friend, cameraman, pyotr todorovsky, his own generation, but todorovsky refused to film the ilich outpost, because he decided to switch to directing, in fact, he became a famous, wonderful, magnificent director pyotr starovsky and then khutsiev was advised margarita pelikhina, a female cameraman, then for the soviet union is a rather rare phenomenon in feature films, in the sense that there were actually a lot of female cameramen, but they worked either... as second cameramen with their husbands or with their former teachers from a geek, or they worked in documentary films, that is, they were somewhere on the periphery, and pelikhina was already a really famous director of photography, she worked with mark donskoy, one of the classics of soviet cinema, here she became a real co-author of khutsyev, because they were constantly thinking, how could they film moscow in such a way, so that moscow would become not just a place of action, but...

a fourth friend, whom they threw out of the really fourth friend, the script, so that moscow would be filled with this spring, summer, in fact , the seasons change there, but always with some very fresh air, from the beginning to the end, there were shots that they shot at night, they had to shoot during the day so that the lighting was like night and pelikhina succeeded superbly, it was necessary to film people in a crowd, how to film people in a crowd with equipment, far from a cell phone, yes, how do you place your characters in a real crowd, so that it would be like a documentary filming, and then margarita pilikhina cut out in a sports bag hole for the lens, put a small camera with a small short-focus lens there, yes, next to her was an assistant who was carrying a battery, and somewhere in front of them in the crowd were actors and a director who... had to give orders when

to start playing film, they had such a sign, he took off his cap, i don’t know how they saw him in the crowd, because he was very small and thin, but somehow it happened, and thus pelikhina took a lot of shots with a hidden camera, such an immersion in space on there was no documentary authenticity of feature films on the soviet screen before, this is what appears in soviet cinema with khutsiev’s films, we then see in july rain, in some other films, this will perhaps become a commonplace, as the end of the decade, but all this would not have happened if it weren’t for the film from ilyech’s outpost, or i’m 20 years old, because the audience of the 60s still knew it under this name, why? because the film had a very sad fate, even before it was completely finished, came out on the screens, with him, like me... you

talked a lot, and you didn’t always talk in a positive way, because the final scene, where the main character spoke with an imaginary interlocutor, so to speak, with his own father, who already died long ago at the front, whom he personally never knew, and whom he imagined in his imagination as some kind of ideal such person, well, that is, it is clear that this is a classic way to convey internal dialogue on the screen. yes, this is a way to show how, what our character has in head, but this scene was taken quite literally when the higher authorities watched it, and they began to say that in general, as it were, that this scene was very doubtful for ideological reasons, there were actually two scenes with fathers, it is clear that the problem of generations or the topic of generations khutsiev is very interested in; in principle, he is interested in traditions. and the transfer

of traditions, the way we preserve culture, multiply it, in fact, that’s why there was an evening at the polytechnic, that’s why there are so many poets reading on camera, somehow suddenly, yes, either pushkin will be read, or mayakovsky in a wonderful poetic scene, and although this character of an older worker, who was supposed to help these young heroes find their place in life, has disappeared, two fathers have appeared, anya’s father, sergei’s girls, who... . such, ultimately , some kind of nomenklatura who believes that young people who cannot find their place simply do not understand the beauty of their life, that they need to somehow go with the flow, need to be like everyone else, and so on, arises the conflict between the main character and the heroine’s father, and - then, actually, yes, this is a scene with the ghost of the father, and we are from an ordinary moscow communal ... apartment

without any transition at all, well, almost like filini, which is a linear montage, montage, yes, we end up in a dugout where... it’s not necessary, but what is needed? live, but how? how?

how old are you? 23, what about me? well, how can i advise you? it is precisely because of this phrase, as i can advise you, that an incredible fuss broke out. at the meeting of nikita sergeevitch khrushchev with the intelligentsia, it was at the beginning of sixty-three. he attacked this particular film , this scene, well, he attacked a lot of things, but this film was singled out separately as a separate category of particularly bad examples, because in this father’s answer he saw a direct challenge to the communist party in general,

because it turned out that the younger generation , which our main character represents, turns to the older generation for advice on how to continue to live, and the older generation avoids answering and says that they will not advise anything, that the new generation itself, the hero himself, must decide how to live further, and this idea in sixty-three seemed not only radical, but revolutionary, because it called into question literally the entire foundation, we have been passing on experience from grandfathers to fathers for decades, from fathers to sons to grandchildren and so on and so forth.

began to strictly reprimand him for a very bad film in his opinion from the ilic outpost, but the person confused him, he just didn’t know by sight what a hutzy looks like, i don’t understand, you’re 10 years old, and you’ve already participated in the world championship, wow, you you do it like this, but if you do it like this, you have to do it like this, if there were three japanese, extra, if there were. four, three, two , and there’s also a stake, you can cry , you turn around quickly, you have 3 seconds so that no one notices, i tell you the recipe, add ketchup, mayonnaise,

mix, you get ketchunese, you’re about to laugh at me, shooting from what , from a bow with legs. the best new season is tomorrow after the evening news, my kalinka, my raspberry berry in the garden, what, where, when, the final of the year, tomorrow is the first. this is a podcast witness lizenshtein, which is led by us, film historian stanislav didinsky and natalya ryabchikova. and today we are talking about the film by marlin martinovich khutsiev, ilyich zastava or i am 20 years old. actually, it was decided to remake the film in some way in order to

smooth out this confrontation between generations. shpalikov , the co-author, did not want to redo it, he could not stand it. khutsiev was ready to make redundancies, shpalikov was ready up to a certain point, and then he couldn’t, well, he couldn’t, he couldn’t stand it, what else is the main problem, that in general there’s a conflict the generational one was already visible at the script level. and many people noted this, and even when we read the transcripts of artistic councils, at which director sergei apolinovich gerasimov, personally with shpalikov, discussed some individual moments of this script, it was clear how difficult it was for them to find a common language, it’s just that these people do not just different generations, different decades, they just think differently, and all this, of course, later manifested itself clearly in the script, and shpalik in general was not the kind of person who could be forced it takes a long time to redo something. after all, after the second or third, again, like not to say the draft of the script, he lost all interest

in the project, he could not force himself, we will see this later in further films in his career, so khutsyev has to finish everything alone, he is very takes offense at shpalikov, believes that he abandoned him and, moreover, abandoned him for the sake of a film that will be very similar to the outpost of the lich, i am walking around moscow, the same remarque scheme, three friends and a girl, shpalkov goes to the musfilm together with respond to the accounts of khutseev’s film , we have a completely different plot here, we

should not report in any way and should not correct those mistakes in our new film, we just have a different film, but khutseev thought differently, he just thought that this was about the same the same film, many thought so, when the film “i’m walking around moscow” was released, many viewers, former or current friends accused danelia and personally accused shpalikov of having acted very badly. well , we couldn’t wait until the outpost was finished ilyich and after that release your own film, but unfortunately , it didn’t work like that in soviet cinema, you didn’t decide as a director what your film would be like in the end, it was approved by the artistic council, and it was approved by the state film committee with a list of rights that were required from contribute to you, you could not help but contribute, because otherwise the state bank, or rather the state bank, would lend to the film studio, give it a budget for filming, and this loan had to be repaid, it was repaid. state cinema, and for state cinema to accept the film, it must not there were no complaints against him, otherwise

the entire film crew and the entire studio would not have received a salary, so very often any director found himself in such a hopeless situation, and he would simply betray his group if he agreed on some big principle for the sake of small concessions , very often people sacrificed particulars in order to preserve the whole, this principle was very often manifested in biographies, in the creative biographies of very different soviet directors, well, actually khutsyev needed...

how old are you, 23, and i’m 21, she stayed, that is, in general, the minimum that caused irritation was gone, and then a wonderful phrase from my father was added, who said , when leaving, how i would like, you will now go for a walk around moscow, how i would like to also walk around moscow, moscow a wonderful city , that is, absolutely such a thaw phrase, as if from a film i’m walking around moscow, a world city, this is actually the problem that was stated in the film, beta paternity, it has actually been preserved yes... there is such a wonderful concept at russian film critic lev karakhan

, who believes that in general this tradition lasted until the film return, which was released in our era, and there is the same problem, the father returns from nowhere to two children and then all the collisions associated with his new absence, when he dies as a result of an accident, and this, in general, well, looking at the entire history of soviet cinema, more precisely the post-war history of soviet cinema, we see how... some of khutsiev’s ideas then appear in poetics, in plots very many films. but for khutsiev it was important in this scene to really just show it, and this was noticed by those critics who were friendly to him about the film and to him in general. at work, that you really need to think with your own mind, it’s logical when the film, shortened and remade, was finally released, and it was still kept for a year, well, it’s not exactly on the shelf, but it was accepted in sixty -four, and the audience they saw it only in sixty-five, this waiting, but it somehow took the edge off of what

khutsyev wanted to say, and this film, yes, maybe did not... and one of the critics of that time, tatyana khloplyankina, later, having written a book about the ilcha outpost, recalled that she asked herself if she would do this, if she could write such a thing, it was also a very subtle moment , yes, pretend to be a working spectator who criticizes or interview someone who doesn’t like the film,

somehow deal with it somehow, then the magazine soviet cinema, for example, which...

much later, yes , critics, somehow in hindsight, art critics, film critics, mass audiences back then in the sixties, but film historians have recognized this film as one of the most outstanding works of its era. and the next chapter in the history of the film zastava ilica i’m 20 years old, we are so used to talking right here with the double title zastava ilica i’m 20 years old. occurs in the mid-eighties, when after the fifth congress of the union of graphic workers in the union.

he takes those materials that have been preserved, they may not have been in the same quality, yes, ideal, which was printed for me 20 years ago, but he restores and even seems to make it a little longer than it was his the original director's cut, and this film is released again as a outpost or yach film, so we really get two versions, the official version and the director's version, despite the fact that he later said that he really liked the scene reshot with his father, that he made it better than... it was, nevertheless, he returned to the original version and still made a long version. the question arises: which version should i watch now? firstly, you need to read the script first, i think it won't be unnecessary with this film, then watch the version that was released in the sixties, and after that watch the full version, because then, perhaps,

the director’s, author’s intention will be revealed, which, after all, is absolutely 100% for khutsyev. world, it was still not possible to show all these problems on the screen, very often we argue which version of the film is original, this is the author’s, the most real, for example, andrei rublev, andrei torkovsky, this is the theatrical version that was released, that version , which showed in france at the cannes festival or some other one, which he shortened, added, because in general the author always, any author of any work, text, film, painting, strives to retroactively somehow improve it, think it through, further comprehend it . but still, what is that point, that moment when the work is presented to the public, when everyone perceives it in the form in which they first became acquainted with it, or in later editions. this is always such a debatable question, so the best film is probably the film which takes shape in the viewer’s imagination after getting acquainted with different versions of sources and everyone can choose the one

that he likes best today. and this was a podcast of witnesses from einstein, where we, film historians natalya ryabshchikova and stanislav didinsky, talk about who and how created cult, classic, famous, little-known, forgotten soviet films. and today we talked about such a cult film, which is known under two names. lich outposts and i am 20 years old, all episodes of the witnesses from einstein podcast are available watch on the website of the first channel 1tv.ru. thank you and goodbye. hello, this is the end times podcast. and today i, evgeniy.

very noisy, this is when several currency traders , very famous people who bought foreign currency from foreigners and resold it, then there is one nuance here, of course, very significant, it must be clarified that the official exchange rate of the ruble to the dollar was set by the state, and it had nothing to do with with the real situation, that is, then in the fifties and sixties, the dollar exchange rate fluctuated there from... 65 to 90 kopecks. while how on the black market a dollar was worth much more, that is, i don’t know how much it cost in the fifties, sixties, seventies,

but i just remember when i started working as a journalist, that is, the mid-eighties, a dollar cost 4 rubles on the black market , then 5 rubles, and by the end of the existence of the soviet union he was already there. cost on the black market is up to 10-15 rubles. the official exchange rate was still less than the ruble, so naturally foreigners were very tempted to sell currency in order to have the opportunity to buy something for rubles, sell currency on the black market, this was done by currency traders. another thing is that why the forging is connected with currency, because the forgers, or as they were called in slang, that ’s what they called themselves, by the way, irons, they first started with... buying things or some kind of items, even equipment items , and then they moved on to the most delicious and most dangerous thing - currency trading, because there,

of course, the exhaust was much more significant, so here is the rokototov case, several currency traders, the most experienced, were convicted who was yan rokotov, they were given 8 years each, as far as i remember, then nikita. sergeevich khrushchev, when he was in west berlin on a visit, he learned from journalists and from people with whom i talked that there is a very large-scale black market in moscow and that they were interested in him, they asked about this rokotov and he was indignant at that , that in general there are some people who break laws and who are known in the west, when he returned to moscow, he demanded that they... have their punishment toughened, they were given a term of 15 years, but even this seemed insufficient to khrushchev , some workers from some factory, supposedly

, well, we... how all this was done, that is , they wrote a letter, which he voiced at some regular plenum, and it was replicated in the party newspapers , they were outraged that how could this be, there are people who disgrace socialism, the country, they are only 15 years old, they need to be shot, and he demanded what was applied, capital punishment, to this trio there was resistance from lawyers, because that’s not how things are done, well, let’s say you... cross the street on a red light, well, you know that you are taking a risk, you could be hit by a car, in extreme cases you will be fined, i don’t know what fine, so can you imagine, you cross the street on a red light, you you were detained, they gave you a fine , the next day a law comes out that now you will be shot for this, you will be shot , you know, if this rule were in use at the moment when you decide whether to cross over or not, you would have thought 100 times, rather you wouldn't go to a red light if you knew what you were

i can... shoot, well, definitely not, so, of course, the people who were involved in currency transactions, before that, they proceeded from the fact that the maximum that they could face was 8 years, but here they were taken and shot, and they even shot that accomplice rokototov, who cooperated with the investigation, gave evidence, generally helped the investigation in every possible way, in general, for any lawyer, this is generally a disgrace, and khrushchev. put a lot of pressure on the prosecutor general of the soviet union, on rudenok, saying that your position is not for life, in general, that this is the measure that is required. by the way, ironically, rudenko was the only prosecutor general in our country who remained in his position until the day of his death, that is , his position turned out to be for life, oh well, the song is not about him at all, in short,

it was a big, very big deal, very a lot of. in the west, in the west, even, in my opinion, then they issued some kind of commemorative coin in honor of jaan rokototov somewhere and almost opened monuments, it turned out to be an ugly story, so i won’t talk about currency traders, the most famous forger, whom i knew, it was yuri shmillich aizinshpis, but i didn’t know him as a currency broker, because he served time on these charges, for a total of 17 years; i already talked about him as a music producer. but he didn’t tell it in the context of fartsovka, he told me the most interesting things, because i, frankly speaking, thought that the blackmailers were these irons, they ironed along the old arbat, they ironed along the lines of gum, they ironed in tstsum, in the children’s world, and in general in those places where foreigners actually hung out, except

moscow force workers were still in... they bought mostly clothes, that is, jeans, because having jeans in the soviet union was cool, they weren’t for sale, not everyone had them, and if you managed to buy jeans, well in general, you are already a fashionable guy, you could buy belts and watches there, you could dress from head to toe,

they were different. the selling groups, the western ones , stood apart, working with them, relatively speaking, let’s say, the elite of the vortsovka, which was also divided there according to one country or another, the alers, that’s what the italians were called and alers were also the name given to the blacksmiths who worked with the italians, these were most often southerners who looked like italians , by the way, for some reason there were no girls among the blacksmiths at all, that is, they were on... there were somewhere, but this some units, they sometimes helped, for example, force workers to get into this or that hotel under the guise of guides or translators, that a girl pretended to be a translator, force workers pretended to be foreigners, there were such interesting schemes, i won’t go into it, because i want to talk about shaping as a driver and the fashion industry in general, that is, as

shapers, as legislators. fashion , because they are the ones who are guided by their taste, what exactly to buy and what exactly to keep and sell, they largely created this landscape of the fashion industry... in the soviet union, by the way, many of the catwalk models of slava zaitsev, they were force-makers, and i don’t know, they came from force-forcing into models, or, being already models, they force-forced, because in soviet it was impossible to work in the union; farsovka, naturally, was not an official job, so most of the force workers, well, like the majority, all the force workers, they worked here or here, sometimes fictitiously just put their work book somewhere, because of course. they made money on the blacksmithing, they made, as they say, very serious money, and the sheetsmith earned more in a day than at his official place of work, say, in a month, and i don’t know anything at all about seamstressing in the sixties and seventies in terms of age,

except, perhaps, for one about the gambler, gamblers are the lowest level of shaping, these are youngsters, somewhere from almost preschool age , primary school students who changed. badges for chewing gum, chuin gum, gum, gum , that’s why they were called gum makers, not that these badges that they offered to foreigners were in short supply, they could not be bought, they could be bought, but firstly, it was necessary to know the places, secondly, in fact, a foreign tourist did not have time; he was brought there on an excursion there to bas, as it is in the slang of the black marketeers, that is, on a bus, they brought it, say, to the same vdnkh, where they admired something there and walked around and...

well, almost like a black marketeer for 150 rubles. why was i almost a blackmailer? because i had a magyar friend, klara, we were in a friendly and romantic relationship with her for 2 years, and she asked me, through

my friends, to sell things that her hungarian friends brought to moscow, where she studied, but i i don’t think there was this compound purchase, i definitely had these there was no money, i just took, well, what’s it called... on commission, that is, i took all sorts of jeans, all sorts of sweaters, some sneakers and offered them to my friends. then, by the end of the seventies, the beginning of the eighties, even in the early eighties, more likely, yes, uh, on the black market , good american jeans cost 180 rubles. uh, the brothers democrats, as... they were called, these were poles, hungarians, czechs, they sold somewhere around 150 rubles, that is, the margin there was about 30 rubles from one pair of pants, unfortunately, very often

there were slips, not only linings like this the kind of thing where a person bought something from his dad quickly and efficiently, but it didn’t fit him in size, and he then sold it. fall under the article of speculation, because if they got to the bottom of it, they would say that this thing is actually worth that much, there was some kind of official examination. these are the things they practiced, they cut jeans in half, took one leg in a bag and sold it as whole jeans, then they also sold the second leg for the same amount, the person ended up with this one a trouser leg that may fit but not be worn. he could not give the trouser leg to anyone, he had only one way

: to get his money back, this again, this is to cheat someone, that is, to sell this trouser leg again, like whole jeans, accordingly, in general, crime arose in every possible way, because that this is already a scam, this could already be a showdown, it didn’t just come down to jeans, very often they bought, say, a carton of cigarettes, took out a pack from there, and sold these cigarettes in bulk. i don’t remember how much per pack soviet-made or bulgarian-made, a lot of bulgarian cigarettes were sold in kiosks and then sold , well, it was also a scam in its purest form, that is , they sold bulgarian cigarettes under the guise of american prestigious ones, that is, there was a lot of crime around this, especially since so many criminal elements were involved in these schemes, well, first of all, prostitutes, that is...

they threw away, say, tights with a hook, first of all it’s about western ones, it’s just

that it all went into use, it was all sold, up to some, i don’t know, but boxes and packaging, something like that, relatively speaking, some kind of half-chewed gum, well, i’m exaggerating of course, but this was all coming into use, well, i wanted something beautiful shmatya, that is, in general, when...

and a woman's fashion designer, only you can judge this. fashion is a game where anything can happen to anyone. matador, high fashion. on friday, on the first. what do you think?