[000:00:00;00] romantics, romantics, you know, recently, we’ve been singing this song, we’ve been singing this song, a young man came up to me and said: “thank you, valery milach, for your songs, especially for the ldpr, i was so surprised, i didn’t say anything wrote for the liberal democratic party in general and there weren’t even any requests from that side, but it turned out that he meant the abbreviation, love.” girls of simple romantics, you understand, so for our tv viewers, together with dmitry and sergei asokin we will perform with pleasure love girls of simple romantics, i wrote the lyrics to this song, so i’ll be happy to perform it for you now. in the fullest season and the strongest hurricane,

ships sail heavily at sea. maybe that’s why the moriks understand what love is, these brave ones will rise up and trouble , no matter what happens to them, the star helps them to love and the girls of simple romantics and moyaks, leave the girls, dmitry dyuzhev in the program of the melody of my life. thank you, dear tv viewers, for being with us, if you missed something, look at the website of the first channel 1tv.ru, it was

the melodiya podcast. life, thank you, valery svetkin, hello, this is the podcast of the witness lizenstein and its hosts, i, film historian stanislav dizdinsky, and i, film historian natalya ryabchikova, why are there witnesses? sergei ezenstein is still one of the largest figures in the history of russian cinema. and everything that makes up this movie seems to revolve around it. witnesses - this is us, we are witnesses of how russian cinema was created and continues to be created. we want to make it pleasant, interesting and useful for modern viewers to watch classic films. popular, little-known, forgotten films

of russian cinema. and today. let's talk about gleb panfilov's film the beginning, which was released in the seventies, 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 it in the fate of panfilov, churikova and soviet cinema in general, and panfilov himself, our hero, as a director and as a co-writer of the script, the person who launches, of course, this story, but it launches on his first... year, which is called there is no ford in fire, inna churikova already plays the main role, panfilov comes to this film as a not very young man, and his story, the story of gleb ponfilov, is also important for how the film turned out, because he started working an engineer at a factory, not at all in moscow, became interested in cinema as an amateur activity, yes, he started working on

television, entered the correspondence course... he later came to the camera department , finished the higher courses in moscow for screenwriters and directors, and was the first to actually the film was not the first for him personally, of course, and this story was read by him in the magazine of the year thirty-nine in the magazine red novo, it seems , and the story was - a story about the civil war about a nurse on a train, who was also an artist and was the author of this story thirty ninth year? evgeny gabrilovich. here. who is evgeniy gabrielovich? this is the legendary soviet screenwriter. well, actually, the story with which they began to work was a story about the civil war, and this topic came up very often in gabrielovich’s work. in general, this was a rather important point, a civil war, this was the beginning of a new world. the beginning of a new world, yes, that is, the moment when, in which

some soviet was laid. however, i would say so, from which in the future all young people who tried to live and preach some principles in their lives were based. that is, for this story, which was written by the screenwriter... of the previous generation, panfilov needed a new actress, and somewhere in some television program, it seems, he saw inna churikova, and perhaps their acquaintance looked the way it looked in the film, the beginning, the acquaintance of the director and actress, but mostly her roles were small, for example, in yashaga in moscow, how to draw horse, how to draw a horse, yes, yes, she was one of those heroines of the creative competition in which nikita mikhalkov’s character, who drew a horse, participated. for the race, there were two teams, in one of which the heroine appeared, it seems you won’t notice unless you specifically look, but at the same time it is still noticeable there, that is,