know everything that is possible, everything that is possible. and maybe, yes, according to censorship, but it is interesting, and according to how the plot develops, how we non-linearly talk, but we talk. well, like a detective. and here we'll see there now, flashback, not of course, this is a delay in filming. she , among other things, contributed to the fact that we have

a colored fragment, and ivan the terrible . and actually, of course, this terrible image of this screaming oprichna, who shout burn burn burn, burn. actually, before that, they are urged on by ivan who starts just the first to exclaim burn. they pick up just about the same time everything else - this film was already shot in black and white, and, therefore , in particular, er, after the color sequence should be a black and white episode of the murder of vladimir starinsky one of the main episodes.

strictly speaking, the second series and uh, so there had to be some kind of transition from einstein devised in such a way that vladimir staretsky at the end of the color episode. already about to go to the cathedral, where, as he understands, a murder is prepared for him. and in general, why does he understand this, because he knows that they are going to kill the king there, but the king has dressed him up in royal clothes, and therefore he goes there instead of the king. you understand that you are going to die, you don’t understand right away, because that he is drunk and not very drunk at all, but his sobering up is relevant. they walk about, and when he comes to the door and realizes that now he has to go there into this blackness, then such a huge blue spot floats on him, like such a harbinger of death. we can see this transition to black and white. and by the way, in the original copies of the imprint operator maskin

, at first, unfortunately, we can’t see it now, but what he saw there was painted blue in a single color , so through this blue there was a transition to death. here to this topic murders, but then the episode went on in black and white. uh, the murder of vladimir staretsky, which begins with the fact that vladimir walks for a very long time with a candle of property. at first, everyone wanted to build the scenery in such a way that there would be a very long passage, and he even developed an approximate, uh, composition of this pavilion, in which and and uh, then uh, in general, it was clear that it would take so long to shoot these melodically very difficult, because you need to build this very long one, and the passage on the other side. in general, this would cause again all the same accusations of formalism, that it revels too much in this one. he is death with this anticipation, although, of course, he does not revel, he just immerses

the viewer in such a trance state before he wanted to, at least he left it to do so after all, a rather long passage, then, of course, not so long, but that’s all it ’s also this immersion in darkness, and boris volsky , who was sound-edited on this film , writes in his memoirs that einstein asked him to record music, which is so, soaring, then fading to write it down. and so that it either comes out louder, then comes out quieter in the rhythm of labor pains , this is the instruction that stein gave, because everything comes together with him. this is the way to death. this is the return to the womb of the earth. yes, on the one hand , this is such a psychoanalytical tractor, what is this move, and on the other hand, it is quite such a plot realistic. yes, the old man is back. that's where it came from and that and the lighting. he is shown walking with this a candle, and such a column of light lies on it and it is shown in music and in sound. lord

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of course, what do you think, is he studying you? hope there is no service interesting. in what rank is the trader of the premiere of the serial film nothing can happen between us? well, something is still yesterday in

order. this is the story of how a person is longer and longer longer, staying here on this royal throne. he is getting more and more crazy. and uh, at the same time, of course, we understand that in those years, uh , sizenstein, uh, did a very brave

act of citizenship. uh, thus stalin said in fact, because he understood that stalin was waiting for another, that stalin was very zealous about this plan, and even there is such an apocryphal neopographer there is memoirs of one of the actors that allegedly on the set of einstein, having heard a question from a member of the film crew. what is it, what is it , ivan the tsar to repent? well, thunderstorms, well, what did he, uh, well, kill someone. well, it happens to kings. and what of eisenstein, right in front of the film crew , said to en, well, stalin killed even more people, maybe he will look and also repent will start. ah this as something very like, as apocrypha. this is more like pokrief, yes, although on the other hand. in general, e authority from einstein was indisputable to the film crew and, on the other hand , creative. here is the state of it, of course, well, that is, at least in the memoirs of one of the actors this story is, but there are

also memories of how the film was watched. that everyone who watched understood what he initially wanted to say, but they could not say it out loud, but he spoke. and why does it seem to you that something is not right here, i can redo it, mikhail beimen also recalls. here is the feeling. who is ivan ivan as stalin yes, it prevailed. it seems to me, on the other hand here, if it was watered showing. eh, stalin through the figure of grozny, he would have remained in the forties, but this film, and therefore important, is that there is not a single layer of history here. and artistically here it's such a very uh, such a big cake, uh, and very tasty. for any viewers here uh, no need to read necessarily. these are all some subtexts and eisenstein deliberately creates so many echoes of different cultural trends that, in general, this

film allows us to perceive as some kind of labyrinth through which the viewer walks and finds something , it may be that if einstein is not there left for him, but, by the way, the labyrinth is just what eisenstein wanted to put in there, because for him a detective story is like a form of telling a story, like a form of following a story. she in this moment is especially important. in principle, he loved detective stories from childhood, he talked about it , forced students to read already in the twenties, but it was terrible for him , including such an experience in creating a detective story. no no. i mean, uh, there ivan is investigating the murder of anastasia, she is like that too. makes we have a small fragment, just related to anastasia, you can look at the podzharsky gas for a long time and shoot your head, the king did, the very spine will be unhappy.

it is impossible to root out boyar treason without blood holder. how is a horse from a king without an uzbek? waiter and who is the king against the enemy stands firmly? but the king raises to majesty forgive me and pleases the heart of his warrior. in such a prince and think not with her. i am on the path of great service. faithful servant of moscow, and

actually, as it is said here, that the kingdom cannot stand without a thunderstorm, then how ivan consoles himself, how he justifies himself. uh, the fact that e is a king, he cannot but be terrible, but a similar temptation of power, in general , the profession of a director also gives, and in this sense, a it is significant that eisenstein is not only even uh, thinking about possible prototypes. ivan, taking individual features. he, after all, relied on his acquaintance with meyerhold, who was in many ways such a director , demiurge director, tyrant. in general, uh, and uh, at least they threw it at a wonderful historian, they, before konstantinovich kozlova, have, uh, the hypothesis that this is, in general, to a certain extent, a portrait of emerhold in the role of grozny because there is even a similarity and that portrait of the mercult, which melkol even gave we know that eisenstein used to take us the rings that belonged to the world. the one

that the svirshubs used to whistle the documentary filmmaker was the secretary, and meyerhold and now she still has it. for some reason, these rings on the other hand uh from einstein as a director and he himself understood what this art of power is, he remembers, working, just on the e scene of ivan’s childhood for the script , he remembers how uh hmm he himself was the first once on the set, he yelled at the film crew and about how he was still shooting a car. at some point, he screamed. eh, hmm arranged. uh, scene and thought that now all just the film crew would turn around and leave and say, and someone is such that she screams at us. and after that it turned out that no, it turns out. this works, and it turned out that after he shouted at the group, everyone began to perform absolutely everything, like silk everything , shoves everything into grozny. he also writes in some place that grozny is similar to his father, who made such a selfie maned

himself too. sometimes memories of father terrible on the other hand are here, and ivan is a little bit. most zenstein or eisenstein a little bit ivan a. he also leads, he also collects, and he reads reality in different ways, and in principle , for eisenstein the terrible, this is still a mirror that reflects the rest of the heroes or the hero from the mirror, which reflect ivan . here is some kind of structure where a is all those who surrounds ivan they are actually part of his personality, and anastasia is understandable. this is his good side, yes, kurbsky, who actually plays from michael named. he is generally a reflection of ivan, he is the moon, as einstein wrote to the sun of ivan really. even wanted to armor draw the corresponding images. we have a small fragment, bracketed throne. who is anastasia

and in general, the first series came out on the screen quite safely in january 1945, and a year later received the stalin prize. this is exactly the year when work on the second series was completed. after that, he had a heart attack because he knew that stalin would now look at the second one and something would happen already in the kremlin hospital. he learned that the second series will not be released. u on the screens and uh, hmm stalin, in general, one could say furious, because, and when a year and a half later, yes met from einstein and stalin and cherkasov was at this meeting. well, the members of the bureau fired, and stalin began a conversation with words, and at least they read a little about history, if einstein answered a little, and in general it was clear further that they already began to

prefer to turn to the cherkasy, who kept much more, uh, so correct in relation to stalin, but the fact is that here historically, of course, we understand that in general this is a film, uh, in which some accents are shifted not in order to to break history a from einstein right into historical commentary. to the script partially published writes that lo uh, this episode actually was different, but in order to bring out the character, the character's genuine real character. there is no timing to show each biography of each character, so individual events are displaced here, just in order to reveal the true essence of historical processes. actually, i didn’t write to him about this, then charlie chaplin said because what a infuriated the members of poliveron, they noticed the second series of world artists already on the first series, which was only available to them. yes, there jules duyvier writes a letter to him, and even in the winter, and forty-five it seems,

here, uh, how what a wonderful government that allowed such a wonderful film to be made the second series, fortunately it came down to us, it was saved. and e in the fifty-eighth year it appeared on the screens, the third series, on the contrary, did not reach us. we have a script that has been published and, in general, we can draw up a certain performance. how this idea developed and, nevertheless, what they managed to shoot for the third series in parallel, was filmed. in general, except for tiny pieces. uh, almost all e died after death in the life of einstein at the turn of the forties fifties, and it is very important that this film is really such a complex work. and here, uh, this is u involvement in many processes and this is an invitation to creativity, because here, on the one hand, it seems, yes, we see the history of a certain person. well, first of all, on my own. here it is the story of a man who, under the burden of power, goes crazy. it is almost as emblematic as the story of othello macbeth or

e. boris godunov on the other hand. there are so many artistic touches here that are not necessary. to know about which you can touch when passing through this labyrinth and therefore it is interesting for the next generations to walk through it. actually. we still have many years to go. eh, let's hope people will take on more and more interesting features from this film , students sometimes ask. and here, in in principle, why do we need this, and so long ago, but unfinished, and i usually tell students that eisenstein, uh, invested so much there that we can pull out of it what we need, each of us is already a little creator, we work with media yes, we take pictures. we shoot a video, we paste something there , we add something, and what eisenstein makes color into color. yes, for us, it may be too difficult. maybe we won’t do it in reality, but to know that it ’s possible to know that it’s possible to write like this

music. it seems to me that this is something that is still superimposed on these plots of some kind. on knowledge of those periods that are affected in the film and in the history of its creation, and how much this film is really for those who see, but deeper or want to see deeper. it seems to me that this is really such a little, uh, intellectually educational and at the same time fascinating red, because yes. in general, uh, he is both right and wrong, because just uh, this is the desire to see that every viewer and film has it the same way invites to it. it was podcastenstein 125 in the studio were the history of cinema natalya ryabchikova and cinema.

good evening is a free program podcast. i am maxim tronkov. and today i have a very interesting one. the guest has recently been very popular in russian sports. the theme of the change of sports citizenship, and we are visiting. european champion medalist of the world championships russian figure skater yuko kawaguchi yuka hello i am very glad to see you. we haven't seen each other for so long. although they competed for a long time, it seems to me that your story in the russian the national team, probably, perhaps the most interesting thing, let's start from the very beginning, how it happened that the japanese figure skater began to skate for our country, but it was i who wanted students. we first met in america and then she decided

to return to russia to ride. well, it started like that, but you fell in love with pair skating around the same time that i saw the great care. haha, yes, and that is, you saw being a japanese figure skater in japan da nagano yes in nagano that is, in your homeland, you saw this wonderful couple fell in love with this kind sport is from the ninety-eighth year. you dreamed of becoming a parnitsa, and the best coach is tamara nikolaevna moskvina with such courage. and now i can’t imagine how i will write them a fax then, what you wrote, how you ride, your psyche or the embankment. that is haris. i want iwan, tuskate and khazar now, i.e., uh, your pair that

skated so beautifully. i want to do the same to be your student. can i join your group. and you wrote in english, yes, yes, just like my dad knows a little russian. oh well, do not forgive, yes, you are dad i studied russian at the university, and what did i answer? it was nikolaevna who said, well, at that time in russia there was a very urgent situation, so she was the first. well, she refused, she gently refused, but i want to go and, well then , let's meet in america since they will go, mom, yes, yes. yes, and she invited you to come to the usa where you were preparing, right?

the first year, as one, she coached me very much. i liked the way she monitored. so you were interested, very interesting. well, yes, before that i don’t know how to give a shit about figure skating, and after her classes make no sense to me i liked figure skating, but our mother makes us skate. i just don't hate never dating. why haven't you been so close before? why this leg? she looked where she looked, and so wanted to ride, and after the lesson there is small, well , the strength is also after the lesson, my hands became numb. well, as if everything is both beautiful and completely different from japanese. i won the figure skater and junior grand prix. what kind of

scissors, yes, and then after all i wanted a guy skating for a guy could be a singles career in the japanese team, yes, japanese, but you wanted it so much and you already fully moved to the usa, because if you came, if the single skater is urgent, then i'm at home then. and if you just can, believe me, and you wanted exactly four turns. and in the end you did. i'm in charge of skating plans. that is, you moved to the usa became a couple with alexander from 4 years ago you took second place in the junior world championship with a russian partner for japan usa why

don't you want to skate because you don't wanted to skate for the us i asked you why you don't want to skate for the us and you say it because hiroshima i said. i don't know how many daddy you have. i didn’t want to skate an american school with a russian partner yet. this is not my style. that is, you were looking only for a russian partner. yes, you had a choice. nikolaevna gave you a choice. yes, we have many partners. there is such a one. well, like, i would have the choice to ride, she was a little afraid of her, because