it got better, the broadcast was turned off again. here, in the central control room, an unknown general appeared. he demanded that the signal to clear the room be turned off. i’ll call bragin and say: vyacheslav ivanovich, what’s the matter, did you give the command to turn off the air? no, well, this is a five-story, as they say, set of words. oh, i ’ll call the kremlin now. while he was calling the kremlin, viktor ivanovich called me again, all of us from the apparatus. they washed him out, like they washed him out, yes, that’s it, they washed him out, that’s it, i see , there is no broadcast, however, the army discipline on television, which developed back in soviet times played a role, employees were accustomed to following the instructions only of their superiors, no one went home , bragin never got through to anyone in the kremlin, and the general, the general , disappeared just as mysteriously as he appeared, early in the morning of october 4, right here.

.. receipt of his own coffin, apparently he was preparing for death in advance, today i know for sure that the last cartridge was left for himself by the commander of the detachment vityazey lysyuk, who escaped from this battlefield, general makashov, well, albert mikhailovich did not do this, and who shot himself , who, here who's in this one? in these events, no one shot himself. ostankino's bloody storm signaled decisive action by president yeltsin the next day. first, the white house, where the instigators of the armed adventure settled, khazbulsky and their supporters fired directly from tanks, and then special forces entered it practically without a fight, this is a worthwhile coup, here, on a higher level, it was necessary and... they should be dealt with by tanks too

it was just for show, guy, shoot them on the spot, guys, shoot, don’t be sorry, there are enough cartridges for everyone, i do not absolutely justify the sacrifices and blood of this very one, but the initiators of this opposition were khazbullatov, this whole ruts gang, which called themselves russian patriots and it’s like on him... i don’t refuse this, that you need to go to ostankini and get to speak in the media and tell people what is happening in moscow. i said it. immediately after the mutiny , rumors spread across moscow about 500 killed and thousands wounded, and that corpses were being taken out by barges and drowned. the investigative team established that time of unrest on october 3-4. 123

people were killed, 348 were injured, among them not a single one of those who called for taking up arms. as for the main clean -up rioters, khazbulatov, rutskov, general makashov, they were arrested and placed in pre-trial detention, six months after the october events, they were released. the state duma declared an amnesty, i consider the amnesty as the most shameful page in the work of the state duma of the russian federation, they did not allow us to investigate the case objectively, comprehensively, and bring to justice all those responsible. but the amnesty initiators have a different point of view. and the longer. they would keep

the defenders in quotation marks of the white house, and the more they would become undeservedly persecuted, the more they would become national heroes in the russian mentality. yeltsin found out about the amnesty with a chain in his teeth and ordered the head of his security service, korzhakov, to intervene in the process. i called the head of the prison, i said, i said, the president’s order, not to release him yet, he said, and i said already... ordered them release, i say, i order you, the president, he says, but i don’t order you, the bar orders me, the prosecutor’s office was not allowed to conduct an investigation to the end, and today the participants in those events either remain silent or distort the truth, continuing to accuse each other of big and minor crimes, as often happens in history, all the cleansers of the bloodbath remained alive and well. and none of them

admits today that the assault on ostankino in october 93 was a senseless adventure, and the human sacrifices were in vain.

hello, this is the mount by fire podcast and i am the host of the day. gorelov with a story about the main trends of national cinema, a digest of the most important national film innovations of the last 30 years and the extent to which this influences the current state and development of national cinema. the country is developing quite intensively, we live closely, since last year we have already begun, in my opinion, the third period... of the development of a sovereign country, the first took place in the nineties, it was a time of absolute anarchy with the complete absence of a state, such a process often happens when a socio-economic structure changes , something similar happened in the world during the great french revolution and in our country

during the october revolution, the state is slowly dying out, a new one has not yet been born, so there are problems, and the main exponent of this time and by general consensus it turned out to be alexei aktibrinich balabanov with the film brother and all his other films, they spent time in my apartment , you can’t imagine how much vodka they drank together, all the musicians hung out at my place one had his own one-room apartment, but i had my own, all the musicians were pushing into serlovsky, everyone would run away , well, when everyone left, it was in these conditions , in fact, that a new stage of balabanov’s cinema began, he once began with productions of kavka and becket, i am very

i was interested in the yaama twins, i read books about them, there were also czech girls , the same, well, that is, i was interested, about this... urotskaya, that’s it, i suddenly read about these, i didn’t know about them, about that that people are masochists, but in ninety-seven, my brother came out, from that moment his cinema began to talk about the preservation of self-respect by a man in the complete absence of the state apparatus . the word man is very important here, because all the feminist heresies of that time still came from a post-industrial

society, from a push-button society. economy, which of course equalizes men and women, in our situation, where the share of physical labor is still strong and there is no one hundred percent safety, therefore, when protecting neighbors, sometimes too it is necessary to apply physical effort, a woman in these conditions always loses, simply because she was not created for any physical effort, and tuyara, the main character of the film, but died, in georgia 200 he has extremely cute characters of the southeast in kochigarh, the main character , as well as in the film the river, which did not take place, in which all the characters died in a car accident, and then to southwestern and caucasian asia, he was quite ferocious, for which he was actively criticized and persecuted by the russian liberal intelligentsia, and by the world community,

the cinema simply did not take his films into the competition, and here, uh, there was even some paradox, because not a single picture - of the person who held... the palm of the national film championship - within the country, participated in competitions at international festivals of class a, in cannes any next one as balabanov’s film was always included in news screenings , but he was never accepted into the competition in his life, simply fearing that suddenly someone from the jury would like this movie, from the filmmakers, you can expect everything, they will take it and give it the victory specifically balabanov , it was completely impossible to allow this from the point of view of western cinematography, there was very little money, practically none, on film, on camera, i shot in all the places where i know something.

seryozha, an unusual, very such a character, and then we sat on the beach, in a cafe, drinking beer, i think, i don’t remember , it was during the day, it was sunny, it was a day, i told him, let’s make a movie together , but there will be no money. he just simply said: come on, that’s it, i didn’t take him as an artist, but as a person who, well, together with me, i after all, he was not yet a director, he was a big one at that time, although i had already made three films there before, professional ones, i mean, but i didn’t feel like that, perhaps this was in the deepest way, he bent his line, as it was sung in song in the film brother-2

, and i suggest watching a fragment from brother, which quite fits this line, come home with us, it’s good there, what am i going to do there, but what are you doing here? but i like it here, america has all the power in the world, where is the power, brother! that's where all the power lies in money, brother, money rules the world and the world is stronger, who has more of them, well, okay, you have a lot of money, and what will you do, i’ll buy everyone, including me, danilo was a man who could actually arrange a goat’s horn, the front-line past was frankly discernible in him, every time he rented an apartment, he considered and found out the escape routes, back doors and so on, having arrived in st. petersburg, he did not go to his brother right away and perhaps he himself

could not explain why, he spends the first night somewhere either in the attic, or in the basement, among garbage bags, ah, but he comes to his brother already armed, which is also important, perhaps he wanted to feel the revolver in his pocket, uh, this is very serious and says a lot about the person, and at the same time about his brother... “he did everything great, professional, it is deeply paradoxically symptomatic that a wonderful biography of alexei ktebrinovich was written by a lady who is the main lobbyist for domestic feminism, at least among film critics, maria yurievna kuvshinova, marusya thus stepped on the throat of her atlantic song, although she acted in a purely american style, she did not

expressing my thoughts about certain paintings, and i chose about 20 people who knew balabanov best, including people from his environment, and people slightly from the outside, able to appreciate him from some neighboring territories, warms me, that both i and maria herself were included in this number... i spent hours interviewing these people with a voice recorder about alexei himself, about how he understood the life around him, a rather voluminous picture emerged, uh, which, in general, was recognized by the entire russian public, the book went through several editions, it fully meets the task, but it’s true that masha seemed to feel that she was too led by the character and began to publish her texts about the fact that, in particular, as it seems to her, the main character of the film brother

is not danil’s brother himself, and the german, as a person in general, is the bearer of the moral imperative, uttering the most accurate and important maxims on this subject, to this i will say that with the same success we can say that the main character of the book about lamb is a cricket, he is also a bearer of the imperative, he also says purely correct things, but still, frankly speaking, the main character is the acting hero, the wooden man pinocchio, brother... and he himself was in some way a wooden man, he could defend himself quite well, but, frankly speaking, he was completely invulnerable only a single person appears, people who fall into the same orbit with him are under threat, and as for sveta’s friend

, fully understanding the abomination of his own brother, he calls from her apartment, and thus sets her up, because brother vitya immediately writes down the number, then leads all the gang on him, in the same way, he takes a very big risk in the criminal apartment , the director stepan accidentally wandered there, to whom danila says that of course i don’t really like directors, but you’re a normal guy, no one will touch you here, i... promise you, after which he completely irresponsibly leaves to watch butusov, and if he had not returned and delayed at least a minute, then of course, stepan was also threatened with immediate death, and another thing is that all this was completely redeemed the excellent charismatic smile of sergei bodrov jr., everyone was in love with him,

at that moment the gangster theme was absolutely dominant in cinema, all the films... the best films about bandits were on b, brother, boomer and brigade. following the time of statelessness, the time has come for a relative order of stability of peace, some sudden abundance for our population, accustomed to difficulties, and this period was best expressed, in my opinion, by zhorok ryzhovnikov, here, of course, there is no consensus decision on this person, but i continue to insist that he is the best exponent of this period, as for the new times, the director who will express it in the most accurate and beautiful way has not yet come to the fore, but

we will still clarify what this is, the number one director, the main director national cinema. and this is not always the person who collects the biggest box office, and this is almost never a person recognized by national intellectual circles, but the main director, director number one, is the person who most accurately and vividly conveys the state of the national mentality in a given specific period of time, and as for our national cinema, in the first 30 years of soviet power, mainly. stalin was unlikely to be someone who was capable of sticking to his line, or rather there was such a person , his name was sergei mikhailovich izenshtein, imagine, the fact is that ezenshtein considered himself a figure absolutely equal to stalin, he felt incredible respect

for people capable of turning the world upside down, he considered himself the same and was not at all afraid of arrests or any stalinist influence, only with such a worldview was it possible to do what he ultimately did, that is, he reflected some movement, some change, of the mass expression of the will of nations, which at first seemed spontaneous, but then acquired some, some organized features, in battleship potemkin in the strike in october, the achilles heel of einstein’s work was still its somewhat archaic nature. sergei mikhailovich clearly understood that it was not my cinema that achieved the greatest emotional effect, with its hyperbolism, with its emphasis and

cameras, and some excessive acting, as soon as sound came to cinema, immediately all... emotionality went to waste, misenstein tried how he could extend the period of nimvo cinema in mexico, where sound cinema, of course, was bad due to technological backwardness , and then alexander nevsky made a not very successful film , full of some kind of excessive pathos, finally , on ivan the terrible, he understood how to return, not my cinema, he moved on to truly operatic aesthetics, majestic scenery, music his constant colleague the great sergei sergeevich prokoev, constant or dancing in the frame. or negotiations with such a demonic , harsh recitative in the style of classical opera, they were able to renew

the spectacular emotionality, since esenstein, however, no one else could. when he died, the position of the main national director remained vacant for quite a long time, primarily because the country was changing its system in some way, it was moving from bolshevik absolutism, with stalin and khrushchev in the center, to still collegial the brezhnev leadership, the system changed slightly, people were not all ready to express this, there is a feeling that during the 11 years of khrushchev’s rule, no serious and accurate exponent of the surrounding life appeared, but he appeared exactly after the borezhnev coup of the year sixty-four , in the sixty-fifth year you film by leonid gaidai operation y and other adventures of shurik, but the fact is that it was at this moment that

the middle class began to take shape in soviet russia with its very specific urban approach to life realities, to the needs of certain freedoms, and so on, and the unconditional representatives of the class were shurik on the one hand, and the successors of his work, semyon semyonovich gorbunkov. on the other hand, shurik was the first student on the big screen in many years, nikita sergeevich hated students, for 11 years not a single picture was released in which the student was a positive character, shurik was actually the first, and he not only crammed lectures and answered the strength of evidence, but behaved like a full-fledged romantic hero, uh, fought on balalaikas with punks, then with her on rapiers, then wrapped him in wallpaper, lumpina and carried out educational work with him, and this obviously made an indelible impression of the most beautiful girls in moscow and

the moscow region and the near transcaucasia, this is our kind, cozy beloved tatyana anatolyevna telling the whole truth to the mother, like usually, they want it to be born in their countries, and not in our country, ugh, so be it, to each his own. but while we can’t win, we can’t even open the door there, say, hello everyone, quadruple, wow, and then you fell in love, yes, yes, i fell terribly in love, we have a new flying stool or there are more stools, don’t you think that the ceiling is already very close, and that further, where already, no, there is never a ceiling, and what’s surprising is that it’s approaching somewhere... then to the ceiling, massage my brains, for example, podcast lab tomorrow on the first and always on 1tv.ru. anxiety

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this is still the podcast mount with fire and i, its host denis gorelov, with a story about the most important events of national cinema of the past 30 years, about the leading trends, the development of national cinema and where it will move in the very near future. as for the senior economist of geproryba, semyon semyonovich gorpaunkov, he was a bearer of deeply traditional values ​​and resisted in every possible way the various temptations that the foreign world offered, where he traveled on the steamship, mikhail svetlov, and the bearers of the ideology of this world, gesha and lyolik, semyon semyonovich stood firmly , rejected both gold and diamonds, and a robe with mother-of-pearl buttons, and even in general, at critical moments, said, i would like a beer if and went to a drinking party, he always

performed the russian national song. a song about hares, these were the main characters of the emerging new world, another thing is that in the seventies, gaidai’s cinema really deteriorated, perhaps not through his fault, the fact is that reality deteriorated, inside the new middle class , a rather specific layer of swindlers and money-grubbers has appeared, and it’s easy not to notice it. couldn’t, on the one hand, because he was quite a sensitive, understanding artist , on the other hand, because he himself loved money very much, he didn’t hide it, there are 12 chairs in the film, all the characters were swindlers, it can’t be in the film, according to zoshchenko , all the heroes were swindlers, and even in the film incognito from st. petersburg according to the auditor, all the heroes were also swindlers, even in ivan vasilyevich changes

profession, the weight of the swindlers... was such that it’s quite difficult to say who is the main character in the film, ivan vasilyevich appears quite rarely, and at the end he is taken away in a straitjacket, as for shurik, who appears there under the name of engineer timofeev, transporting ivan vasilyevich and the manager bunsch back and forth in the middle ages and back, he is clearly losing the area to the surrounding baggage. and even his wife, a beautiful girl, leaves him for yakin, so the really bright people there are zhullik miloslavsky, zhullik shpag, and the petty rascal, director yakin, this a rather frank and correct reflection of the surrounding reality, it just so happened that even in sportloto 82, the film that was gaidai’s last box office success, the crooks

played by pugovkin and kakshenova often outplayed the bright, beautiful positive hero played by algis arlausskos. not because arlauskos is a worse artist, because in life the crooks won. this, strictly speaking, was the end of soviet aesthetics and soviet life. things got to the point that at the same time as balabanov, almost at one year with my brother. maxim pezhimsky’s wonderful film “mama don’t grieve” came out, where the myth of such a bandit ridge was actually worked out. both corrupt policemen and bandits from different sides were looking for a vulnerable, some kind of mythical creature named a sailor, every time they practically grabbed his tailbone, some grace found them, they let him go,

like a real, standing christ our jesus iosifovich, because they felt that he was walking on the right path, and even if he was leaving on a long journey, he always remembers that the homeland is waiting, in the whole world... there is no place dearer to us than our homeland, the song was sung just at the credits. in reality, uh, somehow, only representatives of gangster groups could preserve their property and self-respect, ah , many decent directors rose to the occasion, ah, and, moreover, around the time of the brother, a year after its release , the country experienced a default. well, the ruble, of course, fell, television simply did not have the money to purchase foreign tv series, at this particular time at the moment the formation of the national serial business began, producer kopitsa released in 1999 the first

season of the street of broken lanterns, and the first season of the national security agent. unfortunately, then the series deteriorated, because some kind of legal... pathos began to be applied to it, and somewhere in the fifth or sixth season it became completely impossible to watch all this, first the main directors fell away from the series, then kopitsa himself died in 2004, if my memory serves me right, then in the end they started one at a time with all the main characters dropping out, in general, by the sixth season , practically nothing was left from the streets of broken lamps, what was in the first and now it is quite difficult to explain what a sensation the picture made at the time of its release in the ninety-ninth year. this is still the podcast burn with fire and i, its host denis gorelov, with a story about

the most important events of national film production and national film distribution of the last 30 years, about the main trends in the development of national cinema and how it will develop in the very near future time. the country was changing and some circumstances did not correspond to balabanov’s main message, resistance to the surrounding world, but of course, the inertia of the audience’s perception of the filmmakers’ understanding of the surrounding world is quite large. balabanov remained in charge until his death, over there. go ahead, maybe i’ll take it, my star is always with me, in 2013, in my opinion, but at that

moment it was already quite obvious that a new time had come, a time of abundance that suddenly fell on one’s head, a time when there is quite predictable stability around... and here a new director was already needed, he actually appeared in 2013, the first film by director andrei pershin, gorko, was released, pershin’s name is absolutely unknown to anyone in the country, because he shot all his films under the rollicking pseudonym zhora kryzhovnikov, these were igorka, igorka 2 and ice2, and the best day and the series call dicaprio. in times of stability, people most often begin to engage in their personal lives, mostly the paintings were concentrated specifically around personal internal relations in families, and

it is not at all surprising that in almost all of the listed films the wife played, kryzhovnikov’s then wife, yulia alexandrova, his then muse. the heroes of the films were, in general, quite... strange, it cannot be said that in the films of the gooseberries there is at least one positive character, on the other hand, it is impossible to call all of them at least somewhat unconditionally negative, these are people who can kill even with a bottle give you a head, on the other hand, pull you out from under the fire and become your best friend, in general, surrounding our compatriots, and a very precise look, perhaps, with the most sympathy he treated precisely... the wife of her characters, but when - his wife in the film - on the best day, she took a crowbar and chopped up a police car, it became clear that this was of course

, a real storm in the desert, you also need to keep a safe distance from it, as in general with all of us, and to be honest, all the problems that happen in the pictures... miraculously - are still corrected, and sometimes even by -in a truly magical way, remember, as in the film irony of fate at one time, everything... developed between a moscow doctor and a st. petersburg teacher, not quite in the right direction, when they already started dancing among themselves, things openly led to sex and it was absolutely clear that if something happens between them, then this couple will not have any continuation, the whole thing was saved by the drunken ippolit, who kicked the door for a long time, shouting that he was warmed up and robbed, and just like in all kruzhovnikov’s paintings, something

unexpectedly beautiful, magical always happens, which corrects all the misunderstandings, and returns all the heroes to the correct orbit, let's kiss now, jump, no, well, this will be our ceremony, come on. be bitter at him, uh, tarantina, come on, jump, come on, quentin, darling, bro , they've ruined everything again, idiots, we're losing our minds, it's a plague

spring, we can't stop, i'm going crazy, it's a plague, it's spring, it's a plague, chechaya plague, spring, the roof has come, korzhovnikov is a deeply uplifting author, and i think that is why such formal recognition by the film critical community did not happen to him, our the intelligentsia loves to whine more than anything in the world, and if you look at the list of the fifty most important films of the last twenty-five years chosen by critics, you will understand that after each of these films you want to hang yourself, not a single film by kryzhovnikov is among them, another - which i already had

the opportunity to verify quite a lot of people agree with me that this person, the most accurate, exponent of stable times, in yum sakhalinsk some spectators actually told me that gooseberry and balabanov are incomparable, but times and abundance the money that has fallen on one’s head is also incomparable with the dashing nineties. in fact, the heroes of gooseberry are dunces, who, as a result of suddenly appearing wealth, are tempted to become euro dummies, but stick to their traditionalist view, remain themselves, and now there is a new stage, a stage of unconditional and frank confrontation, and people who are in the best possible way... will express this period, while it is still in the shadows,

i can’t say who it will be, at the moment, a whole group has emerged - such new wild directors, this is kirill sokolov, who shot the wonderful films dad, tear it die and throw it away, about a real bloody civil war within families, which still ends well. and this is pyotr dikarev with the film gailerr with zakhar prilepin in the title role, this is roman zhagalov with the film forest, this is roman mikhailov with the film a tale for old people, nikolai rybnikov’s film chicago seems to be moving in the same direction, this is such a wild russia, decisive your problems. sometimes even at the cost of prison and scrip,