some idea or a lot of ideas is a conglomerate of ideas, why does it oppress them, for example, right? why does he work with light like that? why did he refuse to fully use his usual cameraman eduard tessei and called andrei moskvin to these distortions. eh, of course, cherkasov suffered the most from them, and his memories of his e are rather critical. uh, he describes this experience and at the same time, he regretted that he told reporters like that, uh, dictated it, because for him it was also emotionally the most important, after all, as he later towards the end he is aware of life, and experience here, after all, he had to play a huge number of ages. i mean, he starts. he is, uh, a sixteen-year-old youth in the episode of the wedding to the kingdom and on the other hand. he, uh, should have actually become an old man by the end of uh, the film, uh, was not, as you know, completed the third series, we didn’t talk to her there, but even at the end of the second series, on which we now say goodbye to another. he is already at a very

old age, e.g. in childhood. he was played by another actor there. eh, boy, but from the wedding to the murder of the old man, we are looking at cherkasov the most complicated make-up. in general, which was done for several hours. let's see what it looks like. the upper reaches of our rivers the wolves of the volkhov dvina under our power and their access to the sea? in the hands of others, and now, of course, this is a very practical mask, yes, and a mask that gradually appears on ivan's face because here, in general. this is such a film, in many respects, about the self-destruction of the personality gradually ivan from a generally

normal person. how will we see in the scene of the wedding to the kingdoms, how he turns into in this dried mummy , absolutely remember that this is a podcast eisenstein 125, and we are discussing the film sergei eisenstein ivan the terrible, i will throw the story natalya ryabchikova and with me in the studio my colleague kinoet, artyom, what happened next film shooting. actually, they began in february 43 and the tension continues on 43 44, and the fact is that at that time the studios evacuated to alma-ata gradually returned, but it was no longer necessary to interrupt the shooting in the middle, as it was in the forty -first, and here it was already being produced . planned in such a way that the director of any eisenstein finishes the film in alma-ata and starts a new one in moscow. today i didn’t finish and didn’t finish, because the long and difficult shootings had already actually all returned to moscow from einstein, he was already one of the last to stay in alma-ata in the forty-fourth year

, because the question arose that one series was needed finish before others. and it’s important that in almaty 3 episodes were filmed in parallel and, uh, here, after all, uh, they completed filming, the missing prices of the first series returned to moscow in the fall of forty, on the 4th in moscow they mount the first series grozny and in the winter of 44 45 continue filming the second series. while the first one is being prepared for release, and it must be said that everyone knows, probably, that the first series received the stalin prize, and the second was banned for 12 years, but it is less often mentioned that there were enough censorship notes in the first series serious. eh, there, eh, right at the end he creates. this is the most oprichny army. that is, he gives you trust, no matter who you are, surrounds yourself with this flock. in general, almost such a pack of wolves, and in general. he puts these well-trained people around him and there was quite a terrible one, judging by the photographs that have been preserved and

published. uh, the terrible scene of the guardsman's oath, when the son of the chief guardsman alexei basmanov speaks, fedor and 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 this son looked at his father, his own father, who headed the oprichnina army and said three i repent from my father from my mother and beyond turned to ivan and spoke for the sake of the russian kingdom. the great but more and more bluish looked faithfully. these are separate frames. static preserved they are published. and uh, actually. it was clear that what he was saying was supposedly for the sake of the russian kingdom. although in general, the motherland. or we don’t oppose things, and we usually, but here, but it’s important that he looks at ivan and this is for the sake of the russian kingdom of the great - it’s just we understand that he gives a comment with a glance, that he

interprets it differently, than what is written in the text. this it was very important for eisenstein because after that experience with the ban on the film about the village in the thirties, he realized that it was not necessary to put everything into the text, what needed, uh, still do some things related to plastic to a greater extent and through plastic just agreed. well, he, here, it seems to me, is the most interesting part, so far not for me the first series, but removed it, but got up. in the second, this is the prologue about little ivan. yes, and it seems to me that she lay down in the second series very interesting, like memories and e. he tried in the second series, in general, to insert everything that is possible everything that can be, yes? about censorship, but it is interesting and, as it were, the development of the plot, how we non-linearly talk, but we talk. well, like a detective. but we'll see there now, a flashback, and 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 actually, of course, this terrible image of this screaming oprichna, who shout burn burn burn, burn. actually, before that, they are being urged on by ivan who begins just the first exclaims burn. they pick up just at the same time the rest of this film was already filmed in black and white and therefore in particular, uh, after the color episode there should be a black and white episode of the murder of vladimir staretsky 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 that he knows that they are going to kill the king there, but the king dressed him in royal clothes, and therefore he goes there instead of the king. you understand that he does not go to his death right away, because he is drunk and not very much at all, but sobering up. they come in and when he comes to the door and understands that he now 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 original copies from the printing operator by moscow, at first,

unfortunately, now we cannot see it. but what he saw there was painted blue in a single color, so through this blue there was a transition to death. so to this topic, e murders, but then it was already in black and white. the episode of the murder of vladimir staritsky, which begins with the fact that vladimir walks for a very long time with a candle. actually, at first i wanted to build the scenery in such a way that there would be a very long passage and he even developed approximately, but the composition of this pavilion, in which there are dashes and then, but in general it was it is clear that it is very difficult to remove these melodically for so long, because you need to build this very long, and the passage on the other side. this , in general, would again cause 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 audience in some

such trance state before he wanted to, at least he left a rather long passage to do so, then, of course, not so long, but that’s all equals this is this immersion into darkness, and boris volsky, who was the sound engineer on this film , writes in his memoirs that eisenstein was asked to record the music, which is like this, soaring, then fading to record it. 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 psychological tractor, what is this move, and on the other hand, it’s quite such a plot realistic. yes, the old man is back. this is where it came from and the lighting shows how he walks with this candle, and such a column of light falls on him and it is shown in music and in sound

not everyone can boast that his girlfriend is an illegal intelligence agent. i haven't seen him, he's 8 years old, she works in italy. you know my girlfriend is married, but it's on assignment. who is this woman? she is my daughter almost like a daughter.

the same russian colonel who ruined everything for me in strength. i need only one accurate shot from you, we know from what distance he will shoot left to understand when and in whom one hope is only for amethyst. i don't see any other options. you have a wonderful wife. she is your real treasure, and treasures can always be stolen by someone, where have you been, it means that only one traitor in our family. do you understand what that means? the main thing you need to know. it is that i cannot be deceived. she became in time to deal with the rats, the mission. amethyst july 17 at first if you continue. this is the story of how a person is longer longer longer, abiding 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, zinshtein. uh did, a very brave civic act. e, thus, he actually said to stalin, because he understood that stalin was waiting for another, that stalin was very zealous about this plan, and there is even such an apocryphal neopographer. . what's this what's this uh repent ivan tsar? 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 begin to repent. ah this as something very like, as apocrypha. this is more like pokrief, yes, although on the other hand. in general, eisenstein's authority was indisputable

to the film crew, and, on the other hand, it's 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 is also memories of how they watched the film, and in my opinion, this is yezovskiy writing, a wonderful theater critic that everyone who watched understood what eisenstein wanted to say, but they couldn’t say it out loud, but he spoke. and why does it seem to you that something is not right here, i can redo it, and mikhail beymen also recalls roma. here is the feeling. who is ivan ivan as stalin yes, it prevailed. it seems to me that on the other hand here, if it was a conflict showing, uh, stalin through the figure of grozny, then he would have remained in forties, but this film, and therefore important, is that there are not single-layer stories here. and artistically here it's such a very uh, such a big cake, uh, and very tasty for any viewers, here uh, you don't have to

read it. these are all some texts and from einstein 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 , maybe that einstein was not there left for him, but, by the way, the labyrinth is just what einstein wanted to put into it, because for him a detective story is like a form of telling a story, like a form of following a story. she is especially important at this moment. 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. in the sense that, uh, ivan is investigating the murder of anastasia, she, of course, also does that. we have a small fragment, just related to anastasia maybe look at the head shoot the king

crush the most spine will be unhappy. it is not possible to root out boyar treason by the root of a kingdom without blood, a holder, like a horse from a king without an uzbek. and the kingdom of fearlessness against the enemy stands strong.

i stand faithful servant 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 similar to the arts of power, in general, the profession of a director also gives, and in this sense, and it is significant that eisenstein, after all, not only even , thinking about the possible prototypes of ivan, but certain features, he also relied on his acquaintance with meyerhold, who was in many ways such a director, a demiurge director , a tyrant. in general, uh, and uh, at least they threw it at a wonderful historian, they have, before konstantinovich kozlova, uh, the hypothesis that this is, in general, to a certain extent, a portrait of emirhold in the role of grozny because there is even a similarity of the photo samples of the base and

that portrait of the mercult, which she presented we even know that from einstein the shooting took rings that belonged to meyer. the documentary filmmaker was a secretary, and for some reason meyerhold and now she still had these rings on the other side of eisenstein as a director and he himself understood what this art of power was, he remembers, while working on ivan’s childhood scene for the script , he recalls how uh hmm he yelled at the crew for the first time on set and how uh was filming the strike. at some point, he screamed. uh, hmm made a, uh, scene and thought it was simple now the film crew will turn around and leave and say, and someone will yell at us, and after that it turned out that no, it turns out. this works, and it turned out that after she 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 zanshtein or eisenstein is a little ivan a. he also manages, 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 that reflect ivan . here is some kind of structure where a all those who surround ivan are actually part of him personality, and anastasia is understandable. this is his good side, yes, kurbsky, who actually plays from mikhail named. he is generally a reflection of ivan, he is the moon, as einstein wrote to the sun of ivan indeed. i even wanted to draw the corresponding images on the armor. we have a small snippet

descent. who is anastasia and in general, the first series came out on the screen quite safely in january forty-fifth , 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. e on the screens and uh, hmm stalin, in general, one could say furious, because, and when a year and a half later, yes, einstein and stalin met and cherkasov was at this meeting. well, the members of the bureau fired, and stalin began the conversation with words,

but at least they read a little about history, to which einstein replied, he read a little. and in general, it was further clear that stalin already prefers to turn to cherkassy , ​​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 break history a from einstein right in the 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 the fact that a infuriated the members of the polyveron, the world’s artists of the second series, they noticed already on

the first series that was only available to them. yes, there julien writes him a letter, 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 form a certain idea. how this idea developed and, nevertheless, what they managed to shoot for the third series in parallel, filmed. in general, except for tiny pieces. uh, almost all e died after death in einstein's life at the turn of 40-50. 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. this 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 features here that are not necessary. nagy that can be touched upon while passing through this labyrinth, and therefore it is interesting for the next generations to walk through it. in fact, many more years to come. eh, let's hope people will take on more and more interesting features from this film, students sometimes ask. but, in principle, why do we need this, and so long ago, but unfinished, and i usually tell students that eisenstein, i've invested so much in it that we can get what we need out of it, but we are each a little bit of a creator, we don't work with media. yes, we take photographs. we're filming a video, we're gluing something on there , we're adding something, and what eisenstein makes

the color there, yes, for us, this may be too difficult. maybe we won’t do it in reality, but to know that this is how you can know that you can record music like this. it seems to me that this is something that is still superimposed on these plots of some kind. thickness of knowledge about those periods that are touched upon in the film and in the history of its creation, and how it really is a film for those who see rather 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 discovery, because yes. in general, uh, he is both right and wrong, because just uh, this is the desire to see that every viewer has it the same way and the film invites to this. it was podkastenstein 125 in the studio were film historians natalya ryabchikova and the cinema is artyom

full carriages of golden parkons from the south i blow to the young, because tearing into the fist, the clouds have not forgotten to send from afar from home, mother and not the last one. you see, someone's footprints, it could be, it could be you, it could be, it could be,

it could be ours waiting for us. gosh walks with his feet.

forces with full laws of golden weather group your youngsters and vera hello this is a podcast 20 years later, its host konstantin mikhailov

part-time son ivan so let's talk about the period of the two thousandth, what happened in your life at that time , the song just shot, as i understand it, a hit, well, i'll slightly correct the historical start of our story and the sib project, which is recoded with a group of religions that are in the past century of the thousand 1997 . well, i ended up on the same road. e. and quite by accident i got it. it can be said, under the best theology. that's what i would call it. i still have for me this is a kind of mystery and the secret that i share. well, not i know how someone believes, maybe someone says dreamer where myan and so on, at that time i was exactly told to fantasize, cuckoo. moved it out. well, that's the kind of appeal that was in, uh hmm, an urban settlement, like talovaya , voronezh region, and at that time i had it. well,

in general, a completely different fate. well, i was driving, so to speak, that i was engaged in tin work and, as a gas-electric welder , i was engaged in making cars, well, in the end , they came with some kind of e outfit to me and so on. in general, come on, do the documents, or close, and so on, as i was born in moldova, the city of novaya now, and therefore i understand the soviet passport. in my case, in general, in such confusion, i go step by step. i hear the sound around me every instrument. i got some flashbacks . i go and lines of songs. to some extent, i didn’t even understand what was happening to me, in general i’m walking this text and that’s it, and i see in advance a big street scene of some kind, as if some kind of festival or something,

it was magic. yes, yes, i'm going, i'm starting to write this, well, the song is my soul, it is so called. my first song is again the sky, my soul ascension to heaven forever tired of watching this funny game, that the devils are laughing at us smelly, and to where the calloused hands of the rat jeanne grabs the victim. where are the people on this earth. they do not understand, well, it happened, i wrote. hmm, after a day or two, i started asking some friends of my acquaintances. are there any musicians in this town, well, the village, and eduard razaev found work there at the market. he worked there and in a local club and so on. and at the moment today with whom we played andrei prosvetov with guitarists. he has been with me from the very beginning. and so the three of us got together and played along. i came to play. i would like some arrangement with my mouth. i even started playing what i

heard under the key. what are needed. well, with the tongue of the mouth, some sounds, how the wife reacted. she's like, like doing bullshit, and everyone, and marital relatives and so on, everyone said that something with vanya, something was going on with his head. yes, something with my head, i somehow else i say we'll go soon, we'll record a demo, and i'll go to moscow, i spoke confidently. well, how there is so there is and of course, well, not because of the week it was all here, i wanted the second year. the third year is already underway. and of course, many are already there. well, what sings does not sing there? well, what is there, moscow well, in such a soon-soon uh-huh, and the son, when he joined you, when who decided that he was worth it well, he himself, well, he decided in this passport was taken away, well, the first performance was exactly how

i was on stage when i was 13 years. this is the museum club of viktor tsoi, there was a concert of his father. and i also went out very worried about the initiative, if you are being held hostage anywhere twice. the initiative was common so to speak. i was very shy, worried, of course, to go out, father, says, come out. i also had a song dedicated to viktor tsoi. so i came out very much, of course i was worried and thanks to the people who supported me so well, 7b who are you or a fan of the kino group is still a religion. i'm a very big fan, i don't like the word just a fan. here. well, naturally. i grew up on the songs of my father was from the first to the first rehearsals. of course, on me. it had a very big impact. say he tolerated a lullaby as a child. what a calm night understandable lullabies? cinema

is understandable, and what kind of musical taste do you have, except for cinema? well, i love music very different and without words some , for example, trip-hop, such a genre, you can think about something and even come up with something to sing on the recorder, for example, listen a. if you suddenly, here, uh, would organize some kind of site project of your own to make it drip-hop, it would still be like tricks, this is rock music. i have it my project this year, mine came out yes, it came out this year, my second solo album is called high listen voltage cool very powerful. and what does mom say, mom also listens, she likes it and her daughters like it and my daughters have flowers. yes? that's right, she sings. yes , she sings yes, she loves to sing very much and songs

of the war years smuglyanka katyusha performs. she likes it very much. how old is seven years, and listen to weaving, you won’t say? and how old are you? now it will be 33. yes, i am at that age. we can say that this is 33. that's when i started. well it started. yeah, it was with the young winds, when i arrived in moscow again, you came back to moscow again. here, starting from the construction site worked at the construction site and then, well, after all, i found these somewhere. well , moves, well, get settled here at the service station service station. and how the master of his career got to well, very cool e hundred , where i was already extremely, i got a book, they drove everything there on wheelbarrows, and there i already had the last cars of my business, like a mustang and so on , they addressed me. well, i could sculpt, cook , i decided that i should

rename it to 7b and we had a moment at the studio. i should have already come, i'm sitting at the studio in the room. you can say relax. rest in the room specially here is the door where it all happens, and there our andrey belov, aka pushkin, was supposed to finish. we each have a call sign, and he writes down the trimolator and the trimolator in a single click coincide with this chip on the guitar. they say that something from the computer is already running in time. i was already sitting ready for vocals. well,

all the pores are already out. how much is this some bullshit? i already think it is. well, here, well, i don’t fly into these, so it is here. i open doors. well, what about me and the guys, yes, no more. what kind of 7b is it? well, what a lunatic here. well, this is a slime, as it were, well, what kind of 7b and they told me when i arrived they were recording, well, something religion is too global a name. something you are vanek, well , we agreed in those days. i each of us went home to sleep, and each of us had a task. who will bring what? well, someone suggested something, and i say, i am a religion, because i perceived it as some kind of divine gift 7b ivan, this is how this diagnosis turns out. yes, it's easy. listen.