[000:00:00;00] the beginning of gleb panfilov, it was important to show in the film that our heroine , pasha, does not achieve her 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 also not she always copes with the filming, and at the same time we understand that the relationship between director panfilov and actress churikova was more or less harmonious, because the script, in principle, was written for her. for her, and even knowing some of her habits, even the studio director spoke about it, he visited spent 10 days at some event with panfilov and churikova and said: well , i understand that you are doing this for her, maybe to tone it down a little, maybe to make it a little more difficult for her, but at the same time there is kuravlev’s memory of that , that it wasn’t very easy for him on the set, remember, but he actually complained that he gave his all, tried to do something

so interesting on the set, and ponfilov somehow calmly said, well, redo it there, yes, let's do it again, and kuravlyova was really offended, touched, and about these are legends, yes, i heard from one of our producers stories about how the wonderful soviet director panfilov, well , behaved very ugly towards the wonderful soviet actor leonid kuravlev, they just retell it, as if it just happens sometimes in a dialogue , when they tell some stories , that is, it still lives in yes, there is a biography of kuravlev, very detailed, where a separate chapter is simply devoted to this whole story about how hard it was for him on the set of the beginning. i wanted us to look a piece where the director, played by yuri klepov, bullies pasha stroganova on the set. no, they are bothering me, they are bothering me, they are bothering me, fyotr vasilyevich, they

are bothering me, let me go. well, let me go, quickly, someone give me the moves, calm down, sit away from me, stop it, this is not possible, give me a saw, a saw, a saw, a saw, which one is more in the way, the left or the right, oh why, the hand doesn’t bother me , now you know why this is? i need it, i understood everything, i understood everything, now i’ll do everything, i remember correctly that this the second director is played by a real second director, indeed, the character is alone, played by the second director of mosfilm, in fact, who worked on this film, yes, lenfilm, so we talked about the fact that in this film there is more than one film, yes, not only a love story

pasha stroganova, not only a comedy about the peculiarities of film production, but also the third film is the story of joan of arc, a medieval epic, yes, a heroic story, which seems to have its own laws, and this, of course, led to some bewilderment, in general, when so much is mixed in one film, it always confuses the critics and viewers. in the sixties, very often you can come across some kind of reviews that are called a genre, but what, yes, these complaints are addressed to a unique film, for example, a film... a car, when the critic does not understand, in fact, what kind of film it is with , with a comedy, with a detective story or with some other film, here everything becomes even more complicated by the end of the sixties, and the director gives us three films for the price of one, as they would say today, this is the story about jeanne d'arc, because where the film begins, look, we are deliberately deceived,

when the credits of the film begin, we see the story, at that moment the camera, after some climactic scene, moves away and we see the general scene, which turns out to be actually a film set, that this is not the truth of the middle ages, but this is the truth of a film set, we are shown how film production works, yes, that is, it’s like this sudden transition from one scene to another, made at the expense of camera work, but completely changes the understanding of what kind of film we are watching and this very often happens throughout the film, we are suddenly transported from soviet reality to the middle ages, and sometimes you don’t understand how it’s the real middle ages, or this is the middle ages , which is shown to us in the cinema , we really see how everyday soviet comedy enters into dialogue with medieval epics, and zhanna, of course, is the cementing image that ties together all these three parts: history about filming a movie, a story about reality, a story about modernity, in general

, it seems obvious... it is of the greatest interest for the director, for gleb ponfilov, why does everyone want to believe that first there was a film of a prozhaka, and then the film began, it seems , that this is a very convenient escopism, to talk about... something completely different and maybe under this sauce, as it were, cast a new look at soviet reality, this escopism, which seems to be present in jeanne dark, is actually present in those pieces that seem to relate to modern times, here is that very scene on the dance floor, suddenly such rollicking, really funny music is playing there,

let's listen. you dance, you dance, and i sing, this is a completely, uh, free use of western melodies, rhythms and melodies of foreign pop music in soviet cinema of the sixties, it also needs to be said about how it actually appeared there, but we didn’t even know about it , so this constantly appeared, yes, remember carlson, who lives on the roof, soviet cartoon, it’s sort of borrowed from there an american melody, yes, this is a story about a ghost that scares two robbers, in fact it is a horror of house, and a rather famous american pupuri, i do n’t know how to say it, i forgot the name of the artist who performs it, the singer, but in general that's for sure, i was recently listening to music, suddenly i saw this in a stream in a playlist... i came across it, i was even a little shocked by how easy it was to take and use songs that soviet sound engineers liked in soviet cinema, film july rain sixty-six year is also very characteristic in that, in principle, there is no specially written

music, a set of what could be heard at that moment on records, on the radio, the filmmakers themselves took from the radio, at first everything seemed to be calmly accepted, and then... arzanov also wanted to do it in beware of the car in such a manner, to collect in the spirit of tarantin, the future tarantin, a soundtrack from popular melodies, and they told him, you know, maybe you’ll still find yourself some composer, like andrei petrov, a good one, and that's how it started the collaboration is great, rezanov and petrova, because he was simply no longer allowed to take foreign tunes without asking, in general at... at the moment when the soviet union joins the copyright convention, all this becomes a little more complicated, so in general, of course , the aspiration of the soviet union, this is in the sixties, seventies, in the late sixties, seventies, these are already attempts to cooperate, collaborate with other countries, including in the field of

film production, this is one of such stories gleb panfilov’s next project is becoming, this is, in fact, a film about joan of arc, which he is planning to stage in collaboration with the french, so he believes that french co-financing is needed, french participation is needed, because after all, in our landscapes and latitudes it’s a little difficult to film, but definitely, still with the participation of inna churikova in the leading role, and it seems initially , at least to len film, that this is possible, yes, because indeed, she has very great success in the film, the beginning, she becomes the best actress of the year according to... moviegoers, then the magazine soviet screen conducted such surveys every year, here she is the best actress, an all-union star and an all-european yes, well, the countries of the socialist bloc, we have a scene of the execution of joan of arc,

which, well, in general gives the impression of a scene , which could have been in the film, that is, this scene was in the film, the beginning, but it could have been in the film, it would have been a kind of auto remake, gleb ponfilov’s film the life of jeanne d’arc, an unmade movie, a favorite section.

give me a cross, give me a cross, give me a cross. so what went wrong? dreyer managed to direct the danish director, who directed the absolutely french film gzhen jean darc. but in the twenties in silent films with a french actress in france. nevertheless, the main question for a character named jeanne darc is always the following from the director : where do these voices come into their heads, yes, how is it all, where does it wake up inside the heroine, this passion, this desire to change the world, desire ... to organize a revolution,

start a war, transform something, where does it all come from, and every director, in depending on the era of your personal taste, it decides in its own way, well, actually, what happened to this panfilov project, it became one of many projects that were not embodied on the screen, unfortunately, on the one hand it was about money, it was a really expensive production, the french, of course, were not particularly eager for it... as one can conclude from some documents, we don’t have very many documents about this film, of course, and unfortunately not many documents have survived, but there is an indirect version, which this confirms that the soviet leadership, in general, did not want to touch this topic much, but panfilov wrote the script in line with marxism-leninism, he received feedback from academician skazkin, the name of a historian, who said that everything about joan was correct

dark, but at some point ina chyurikova writes a letter to comrade ermash, the head of the entire cinematography at that time, yes, in which she says that i gave up everything for the sake of this project, that is, i put off, that is, my personal life, i do not engage in other roles, why you’re not putting this film into production, why aren’t you giving the green light? and as various sources write, ermash didn’t even respond to this letter, he ordered to simply put it away and forget it, that’s why we don’t have the film joan of arc, panfilov’s next film... churikova came out only in 1975, that’s exactly what i’m asking for the floor , that’s how long it took them to let go of the previous project, but we have the film beginning, which received the komsomol award in the early seventies, and as i said, churikov received recognition from the audience, but this still doesn’t fully tell us why we should watch this film now, for me, of course, it’s inna churikovo, that’s why we need to watch this film, which...

is somehow very, very subtle transition instantly transforms into a completely different character, you understand that it was one character, pasha stroganova, then suddenly jonna dark came, you have no doubt that this is not pasha stroganova, who plays jonna dark, the real jonna dark. yes, her work, you can’t even call it a game, it ’s really work, she’s here and it’s incredible because it seems so simple, just think, she played. well, she played someone else, she played this girl, suddenly she played joan of arc, she makes it so easy , so simple that every time it’s like some kind of delicate ligature, it’s just filigree , i don’t know, medieval quality, but what’s it like? it took hours, pricked fingers, blood, etc., but what comes out of this is something embroidered with gold, incredibly beautiful, and this is also, of course, a reason to watch this film, but also what we may

not have said enough about, humor, the extent to which panfilov managed here, again, to talk about everything, well, quite easily, but about the absurdity, a very spectator film , that is, it is not particularly difficult, yes, this is not some kind of festival movie that you need to immerse yourself in in order to understand the director’s deep intentions, it is deep, but at the same time it does not scare itself away, does not push itself away. from the screen and , in fact, this is exactly the topic of our podcast, see isenshtein, these are films and the skill of directors that do not repel and not cinema is not for everyone, yes, but cinema is for everyone, just how cinema becomes such an art that it can attract absolutely any viewer to the screen, even the most unprepared, and this was a podcast of a witness from einstein, where two film historians, me, natalya ryabchikova and my colleague stanislav didinsky, talk about how, by whom, why, classic,

unknown, cult, famous, unprecedented soviet films were made, we are trying to help modern viewers watch these films with great interest, with great understanding and with great pleasure, see you again , thank you, see you again on the screen. this is news on channel one, in the dmitry sumskoy studio. hello, russia stands for universal security and lasting peace, built on respect for the interests of everyone, from large states to small countries. vladimir putin stated this at the plenary session

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