tv PODKAST 1TV August 28, 2023 1:10am-1:51am MSK
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again, i will pass charmed, something depends on me, i will do what does not depend on me. i'll skip and you won't feed yourself. where should i blame myself? i have already booked myself a podcast, paws today on the first always on one tv.ru. today we are experts on the film the beginning of gleb panfilov, it was important to show in the film that our heroine. pasha does not come to his success. we don't even know yet whether success will be easy, it was necessary to show that she not only has problems in her personal life, but she does not always cope with filming and at the same time we we understand that it was precisely the relationship between director panfilov and actress churikova that they were more or less harmonious, because the script, in principle, was written for her for her, and even knowing some of her habits , even the director of the studio, he visited
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spent 10 days at some event with panfilov and churikova and says, well, i understand that you are doing it for her, maybe reduce it a little, maybe make it a little more difficult for her, but at the same time there are memories and they are up to kuravlev that it was not very easy for him on the set. do you remember yes, he squeezed. that mm, he gave all the best to try to do something so interesting on the site. and panfilov somehow quite calmly said to remake it there, but we’ll do it, also kuravlev, she really offended me a lot and there were legends about it. yes, i heard from one of our story producers about how, uh, a wonderful soviet director or panfilov well behaved very ugly towards a wonderful soviet actor. i'm not a curmudgeon. it's just retelling, as if it just happens sometimes. here in the dialogue when they tell some tales. that is, it still lives in the imagination of people. yes, there is a biography of kuravlyov, very detailed, where a separate chapter is simply devoted to this whole story
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about how hard it was for him on the set of the beginning. i wanted us to watch a piece where the director, played by yuri kletkov, is treating pasha strictly on the set. no, they don't interfere. calm down which is more disturbing left or right? why doesn't the hand interfere with me? no, i understand everything. i understood everything, now i will do everything. right. i
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remember that this second director plays, the real second director, as far as the characters named lonely play the second link of the mosfilm, in fact, who worked on this tape. yes, the linfin of the film is here, we talked about the fact that there is more than one film in this picture. yes, not only the love story and pasha stroganova, not only comedies about the peculiarities of filmmaking, but also the third film of this story of jeanne darke, a medieval japanese, yes , a heroic story that seems to have its own laws. and this, of course, led to some bewilderment, in general. that's when in there is so much stuff in one movie. it always confuses both viewers and critics 60 very often you can find some kind of reviews, er, which are called the genre. but what yes these claims will draw self-image films, for example in the film to transfer the car, when the critic does not understand. as a matter of fact, with what film are we dealing with a comedy with a detective or
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with some other tape, here it is even more difficult at the end of the sixties, and the director gives us three films for the price of one today, they would say, and here this is a story about jeanne d'arc but what does the tape begin with? look we are being deliberately deceived. when the film begins, we see a story about the judge - o. the judge over the zhannyk at this moment the camera after some kind of climax, and drives off and we see the general scene, that it turns out that this is actually a film set, that this is not true of the middle ages. and this is the truth of the film set, they show us how film production works. yes, that is, as if this sudden transition from azerbaijan to another was made by the protection of camera work, and completely changes, in fact, and the understanding of how the film we watch and this very often, but happens throughout the film.
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we are suddenly transported from reality to the middle ages, and sometimes you don’t understand how it is the real middle ages or the middle ages that we are shown in the cinema , we really see how everyday soviet comedy enters into a dialogue in a medieval epic and zhanna, of course , is a cementing image that binds together . here are all these three parts of a story about filming a movie a story about reality story about modernity. in general, how would she obviously be of the greatest interest to the director for gleb panfilov why do you want to believe so much? that first there was a film about joan of arc and then the film inception seems to be very convenient escapism. but to tell about something completely different and maybe under this sauce, as if to throw a new look at soviet reality, but this escapism, uh, which uh, it seems, in anticipation of the gift is present, it actually exists in those pieces , which seem to be related to modernity. here is the same scene on the taz site, there suddenly plays such a rollicking really. funny music let's listen you
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dance, and i sing. here is a completely free use of western melodies of rhythms and melodies of foreign soviet pop music. cinema of the 60s also needs to be said about him, how, in principle, it could appear there. and we didn't even know about it. so it kept showing up. remember carlson who lives on the roof of the soviet cartoon there is an american melody. yes, here is a story about a ghost that scares two robbers. in fact. this horror house is a famous rather american potpourri. i don't know how to say i forgot the name of the artist who is
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performing the singer. but in general, it's true. here. i recently listened to music suddenly i came across this story in the stream in the playlist. i was even a little shocked by how easy it was to take and use the songs that the director liked the soviet sound. uh, in the soviet cinema, the film is july. rain is also very characteristic in that there, in principle, there is no specialty. and the set of what at that moment it was possible to hear such microfists on the records on the radio and they took it from the radio and at first everything seemed to be accepted calmly, and then eldar ryazanov wanted to make it in such a manner to collect it too. uh, in the spirit of tarantino future tarantino. uh, a soundtrack of popular melodies, and he was told, you know, maybe you can still find yourself some composer. here andrey petrov is good. so the cooperation began . magnificent ryazanov. and petrov, because
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he was simply no longer allowed to take without demand for foreign tunes in general at the moment when the soviet union joins the copyright convention, it all becomes a little more complicated. so in general, of course, the desire of the soviet union is 60-70 at the end of 60-70. these are already attempts to cooperate with other countries, including in the field of active production. and now one of these stories becomes just the next project of gleb panfilov - this is, in fact, a film about jeanne darc, which he plans to stage in collaboration with the french. here he thinks that, as it were, french co-financing is needed, french participation is needed, because after all, in our landscapes and latitudes , it is difficult to film, but it is sure to continue with the participation of inna churikova in the main role and it seems, initially, at least to helen the film, that this is possible ? yes, because, indeed, she has a very great success in
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the film the beginning, she becomes the best actress of the year according to moviegoers, then the soviet screen magazine held such questions every year. here she is. uh, the best actress is all allied star and uh european, yeah, well strange socialist bloc. we have scenes of the execution of jeanne darc, which, well, looks like a scene that could have been in a gingerk movie, which is to say, this scene was in the movie inception but could have been in the movie jeanne darc. it would be a kind of auto-rake, but in general, from the beginning of the film , we see how it could be a color film for sure, a full-length widescreen widescreen, and gleb panfilov’s film is a woman, and a favorite section of a filmed movie.
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a french actress in france, however , the main question is for a character named genre, the directors always have the following. where do they get these voices from, right? how is it all, where it wakes up inside, and the heroines , this is passion, this is the desire to change the world, the desire to make a revolution , to start a war, to transform something. and where does it all come from and each director , depending on the era of his personal taste. it decides in its own way. well actually what became with this project pamfilom became one of the many projects that did not receive an embodiment on the screen. unfortunately, on the one hand, it was about money. it was really costly, staging the french. of course, they were especially hot. him to finance it. how can you conclude the essence of some documents. i have a lot of documents about this film, of course, not many documents have survived, but there is, uh, an indirect version, which you confirm
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that the soviet leadership. in general, i did not want to touch this topic much, but panfilov wrote the script in line with marxism or leninism. he received a review from academician skazkin, some kind of historian, who said that everything is right there fried so well, at some point, he writes a letter to churikov to comrade yermash, who says that i gave up everything for this project, that is, i postpone, that is, personal life. i don't play other roles. why aren't you putting this film into production? why don't you give the green light? and as various sources write, yermash, he did not even answer this letter. just put it under the window and forget, which is why we don't have a jeanne darc movie next. the film panfilov churikova was released only in the seventy-fifth year, it was just asking for the floor. here. how long did it take them to let go of their previous project, but we have the film inception which received in the early seventies and
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an award. e, komsomol and as i said, churikova received recognition from the audience, but it's all the same to the end. she tells me. why do we have to watch this film now, of course, this is also churikova. that's why we need to watch this film, which, by some very very subtle transition, instantly transforms into a completely different character. you understand that it was one character of pasha stroganov, and then suddenly became the wife of dark. after all, you have no doubts that this is not pasha stroganov, who is already playing on dark, she is a real wife. dark yes, her job. you can't even. it's a game to call it really. it's work here, and it's incredible because it seems so simple. well, think about it, played one played the other. uh, played this girl and suddenly played joan of darke, she makes it so easy, so simple, that every time it's like
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such a thin tie. this is straight filigree some. uh, i don't know, medieval weaving. yes, what does it mean that it took hours. uh, pricked fingers with blood and so on , and this turns out to be something incredibly beautiful embroidered with gold . and this, of course, is also a reason to watch this film, but also something about which, maybe, we didn’t say humor enough. the extent to which panfilov managed to talk here again about everything, well, quite easily, but absurdly represents a difficulty. yes, this is not some kind of festival movie that you need to dive into in order to understand the director’s deep intention, it is deep, but at the same time he does not scare himself away from the screen and, in fact, this is just the topic of our podcast eisenstein’s witness is films and the skill of directors who do not repel. yes, not a movie is not for everyone, but a movie
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for everyone, just right. how does cinema become such an art that it can attract absolutely any viewer and audience to the screen ? even the most unprepared, and this was the tip of einstein's witnesses where two film historians are natalya ryabchikova and my colleague. stanislavsky we talk about how by whom why were the classics made? unknown cult famous unseen soviet films we are trying to help modern viewers to watch these films with great interest, great understanding and great pleasure. see you again. thank you, see you on the screen. hello dear friends in the
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crocodile magazine in the seventy-ninth year was such a joke was published. uh, the boy goes up to his father for the new-haired man, who is carelessly strumming the guitar and asks dad. and what will you be when you grow up gentlemen? this is the resurrection group. today i am 45 years old lord , look how you have grown and look at yourself, dear friends. i am convinced that my generation will now cling to the screens and let's remember what happened when the trees were large group resurrection fell that the day will shut up life in a strange way. and your house became lonely. and it's empty outside your
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window and the light is dead and the sounds are getting wet and new flies and something else hands, and if your pain subsides, it means there will be a new trouble. tell me who is to blame, brother, the other is in love, one is a fool, the other is your doctor. here suddenly and by that they live but long day and night mustang clogged warm
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each other's six-pin boca. you these plugs of the tape recorder, of course, the type of apple sounded with beatles. it's clear. but sooner or later romanovsky's voice began to sound. this same moscow guy came and brought this sunday. now tell me, this is why you are so visible. and as it was seen from moscow, how the group became. sunday we played. mostly they played dances, basically all kinds of emus. the people danced, but, uh, they dared to play their songs, and i was surprised when it turned out that the guys stopped dancing, approached the speakers and started listening. well, first of all, alyosha sings like god. but the most important thing. he also writes. that's why everything that you are for yourself is worth its weight in gold did. i would say that sunday is a self-made band. it wasn't any producers. no one else in the world has ever been a music
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director. these people seemed to know what to do. or maybe you know, tell me, well , we will carry yours in our arms and so, even if you see and you will be silent, and there is a new one. that's what . here you came up with a new one for the last 5 years. here is such. and after a while we will show, and now there will be another song in a minor key, which to us well, literally love it very expensive. just tell me who we'll see today sergei timofeev bass guitar. well, by heart we know your timofeev comrades alexei korobkov on drums lawyer malikov on the keys happiness, damn it. dima dibrov vocal fan no no, i 'm the ear of the group
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your purchases. handsome sberbusiness is trusted by millions of entrepreneurs. dear friends, this is an anthropology podcast on channel one , the sunday group is celebrated forty-fifth anniversary on our eyes, led by alexei romanov. gosh as usual. please tell me, today you hear callahs, how they work, how they write, if you see what is popular today, how could you compare the trend, you need to write songs, in the late seventies and not today, dimochka i don’t take it, i don’t take it, dear, because now . uh, every teenager on an ipad can have their own, and a normal track is commercially corrupt. yes, and artefan intelligence. and here's another
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oh yes, because of this, we gradually stop. uh, meaning she's loaded with some channels there on tv and suddenly you hear terrible music. it's good that there is. cartoon what about eh? well, here we are. there was an amazing team at the festival in izhevsk recently, they play the music that we understand, the music that we don't understand. they play these dishes from the columns, these ones, they will grow up. eh, maybe, and maybe he remembers what we will show people now. yes, we are not with you. and you probably, time is up, yes, a post-covid song. yes? yes, the texts lay for quite a long time. i've been wondering what it's about
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the roof on the notrm had already burned down, and for me the song began to reach. come on long in challenging for a guitarist. e tonality. yes, it does not matter at all, because now i'll try. this means that this is literally for her without a year of the week of this song. no, without idleness for me. this is the day before yesterday. i have this 10 years ago. harvest catch prey the time has come to flow like a river sand
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of a yellow flame but the account to lead the killed cards with an evil hope, burning out the sharp cogs of the gears through the account of the stubborn bell as if post-sound old man, they don’t guard the distribution an empty tradition is guarded when squandered. everyone will come out to believe everyone will sleep off as much as possible. too late to hide behind the door. the speech is dark longing indistinctly, what would the wind play enough for half an hour , the fire walks here not nicely, there, not holy korea
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well, i hope that our grandchildren at this hour felt this bite of moscow rock and roll, how would lyosha tell you the history of the group divided by period. i came from the camps from the military shorn. yes, just like now yes , wearing dark glasses, and now two of my old friends came to me. zhenya margulis seryozhka is my precious friends. uh, before the moscow olympiad of the 1980s, put on the moscow world service radio some
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soundtracks that were not controlled by the editor, then successful acquisitions of the honor-grad boomerang sounded on the medium waves . dima linnik had his own fanatic who was not controlled by anyone, then we fell off somewhere on south, uh swim, and the famous band returned, it's definitely left only to start playing some completely. here. eh, actually. this is the first stage at which andryushka supunov joined during the recording. e, who, in my opinion, had just retired from the flowers and entered the school, and podgorodetsky helped sing on the keys. well, we, well, were furious, how could there, that 27 years old. this, of course, is the feeling of what age i still
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know now. yeah, when internal internal movements already began to occur there. well, zhenya morgulis went to lenkom varaks. at u.s. not there was no sensible instead of burning, yes , a bassist, and then on new year's eve seryozhka says with his head, take nikolsky to the guitar. eh, the repertoire too and the name will be too. how did they survive. you leader kostya sees. well, how we got along, fir-trees-sticks. uh, hmm , it was a custom for the team to solder the team with nikolsky. we didn't lose, wow. yes, they did art. yes, but not bumps lined with women. well, why live like uh, then there was a long long break, i was dangling around the world, raped in the darkness in 904, our
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comrade mishkapnik started to celebrate some kind of millennium of the next resurrection group yes with three concerts. central concert hall of russia we have gathered for this cause. uh, we rehearsed, prepared, played with great success and it turned out that in general, we can continue further, that we are, uh, quite a touring band. well, it started until since then there were all sorts of things and you wrote songs. everything basically. i don't write like that, no no no no no completely in myself. and i'm fixed on a piece of paper and we'll see, there, we'll also see a relatively new one, as they call it on
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