[000:00:00;00] ideas according to the script, again, then alexander will suggest organizing it all around some song, otherwise it’s the rainy season, then they’re traveling, suddenly there was an earthquake in ohaka, they’re going to quickly film a chronicle, so they’re driving around, getting drunk, studying , this is necessary, this is important, and esenstein was able to justify it, and get money for it , then they start filming, they’re sitting in the rainy season, of course, he reads books, of course, he doesn’t have any distractions, right? you don’t even need to watch films from your soviet colleagues, and you can finally express yourself, including in text, including in drawings , he simply draws hundreds a day, these semi-automatic sketches of one line, an incredible legacy, too, in many ways, automatically, that is, they shoot, they have it lined up like a living stein, then he will say that the film will remain unedited, which is why we will just say now, but it will remain unedited,

because editing is, in a sense, a thing of the past. that is, he was so keen on editing, but here he did not come up with any editing techniques in advance, and here he immediately built it under some of his own associative transitions, we can see how different eras are combined as a transition, for example, such an eccentric solution, this is beyond the dead at the end of this plan. here we see how he takes off his masks, negative heroes, there are skeletons, positive heroes take off their masks and there are living laughing faces, this is the same opposition between the living human principle and some kind of terrible suppressive machine that runs through all of his

work, which we see : potemkin, which we will later see in nevsky, in general, here the structure is rather not so much a frame-wise montage as a montage of certain such short stories. in particular, we can probably watch the prologue of the film, when it shows, in general, the image of eternity, these eternal stones and people eternally making their way along them. the inhabitants of the land of sacred ruins and huge pyramids still retain the character and form of their ancestors. among pagan temples, sacred cities, in the kingdom of death, where the past still dominates

... in the present, human faces are similar to those that they are carved from stone, for stone figures are an image of ancestors, mexicans, as a symbol reminiscent of the past, a funeral rite among dead monuments of the past, an image of complete enslavement before the idea of ​​death, the biological, physical end of man.

it seems to me that what is important here is not only how he sees, combines, everything, the whole.... the history of mexico in these rituals, in these landscapes and so on, it is also important here, this attention to art, yes, here we are talking about ancient art, but modern art around isenstein mexican art, there are the same avant-garde artists, and he communicates, cannot help but communicate, naturally, with david siqueires, with diego riveiro, with frida colo, he revolves in this, he spins in this, he cooks in this, and this of course is his too nourishes, but there were no such people in hollywood. or he didn’t feel, yes, he didn’t see them around him, because maybe they were in new york, in mexico they were getting closer, everyone knew each other, and he was also present in this, and of course, he didn’t feel very i want to come back, already at sinclair's money is running out, then he makes, it seems to me, not a very smart move, he writes to moscow, to the state data, trying to demand money, his royalties for translations of his works, and then the story begins to unfold, when suddenly, well, maybe not suddenly,

but at the next moment they remember that the main director, author, armored potemkin is wandering around somewhere, he is in mexico, in mexico , by the way, the actors have to return without finishing filming. this composition of several short stories about different states of mexico, let's say, should have end with a short story about a woman, a soldier, who goes first for one revolutionary army, then for another, there is a sopata, villa and so on, but as a result this novella was supposed to be a kind of short story about the image of mexico as a whole, through this woman, the short story called the soldier , it was not filmed, in general, without completing the filming of the film, without editing it in any way, she goes from einstein to moscow. in moscow he hopes that they will send him material, because in general, he assumed, and

here in general he does not mind that they will send him, he will edit in moscow, then the rights will be inside the iron curtain within the soviet union, the rights to distribute the film will be with soviet official government bodies, and throughout the rest of the world, where there is great interest in ezenstein’s work and there is commercial potential... sinclair and he will have the rights in this way he will return the money that he invested, that he collected, but singler does not believe it and does not agree to send the material, and decides to return the money by screening pieces of this material in america, giving it to other editors, at the beginning in the thirties, two full-length short films were created, at the end of the thirties a whole series of short films, though in the end... such a journalist, a lady near kinin, will make her version, in general, well, at least she at least somehow knew the idea, so her version in general - then the editing one is not the worst, that is, if you were an independent or

semi-independent director in the thirties, you could afford to buy a little footage from einstein and edit something there yourself, the easiest way, of course, was to use the short story where the plot of the short story magey was worked out, yes here she is. we have it, we can take a look too.

they forgot about maria, the inexperienced girl does not know what her fate is. actually, the tragedy that awaits is that everyone could edit it, except isenshtein, it was such a system, they film it, they send it to los angeles, they have their own man in the laboratory, whom tise trusts, a russian, who shows it, as needed, he sends them the material, they see it all, but they can’t do anything about it, ezenstein saw almost all the material, but couldn’t sponsor anything being in mexi before he, he looked a little more in new york and even showed it. by the way, he wrote this down in his diary, but then he goes to the soviet union absolutely expecting that the film will follow him and that he will finish it; for a person who created previous films

in the editing room, it’s almost physical pain to not finish it, and we we know about this from memoirs, and from people with whom he later communicated, or he writes in his diary, as soon as he arrived, this... spring, summer of '32, he writes in diaries, shklovsky talked about how shot himself, mayakovsky, this was back in 1930, yes, noshtein seemed to have missed it, they only told him in letters, mayakovsky shot himself because he called on the phone, wanted to talk to someone, no one answered, it seems esenstein writes down, then he writes, a pregnant cat is dying in the kitchen, he cannot give birth to kittens, it seems that, in general, for him... this trauma, it was not resolved in any way, since he was never able to access this material until the end of his life , at the end of his life, by the way, he outlined, in 1947, he wrote how the film could be structured, given that the last short story was not filmed,

how to structure it differently, and in the fifties there was no longer a zhivozenshtein in america, the museum of modern art in new york, jay leida, a man who started out as an avant-garde director in america. who came to the soviet union, taught soizenstein and returned to the usa, there he propagated soviet culture, not so much even propagating it, but actually studying it - in a serious sense, that is, he - it popularized. and wrote books about soviet cinema, and he just collects all the material, it goes to the museum of art in new york, and leida builds something like what we would now call a presentation, that is, individual frames with explanations, what kind of shot is this, but for about eight hours, well, less, after all, and he comes to the soviet union in the late fifties, it’s already thawed, so he can come, and he shows a movie in the house in vgik with his comments, everyone

understands that this is not a legend that movie was filmed and that something needs to be done about it, in general, after this negotiations begin, and the museum of modern art in new york makes a copy for itself, and leaves it, and transfers the original, the negative itself, to the soviet union, where - alexandrov, the only surviving member of tise’s film crew at that time, died ten years earlier in the seventies... alexandrov edits his version, in general, of course , maybe this is not an ideal reconstruction, but at least he himself is there appears in the frame, and this is such a comment, on the one hand, this seems to be alexandrov’s memory of the trip, on the other hand, and his story about the film, by the way, we can look at the already elderly

alexandrov looking at the material. actually, yes, of course, this is how grigory vasilyevich’s fate turned out in a mirror image, he started with esenstein and esenstein he ended his creative career, but it seems to me that the images also need to be mentioned, because he very interestingly goes through this story with a dotted line, in fact, he started out in new york, but then he listened to esenstein’s lecture in america and realized that he needed to study with esenstein, ezenstein went to mexico, returned to moscow and leida came there. entered that workshop, which actually became the main one for isenstein, and with the help of teaching, he, in general, came out of this drama, even the tragedy with mexico, we have a memory of the same leida, how he was such a boy who came from a completely different culture, he says: “sergei mikhailovich,” and what are you teaching all this, don’t make a new film, according to his later words, he grabbed his stomach and said, how can i give life a new film if i haven’t given birth to the previous one yet? and leida writes down what a fool i was, that i reminded him of this at all

, and for leida it was also such a living connection, yes, and he completed a course with the master, but he did not stay in the soviet union, did not become a director, returned, and then he not only accumulated information there, he translated the text of isenstein into english, he was the person who published isenstein’s first book, what isenstein wanted to do for so long, he even went to europe with a draft of the book, he wanted even then in that year to release it, but it didn’t work out, it didn’t work out, it didn’t work out, another new book, not here 129th, yes, a new film, in general, it’s very interesting that this image that he brought up in a conversation with leida, he’s like this very biological in some sense, and this biological principle in a person , which is also very important, isenstein discovered in mexico, in many ways, so his first short story was supposed to be devoted to just such a natural sense of self in a person, in general. .. i must say that

i am optimistic, the only thing in the situation with material - this is that it lives and from it many people, then they edited different ones, there may be options, for example, film director oleg kovalov in 1998 edited sergei zinshtein's film mexican fantasy - this is its own interpretation of this material, there may be other interpretations, actually, since now in digital culture this is all much simpler, another thing is that here, of course , it is important with what... a person approaches this, because there may be some distortions here, in general quite ridiculous, and we we know how one of the filmmakers , turning to this story, could turn it inside out. another thing is that this material, as a result, thus exists like a film from einstein, precisely the material, these frames that we see, they pass from film to film as quotes, as quotes from poetry, in general, in one arise in one place, arise in another place, and as certain aphorisms. and - one way or another we can

get to know them from alexandrov’s assembly, from oleg kovalov’s editing version, from the film, which mary seaton once made in america in the late thirties, finally, based on this presentation by jay leidy, in general, in its various forms this film continues to live, but it seems important to me that - esenstein’s writing is largely inspired by this foreign trip, he began to work more with text. and here not only was the birth of his important theoretical book, a method that is generally as basic as he himself defined it, but such a foundation of problems, that is. the support that for his theory, yes, with on the other hand, when at the end of his life he will write memoirs, simply a wonderful literary work, which, i think , our viewers, if anyone has not read, will read with pleasure, this book is not built like an ordinary memoir, where a person describes his life sequentially, it

is dedicated to only two periods, childhood, when he accumulated impressions in general, such a story of accumulation of impressions, this is a story, a person learned to think in images, while it is told absolutely vividly, laconically, in short separate phrases, on the other on the other hand, a foreign trip, the second period of accumulation of impressions, it turns out that in fact we can take from oizenstein not only from the finished study of him as finished, but also from what he just conceived, from what he outlined, when they say, here actually, why was everyone running around isenstein so much, why was he so interesting, why was everyone around him... why was he invited everywhere, why is he so important, why is he so important now, what did he teach us, but it’s very difficult to answer, because what about editing, they edited it before it, they edited it after it, yes, he showed very important editing techniques, but this is not the only thing , yes, he talked about sound, yes, he looked at color, yes, he spoke about culture, how different layers

of consciousness are combined there, but he is something like newton, who invented, did not invent . expressed, yes, expressed, there is gravity, there is the law of universal gravitation, and we simply continue to exist in this world, physically, simply, we don’t think, oh, newton came up with why this is important, he just set the parameters in which we are really present, for me isenstein is the kind of person which has so reassembled cinematic montage that as we understand a work of art, then how we create it, if we say, we talk about why watch, now the film hail mexico, then my answer would be in order to understand, how something is created, yes, how it can not be fully created, how it can then exist on its own, how on this journey we see, well, we see mexico,

for example, and ethnography, we see not just what it is, we see it through certain eyes, we see her through tisa's eyes and through esenstein's eyes. when the film had not yet been edited, when people saw other people’s edited versions, they said, but it ’s all the same, we understand that this is isenshtein, because we see how the shots are constructed, it can’t be anyone else, it’s her work manifests itself regardless of how it is edited, but we see the world through the eyes of these people, and we can, at this stage, and of a half-finished film, edited later, somehow penetrate... the workshop into the kitchen, this, in general, is just incompleteness, but we know from einstein from texts, from photographs, from memoirs about him, we know what a living figure he is, and in fact, when we see that this material has not yet been edited by esenstein himself, and despite the fact that it

will never be edited by esenstein himself, to unfortunately, but nevertheless, we are present all the time, as if next to him, that is, by doing so we find ourselves really involved... in his laboratory, in his creative process, and this is probably the most interesting thing in this case, this there was a podcast ezenstein 125, film historian natalya ryabchikova and film critic artyom sopin, goodbye, hello, dmitry bak and here is a literary podcast called let them not talk, let them read, we talk about different topics, about different writers, about classics or about those who are close to us, but today we are talking about an author who, on the one hand, has passed away quite a long time ago, on the other hand

, he is with us, he is nearby, this is sergei sanovich yesenin, a very popular poet, many say that he is a national poet, he was noted not this year, but earlier, this year we just everyone since we remember yesenin with a special feeling at the beginning of autumn, when he was born, today we are visiting the general director of the museum of the reserve sergei sanovich yesenin, boris igorevich joganson, hello, hello, and today we are also visiting andrei veshkurtsev, an actor of the moscow art academic theater named after maxim. performer of the role of senin in the sensational play called mina, we will talk about yesenin from the point of view of the museum. i’ll ask you a very simple thing, what is

sergei yesenin charging us with today, exactly charging us, what is the main thing in it, do you think? the main thing is that the great russian poet, sergei aleksandrovich yesenin is understandable and close to a wide range of readers, those who appreciate his appeal to nature, but also those who provide food for strictly... poets, but what if i say this , that you can’t sing them right away, if i asked you now, completely improvisationally, let’s sing two lines there, you’re my fallen maple, we can, maple, you’re my fallen, maple, icy,

bending over under a white blizzard, well, it's an experiment it was a success, we even sang four, it was difficult to stop, but no offense to pushkin or lermontov, but not right away, somehow i’m not going out onto the road, or i remember a wonderful moment, beautiful romances, i understand what you’re talking about dmitry , the point here is, probably, that there are two definitions, a poet from... this is very important , but a folk poet is a folk poet, we can certainly include alexander sergegevich pushkin, vysotsky, probably vladimir semyonovich among folk poets vysotsky, mikhailovich, lermontov, sergei aleksandrovich yesenin, and i probably wouldn’t take the risk of expanding this list very much, despite the fact that my god, my god, how wonderful our... homeland is rich in magnificent, wonderful, brilliant talents, derzhava , ilonosova

through the entire golden age of russian poetry, through the silver age, through the sixties to our wonderful contemporaries, so we can say that sergei aleksandrovich yesenin is certainly a poet from the people, but who has definitely become a people's poet, let's turn to the photographs and yet this photograph, i think that you boris, will be able to comment on it, moreover, this is a group photograph of young residents of the village of konstantinovo, we see sergei alexandrovich young in a cap, in the middle, in order to insert him on a level with the girl he liked, uh, climbed onto a bucket or some other stand, how do you know, is this a legend or for real? well, we figured it out after all, yes, since we take this kind of facts seriously, the girl

is noble, of course, beautiful, that’s all, against the background church of the kazan icon of the mother of god, on the right is the estate of the parents of sergei aleksandrovich yeseninan, where he was born and where he spent his childhood years, where he came later in his youth, when he studied at the spasklepikov second-grade teacher’s school, when he left... well, that’s how since the next picture is of the kekov school, its students, yes, i understand correctly, yes absolutely correctly , yesenin is standing third in the last row , he was such a serious young man, he had a lot of friends, with some he was in such highly artistic correspondence, highly moral, shared his poems, so i look at this man in the top row, third from the right and involuntarily turn my gaze to veshkurtsev,

many say that andrey, you seem to be perceived as yesenin, did you look at these photographs when yes, of course, i i watched to get the role, i naturally didn’t transform myself, i didn’t try to trick myself in any way, probably someone saw it by accident, i still think that the most important thing when they give a role is for the gut, for the abilities , for talent, but most interestingly, that personally it seems to me that i am becoming like yesenin, exactly when the moment of the game occurs, this is wonderful, well - boris, i am turning to you again, how much literacy, on the tour, when sergei sanovich was still very young, was widespread, in the ryazan province in particular in the village of konstantinovo, things were approximately the same as... in all more or less large villages of the central part of the russian empire. the zemstvo

school in konstantinov operated since 1879 and taught basic arithmetic there. they also taught the russian language, calligraphy, the law of god, a few more subjects, they studied there, as a rule, children, they studied in different ways , at the same time adults, what percentage, well, roughly speaking, every second person, as a rule, well, probably 90 percent, but already yes, yes, after the second or third grade the percentage became smaller , yesenin graduated from the zemstvo school very well, but he stayed for the second year , he stayed for the second year because of his behavior, even then he was, well, probably not yet a hooligan, not he was a brawler, he was a guy, he was such a guy, it’s all clear, let's remind our interlocutors that zemstvo schools are a relatively recent innovation in russia, yes, this is a reform already in the seventies of the 20th century, that is

, relatively shortly before the birth of sergei sanovich, that is, this is still the case. something that was perceived as new, positive, yes, probably innovative, but these , well, nevertheless, several decades have passed since their introduction, so the seventy -ninth is the appearance in konstantinovo, of course, they appeared in russia a little earlier, so they were there wonderful teachers to whom sergei alexandrovich remained grateful all his life, his spiritual mentor , priest smirnov, worked there, to whom he... addressed in his poems, considered him a very important person in his life, yeah, it’s clear, while we were talking about what well, it’s clear without words, well, an absolutely brilliant person, a nugget, well, a treasure of the russian land, which simply grew directly from these priogsky places, then, that’s what i’ll ask about, this is

the combination of a city dweller, smartly dressed. uh, stylistically impeccable person, and a person who maintains a connection with the village, now we see him in a new look, after all , the rural remained uh, authentic, or was it stylized, you know, here - there are different points of view, uh, to me it seems that one can only speak very conditionally about rural - such a predominant direction in his poetry, look, in the twelfth year, sergei yesenin leaves konstantinov and goes to moscow, in moscow he is, how old is he at this time, he is 17 this year years old, 17 years old, 17 years old man, he enters the artistic and musical circle named after surikov, attends lectures at

the shanyavsky people's university, of course, he wanted this, he. achieved this, and he used this time to get an education, and then, well, what can we say, where is the rural way of life and where is it, life in petrograd at that time, although of course, he played there such an operetta peasant boy, he still played a christian boy, of course, according to the numerous memories of interested parties, who are so ironic described, but for all that they did not do justice to his unconditional talent, and then moscow, and what can we say about the period of imagism , well, that’s a little later, yes, there are already concerts there, there is a completely different story, but still this is a combination, rural and the urban one is very important, i agree with you, another thing is this subtle state that he carried through

all his poetry, the feeling of russian... so, we continue our conversation, we are talking about sergei alesanovich yeseninin, about the brilliant russian poet, and we are talking today with the director state museum of the sergeyevich yesenin reserve, boris joganson with the actor of the moscow art academic theater named after maxim korkov andrei veshkurtsev. i am turning to andrey again, but this is very important to me. i should ask you specifically, are senin’s poems, well, after all, simple, densely pushkin-style, or do they have something in them that you think, as you think, there’s no need to show any expertise here, just how you perceive them, well it seems to me that yesenin’s poems, poetry itself, are

probably some most extreme form of expressiveness, feelings, thoughts, and yesenin made his way to a new stage in poetry... in language , yeah, but to say that they are simple, it seems to me, is a good word, simple, not in the sense of that , that this is some kind of, yes, primitiveness, they are simple in a good sense , at the same time they are incredibly difficult to decipher, to describe, and as an actor, it is generally very difficult to read and intone them, well, intonation is not for an actor, come on, excuse me, yes, yes, yes, and it seems to me that yesenin is captivating with his youth and energy, youth and energy, why look at today, how many young people we have, you can see yesenin in everyone , now 100 years have passed, and we have the same active, same talented, unrestrained guys

that sergei yesenin was then, they want to live the same way, they want to give themselves, they want to do everything, this energy and youth, it seems to me that it is very understandable and for our time, too, a wonderful idea, yes boris, it seems to me that, uh, nothing to add, he formulated it wonderfully. maybe you can read it, that's all living, has been specially noted from an early age, if i were not a poet, then i would probably have been a swindler and a thief, thin and short, always a hero among the boys, often, often with a broken nose, i came to my home to meet the frightened... .to mother, i was talking through my bloody mouth, nothing, i tripped over a stone, it will all heal by tomorrow, and now

, when these days have gone cold, a boiling water ligature, a restless, daring force, spilled onto my poems, a golden pile of words, over each line without end, reflects the former prowess of a bully and a tomboy, as i did then brave and proud, only my new step splashes, if before they hit me in the face, now my soul is all in blood, i’m not talking to my mother, into a strange and laughing rabble, nothing, i stumbled, but a stone, that’s all for tomorrow. everything will heal, let’s continue this

line of mine, well, not a provocative line, well, it’s still an attempt to look at yesenin, still not from such a standard side, but somehow see the problem here, after all, he’s a bully, his face is covered in blood , well, doesn’t a person flaunt this from a certain moment, but... no matter how, doesn’t he succumb to this appearance of his, well, how an actor, it happens, an actor becomes very famous for some role and they enter the series, as if they are starting to play not the role, but themselves in the previous role, but there is no such freezing here, this is generally my question for both of you, well even if this exists, then why, when it is found, is there a beautiful, poetic, brilliant embodiment. then this won’t be, it remains in time for centuries, this is a crazy, mad, bloody dregs , something like death or healing in stitches, lead me, lead me to him, i want

to see this man, you know, well, this is wonderful, maybe it’s so wrong to say, but still i feel sorry for ranegonin, sorry for that yesenin, who was pushed aside by him, of course, well, as if a little into the background, his early poems, conditionally early, and immature poems, especially those , which were included in the collection radunitsa, which came out in two editions, in the sixteenth year in the eighteenth, if i’m not mistaken, but it seems not, there’s no brawler there, there’s no muzzle in the blood yet, in life he’s already there was, as we know, a little later everything happened, both the mazhenitsa period and my kobatskaya, and then pugachev, here and then about but still here are completely different lines,