this plot of the year thirty-nine, evgeniy gavrilovich, who is evgeniy gavrilovich? 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 gabriilovich’s work, it was generally quite an important point, the civil war, this is the beginning of a new world, the beginning of the new world, yes, that is, the moment in which some soviet truth was laid. i would say so, from which in the future, all young people who tried to live and preach some principles in their lives were repelled, that is , panfelov for this story, which was written by a screenwriter of the previous generation, needed a new actress, and somewhere in some television program, it seems , he saw inna churikova, perhaps their acquaintance looked the way it looked in the film , the beginning of the acquaintance of the director and actress , well...

with the film that we will subsequently see, and this is normal, and so in this script application, which prepared gabrilovich there was nothing about jean strike, that’s right, absolutely nothing, zero, when we tried to understand where the truth was, yes, on the one hand we came across interviews, later ones that came out after the release of the film, where panfilov said that this story about a simple soviet girl, i came up with the idea when i was working at a factory, that i looked at everyday life.

yes, sir, he sins, he can be vile, and then it is unknown why he rushes to cut off a rushing horse in order to save a child unknown to him, such a speech is very sixties, in my opinion, here a person who becomes the center of attention in the thaw years in soviet cinema, this is understandable, this is not a historical joan, this is joan as the soviet sees her... gabrilovich and panfilov, and at first they give the script to gabrilovich, then he gets sick, writes a letter to the studio , this remains in the archive, yes , i ask my co-authors to read it equally, yes, zhanna already appears here, and further in the interview, it seems to me that panfilov is accurate here, he says: that at first we

decided that there would be a scene of zhanna’s renunciation, that this is our heroine, we need to show her really height, nobility, this factory girl, yes, we convey her inner world through joan of arc, whom she plays, and this is one scene, and then they seem to begin to creep apart, as if we still need to stage and stage again and again stage, and this is already noticed at the level of the director’s script by studio people who are very kind-minded. they discuss all this very intelligently, but it’s strange to them, why is there so much? joan of arc appears in the script, maybe she is still needed a little to tone down, and the question arises, just this strong woman and pasha stroganova, who is quite the opposite, our heroine, the main one, seems to have to play both like churikov, that is, she plays pasha playing zhanna, she evokes the opposite feeling... among

the editors, that this is some very naive girl, but her relationship with the main character, and the main character is married, she is... a lonely girl who meets him at a dance, and somehow he turns out to be hers, well, even now it’s impossible say boyfriend, because they spell it out very clearly, in my opinion even applications, and he spends the night with a friend , spends all the evenings with pasha, she perceives this as a family history, nepotism, but he doesn’t understand how he perceives it, this pasha’s naivety is so... absolute openness to the world and feelings, apparently, very cynical studio workers len the film raises questions. well, today the heroine churikova herself does not raise any questions for us, because she looks absolutely organically modern, that is, she is quite like herself.