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today we will talk about gleb pamfilov's film the beginning, which was released in the seventieth year. but despite the fact that it is known, maybe not everyone knows how it was made. in what context? under what conditions and what could happen after him in the fate of panfilov churikova and in general, soviet cinema and panfilov itself is our hero, as a director and as a screenwriter, a person who , of course, launches this story, but it starts, it is on his first feature film of the sixty-seventh year, which

is called firebrod. no, it already plays the main role on churiks. but panfilov comes to this film not a very young man and his story. story. panfilova is also important for how the film turned out, because he started working as an engineer at a factory. at all not in moscow, and became interested in cinema , as such amateur performances, yes, he began working on television, he entered the correspondence department at vgik at the camera department. and only then he arrived and graduated from the higher courses of screenwriters and directors in moscow and was the first. actually his feature film was a film for him personally. far from the first of course, this story was also read by him in the magazine of the thirty -ninth year, and the red leg magazine, it seems that the story was a story about a civil war about a nurse on a train, who is also artist and who was the author of this plot of the thirty-ninth year evgeny grigorievich

here. and who is evgeny gavrilovich is the legendary soviet screenwriter. well, actually the story with which they began to work. it was a story about a civil war. and this topic came up very often, but in the work of gabrilovichi. in general, as if there was a rather important point. the civil war is the beginning of the new world , the beginning of the new world, yes, that is, the moment when some soviet truth was laid, i would say, from which in the future, all the young people who tried to live and preach some principles in their lives, that is , panfilov for this story, which was written by the screenwriter of the previous generation, were repelled in the future. we needed a new actress and somewhere in some television program. it seems that he saw an inn and, uh, perhaps their acquaintance looked like it looked in the film the beginning of the acquaintance of the director and actress. i suggest now to look at this piece. yes, let's get to know each other. hello, you are

pasha, and who are you? and i'm a director, let's meet. do you want to act in films? no, not a woman. i want what? but who is she? the frenchwoman, of course, read that that's good. by this time, inna churikova had already starred in a fairly significant number of films, but mostly her roles are small, for example, in i walk around moscow how to draw a horse? how to draw a horse? yes, yes, she was one of those heroines of the creative competition, in which uhm , nikita mikhalkov's character, who painted a horse, participated in a race. there were two teams, one of which featured the heroine churikova a. it seems that you can’t turn it if you don’t specifically

look, but at the same time it is still noticeable there. you can't miss it right away. yes, well, probably for more viewers. she was remembered in the film morozko's a lady, the girl says very well. oh, by the way, in the sixty-sixth year. she starred in the role of such. here is a minor girlfriend of the main character in the film's older sister. why is it important? why is this interesting, because our main character leonid kuravlyov also played in this film, uh, but they didn’t seem to converge, they didn’t bring their storylines together, and by this time leonid kuravlev has been filming since the late fifties, he is already a well-known actor in the main role in the mid-sixties, but he has such a role. eh, a little weird. he’s not a victorious hero, how am i, like in moscow, mikhail, a lover, not a flaming communist, like urban ones, for example, yes, that is, such a heroic train, he doesn’t appear and his

roles don’t appear, well, rather such a simpleton, rather such a guy of his own, as a matter of fact, such a guy lives in the film, his one of such main roles and signs of roles, who created, a and strengthened his credibility his ampoule, she screen film. eh, shukshina, in general, glorified the ship already throughout the country. by that time, he was quite the allied star and inna churikova , despite the fact that she played the main role in fire in the fire brood, she is not. well, somehow this film was not very successful with the audience, and when a couple of years later gabrilovich brought a new application for working with panfilov and for working with churikova in principle, everyone said, but, but this is, in general, a continuation, then there are stories and this is again a heroine from the people, who is now a modern heroine for us, a factory girl who is ugly.

this is very direct. it seems to me that the right move is very direct, it is clear that inna churikova is an actress of special talent, and she is not a pink heroine. yes, it is something much more, but what panfilov's eyes needed was a pen, and gabrilovich's, to come up with one story and understand that you can write further, but then further. uh problem, because there is a legend about this movie, which is not very, understandable, as combined with documents, in some sources. everything is described, let's say so contradictory, and sometimes just completely wrong even in some books that exist, and today it is considered the basis of this story. sometimes they say that panfilov wanted to make a film about janurque, but they didn't let him and he made a film. the beginning was really not like that. and why are you like this? why is jeanne darke at the beginning, in principle, interested in such strong heroines, and indeed the theme of his work, if you look at his further films, in

which, of course, the main roles are played by as a rule, it is churikova who are always strong women. yes, this is the mother of the bitter. yes it is you, where is your iron? the rest of the merchants, yes, that is, in general, these are always some kind of heroines who rise above. in the middle level yes, these are always people who have some kind of moral core. there is some kind of fundamental installation in the soul. well, even if we take the very first film, about which we began to talk in the firewalk. no, or whatever it was called, and in the literary script, the holy soul, and it's about a woman who changes the world, yes, well, of course, then in the sixties as a whole in the late sixties appears in the soviet cinema. a theme that the revolution is the work of artists who come up with how the new world should look like and a pretend this story in life, or they are followed by people inspired by this fantasy this dream by their

creativity and begins to embody it all. and here is the genre itself. she's about one of those characters that fit into this line, as we're doing a retrospective video now, and how she successfully complements continues the heroine hmm tanya after all, uh, is gone from the firewalker and becomes one of the bricks on which then panfilov arranges this whole universe of his female universe, let's say so. well, that's the legend panfilov wants to make a film about jeanne darke, they don't let him do it, and then he comes up with the idea that his modern heroine, and whose name is pasha stroganova. the factory girl plays joan of arc in the movie so it's a legend. this is a legend. in fact , at first there was probably an application, as it often happened. well, somehow it always happened soviet cinema practice. first, there is a script request, which may not have anything to do with the film that we subsequently see, and

this is normal. so, in this script application, which was prepared by gabrilovich , there was nothing about the genre. that's it absolutely nothing. but when we tried to understand where the truth is. yes, and on the one hand, we came across an interview with a later one, which came out after the release of the film, where panfilov said that this story was a simple soviet one. i came up with another when i worked at the factory. and what am i looked at going out the factory boys, girls, inspired by that. here 's the frame i came up with. we probably have him on the application, but for the film the beginning there is only one name of gabrilovich. on the other hand, the gendarme already appears in the first and only, actually accepted version of the literary scenario. i think it's time for her to show up. and here we have a small fragment with inna churikova in the role of zhanna so. you believe that the true miracle on earth is a man who is woven from sin, mistakes , inability and weaknesses of purity, you affirm that this

and too much for myself. i saw it all in the war. so you justify the man you are sheva to me by one of the greatest miracles of the lord. yes, you blaspheme, jeanne the man. it is filth meanness and obscene vision. and then it is not known why he rushes at the ready. a galloping horse to save an unknown child. very, uh , such a speech of the sixties, in my opinion, here is a person who becomes at the forefront in the thaw codes in soviet cinema. this is understandable. this is not the historical zhanna, this is zhanna as soviet filmmakers see her, but here is a mystery. she appears from somewhere in

this literary scenario, on which two authors gabrilovich are already standing. and panfilov , and at first they give the script to gabrilovich to write, then he gets sick and writes a letter to the studio. it has been archived. yes, the author, or there are no panfilovites, yes, and here zhanna already appears and further in the interview. it seems to me right here. eh, panfilov is precise. he says that at first we decided that there would be a scene of jeanne's denial that here is our heroine. we need to show her true height of nobility. this one this factory girl. yes, her inner world. we transmit through jeanne darke she plays and this is one scene, and then they seem to start to spread , as if there is still more to be staged and still to be left, and this is already at the level of the director's script, people at the studio notice, who are very kindly set up very intelligently. everyone discusses it, but it's strange for them. why does

the dark genre appear so much in the script, maybe it still needs to be dampened a little, but the question arises. that's just this strong woman and pasha stroganova, who are completely on the contrary, and our heroine, the main one of both , should play churikova. that is, she plays pasha playing zhanna, she evokes, on the contrary , the editors have a feeling, what is it? well, some overly needed girl, but her relationship with the main character, and the main character is married. she is a single girl who meets him in finance and somehow he turns out to be her. well, even now you can’t say boyfriend, because they very clearly prescribe, in my opinion, even applications, and he spends the night with a friend. and she spends all the evenings with pasha, and she perceives this as a family with-

such a family history is nepotism, but, but he does not understand how he perceives. and this is pasha's naivety, such an absolute openness, and the world and feelings. apparently very cynical studio workers helen film raises questions. well, today the heroine churikova herself does not raise any questions for us, because she looks absolutely organic and modern. i mean, she's so pretty, uh, the girl of our day. here, uh, simple straightforwardness , the willingness to rush into the pool headlong into the shooting of the film. what they understand does not understand anything about it at all, but it will come here and does it. everything works out well for her inside the image, maybe, but it seems to me that modern girls would not completely accept this heroine of pasha stroganova, because for her, uh, she has two parts of life. yes, and work, she immediately tells arkady of the hero kuravlev, i will become a great actress, and she plays baba yaga in the children's theater, she herself

is engaged in activities. so she has a calling. she has this very art that creates life and there is this arkady arkasha is one who still has a wife somewhere, who then comes. e, he takes him back home for things, yes, and for pasha and arkady is more important at some point, at least , and in the script, than the role and they say about it to panfilov and gabrilovich that well, somehow you don’t have it dimensional er, draws attention to these superfluous films, this is not one film, but three films one missing stroganov second prokin and production and the way soviet cinema is arranged remember around the same time a wonderful cult movie was released today the film is a film of fyodor salievich, a cunning, where such a feature is a parody of the shooting, just ivan the terrible, uh, sergei from eisenstein well, as it is considered, nevertheless. in general, at this moment. uh, obviously waking up, in general

, interest, and in soviet cinema to the nature of cinema. as such how does he do, huh? how is it created? here is some miracle on the screen. that's the magic of cinema. well, this is the desire to show the cuisine of cinema. we have already seen a small fragment, with the director of which, by the way, the real soviet screenwriter yuri klepikov plays real soviet director and student of einstein vladimir vengerov and there appear more and other characters. they are even more important in the script than in the end. on screen. their, too, stifled scripts appear as an incredibly important character of their own script. yes, which is clearly written off with gabrilovich and began to talk about the fact that gabrilovich is a man. even in the twenties and thirtieth, he came actively to the cinema. he is a very interesting writer. he started in general, as a musician he is a master and from the point of view of a master he is this character oleg gabrilovich appears scripts. he defends our heroine pasha stroganova, whom

the director took on the role of joan of arc, but someone does not believe. let's see a snippet, come on. i think the situation is terrible. and i think it's great. well i do not know. even begged, not brothers for the lead role. and i'm sick, look at the face. in this cause. some kind of hooligan. i, as the author of the script, insist, but i am indispensable for the replacement . how strange it all looks. yes? that is, why does the screenwriter give any instructions to the director, screenwriters in general. usually no one asks. he surrendered the script. all goodbye. bye bye. we're filming more. without you, i, in real practice and in soviet practice, are very little readable by a modern screenwriter. yes, he has already transferred all the rights to

use, definitely not in the soviet film industry. and if we look, well , because the screenwriter, uh, this thirties screenwriter was the author of the film. yes, but in the sixtieth, after all, the director of the film is already a full-fledged director. he is the creator here too when we look at the screen. well as if a little bit of some strangeness raises questions for us. i say why the gluing is for some reason a frame, because obviously all this was re-voiced and the character whose character originally plays vizbor is it possible? see both the director's script and literary scripts. with you, there was even a representative of the studio, there are even such memoirs or stories about how some soviet officials who managed some photographs went around and thought that this was a caricature of them personally, that it was just specially drawn such a parody that it is impossible to do this in the film did not appear.

as a result, in that version, which, no matter how they were filming, the screenwriter did not appear, you were not on the part of habits, well , you appeared, but representatives of the film studio, who is trying to sort out all the problems that arise on today's site, but who are actually the director's friend, instead of lying to him , this is a clearly written scenario. here, well, who are sometimes very sad that the director does not listen to him. and this character was originally played in the court around, and then it was remade, just from this claim of the scriptwriters, who do not have a script here. by the way, it’s very interesting, but this representative of the central office is arguing with the director. and how do the sportsmen talk about what and why you have, uh, your heroine jeanne d'arc is so sad and her eyes are doomed. and now you would have made it like a film, chapaev , to which the director says, well, maybe chapaev’s film did not show the whole truth about chapaev, if we all knew how easy it is to accomplish a feat, then what would be the meaning of a feat. no jeanne just goes on a feat, not suspecting that she

can even do it. eh, and this dispute around chapaev is very interesting, actually chapaev. it is no coincidence that chapaev taught not to be stupid, because his brothers create it. vasiliev's students are also direct from the inside. sesame seeds two cutlets with onions special sauce cheese, lettuce and cucumbers the legendary look is the big hit burger number one yandex travel and get up to 10% cashback naked plus gym shoes 999 rub. install the sportmaster app and get 300 bonuses for pickup purchases. well, now i have

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how is it going. is today 45 years old? what are you tired of? what did you find for me? what were you waiting for? we are upstream for us this guitar drums it was wonderful from the shower. light rape the world and you wrote new headphones. i don’t write like that, if it descends on me, then i will fix it early in the morning. eh, not quite on the road yet . enchant, so that it depends on me, i will do

what does not depend on me. i'll let myself go soon, where do i go to myself, i already uh already chimed myself in the podcast today on the first and always on one tv.ru it was important to show in film that our heroine. pasha does not come to her success in her personal life, but she does not always cope with filming. and at the same time, we understand that just the relationship, because the script is in principle.