hello, dear friends, this is the life of the remarkable podcast, with me, its host writer alexey varlamov. this year marks the 125th anniversary of the birth of the most, in my opinion, captivating, most amazing, profound, wonderful russian prose writer, poet, playwright, literary critic, and finally, russian engineer andrei platonovich platonov. and it is about him that we will talk today. i am pleased to introduce my interlocutor, elena shubina, a philologist and publisher, whom many of you probably know, thanks to elena shubina's editorial office, where many contemporary authors are published. and i have the honor of being one of these authors, but in addition to contemporary literature, shubina also publishes ... mental literature, historical

literature, and one of your heroes is andrei platonov. let's start the conversation with how it happened that you started studying platonov, and what does he mean to you in your life, your platonov? my platonov? well, that's a very good question, alexei nikolaevich, because this question is still very personal, i fell in love with this writer, through my personal love. because lev shubin, lev alekseevich shubin, to whom i have a direct relationship, he was, in fact, the founder of the study of platonov, his first article came out in sixty-eighth year, imagine, he himself was still very young then, and this was essentially the beginning of our platonov studies, before that, of course, i knew a little about this writer, but very little, because by that time, he was, well, i’m not even

afraid to say, little known, only after stalin's death, in general, it became possible to write about him, to publish about him, that's how it was, that was some kind of beginning, i fell in love with him, let's call it that, here is the author of this book, the search for the meaning of individual and common existence, this is a quote from platonov himself, which is repeated in different versions in... his works, this is my first love as a writer, yes, well, you very well noted this thing, that indeed platonov, with all his enormous gift, with all his enormous significance, which, by the way, was very well understood the most insightful of his contemporaries, namely tvordovsky, simonov, fodeyev, sholokhov, leonov, they all were very platonov, pasternak, of course, and akhmatova, you can name many different names, ernst hamingey, finally, yes. who admired his

story the third son. well, it seems so. well, it may be a bit of a myth, but there should be myths around every writer, let them be, we will not destroy them. so, there is really some paradox in this, that this writer really lived such a, well a little unnoticeable, as if off the central highway, such a literary highway, life, despite the fact that life is not very long, he was born in 1899 in voronezh, died in 1951 in moscow, that is, here. exactly the first half of the 20th century, it was very diverse, his life, but as if platonov's starting positions from the point of view of the soviet conjuncture were extremely favorable: the son of a working peasant woman, an absolutely convinced revolutionary who took part in the civil war on the side of the reds, endlessly believing in communism, in socialism, in the soviet idea, he nevertheless finds himself at some point in the wrong, that's when...

the works he wrote, because of the works, well yes, indeed, if you look at the newspaper "voronezh communal there or some other poems there his star of voronezh journalism yes, then it would seem so, but when real works began, such things as the city of grads, the state resident, chuvengor, that is , it seemed to them all the time, and completely as if so justified, that nevertheless..." he is not ours, that

he is still an outsider, that the way he interprets that same revolution that you are talking about, that it is still something else, they had such a nose. it was almost pronounced by the main person of the state ifadeev, who was in a more or less friendly circle, he also wrote this devastating review, so it seems to me that platonov's divergence from the soviet project begins in 1921, when a terrible famine occurred in

the volga region, and the misfortune first happened in the summer of 1921 in his family, when a brother and sister die, and for him the death of a child is some kind of horror, a nightmare. and then, this is such a harbinger, a misfortune, that falls upon a huge country, and he sees that nothing is happening, and also the soviet machine is moving bureaucratically, also some kind of formalism, also deadness, heartlessness, and this causes him terrible anger, and he commits an act that no other writer, neither russian nor soviet, has committed, he turns 180° goes into melioration, and for several years he works in vorone. a meliorator, he builds dams, he builds hydroelectric power stations, he builds ponds, because he understands that the cause of hunger is drought, the cause of hunger is poor land management, this must be fought, and his conflict with the soviet government is the conflict of a person who makes claims to this government, why aren’t you doing what you

promised, you promised people to build a new, just world, in fact, as he writes somewhere, yes, that the craftsman fought, and the official won, that’s the revolution for him...

spirit: when he got married, many of his friends threw up their hands, because they did not understand what had happened, he was like this , there are incredible paradoxes in plato's monk, that is, no relationship, nothing, suddenly this woman arrives, yes, she was beautiful, talented, the most important thing is that she was not just beautiful and talented, she

was from a completely different circle, from a different family, she was from a professorial family, they ended up in voronezh, well, just like then, yes. this beauty strikes his heart and as if overturns all his theories, here is a dry theory my friend, but the tree of life turns green and he changes, he kind of forgets all his vows, chastity, he falls in love with this woman, in fact, he beats her off, there were crowds of young people around her, his friends, he put them all aside, he conquered her, he walked to her on foot, i, she studied there at the university , then she was sent to a village school, the story of the sandy teacher has something to do with it and he walks. then their only andreyevna is born, but this is later during the war, son platon, well then there will be daughter marya but why did i start talking about platon's wife, because i said this phrase, that

bulgakov was lucky with his third wife elena sergeevna, who immediately understood that she was living with a genius, and although bulgakov's name in the thirties did not sound so special in general, but... she believed that all his glory would come, she lived to see his glory, then bulgakov had a life, here at home there was the rear, around the front, but at least there was the rear at home, and platonov did not have a home.

dear friends, we continue, this is a podcast the life of the remarkable, i am with you, his leading

writer alexei varlamov, we are talking about andrei platonov and my interlocutor, elena shobina, a philologist, publisher, such a question, i am very interested in how his works got to the west, after all, many things first saw the light there, my dear, but i cannot answer this question, i think that in general by some time there already by the end of the seventies.

joseph brodsky, this is the preface, it is, in my opinion, four pages, 4 and a half, well, maybe five, but i, when i first read it i read it because i had some contacts with young slavic people who... came, i thought, there, for ten dissertations, the topic is in one small 4 and a half, uh, page preface, that is, how did everyone somehow find their way back then, by the way, i would like to talk about the pit, because for me , the pit, well, yes, it is the absolute pinnacle of platonov's creativity, but paradoxically, if we look at the satellites of the pit. yes, that is, here are the notes books related to this period, letters related to this period, other

literary works on this topic written there libretto machinist, then there platonov's assessment of the collective farm movement is rather positive, and he writes to his wife, musya there, everything is being done correctly, our pace, that is, he as a person, as a citizen, he generally supported, what is called the policy of the party government, when well wait, well for documents these are facts, here open it to you i also want to answer with documents.

then well this will be quite strange some approach to a work of art, it may be, i won't even argue, i 'm just saying, for me there is some, i started talking, excuse me, excuse me, please, i started talking at the beginning, when in his youth he was such a completely stubborn, so to speak, revolution and so on, i may have mentioned a little too early about this voronezh one, also a little unusual context, connected with sectarianism, that's all.

well, it was also written for the collective farm, well, no, it certainly wasn't written for the collective farm, without doubts, i am slightly oversimplifying the situation now, the most insightful reader joseph veserovich stalin agreed with you, yes, because after reading it, he wrote that it was an anti-collective farm counterrevolutionary thing, but for platonov it was a blow, for him, of course, it was a blow, because he still understood what it threatened, but i still would not speak so energetically for platonov, well, he wrote this in a letter. in letters to gorky, in letters to stalin, i do not believe that he was being disingenuous, it seems to me that he was so a sincere person, was he being disingenuous or not, when he writes to gorky, as he writes to stalin, that the collective farm movement is like a child, that you have to be very careful with it, careful, that he kind of admits his guilt, i think that he really experienced this feeling when he wrote this letter, but i don’t believe that he was playing any games with the authorities, it’s not in

his character, anyone could have done it, but not him, well , maybe i’m wrong, but by the way, about the pit... it’s also very interesting that in fact that pit that you and i, dear ones, mine, read in the new world in the eighty -seventh year, before that read in self-publishing, then read in numerous editions there of the nineties and even the noughties published in our country abroad, this is not the real pit, the real pit was first published in st. petersburg in the pushkin house in 2000, well and then in the collected works of platonov in the publishing house vremya, this story struck me. specially compared, because what happened? apparently, the pit was prepared for publication in the new world in the sixties, maybe not in new world, but in general they were preparing it somewhere, and they were ruling it, but how were they ruling it? they removed stalin from there, of whom there is a lot in the pit, they removed some rather rough places from there, platonov, along with his incredible tenderness, has quite a lot of roughness, he generally has

a huge range in this person, physiology, spirituality, platonov - that's all, right? well, in short, they combed it, they cut this manuscript, they made it so digestible from the point of view of soviet editors of the sixties, but it did not come out, then this edited the version went to ardis, ardis published it, since then it's been going on like that, only in 2000 they published a complete pit, this is important, this can be said in relation to chevingur, to the juvenile sea, to jann, to jan in general.

almost, as you say, with katlovan, almost, so to speak, it was ready for publication, instead of entering into some kind of wild struggle, sometimes it was easier for them to write their own version, this is what... what is now being done is this amazing platonov group at the institute of world literature under the leadership of natalia vasilievny. well, that's why i'm saying that we still have to actually see this genuine

platonov, in whom every sign, every letter, comma, is to be opened in a big way , yes, by the way, this is a quote , this is an expression by andrei georgievich bitov, platonov is still to come, don't you know that you simply quoted him? well, yes, he was then the chairman of the commission. here he began his preface, because for him it was simply another discovery, i agree with you that 14 red huts is an absolutely amazing thing, but also between

by the way, and the sharmanka, and one of the first plays fools on the periphery, which unfortunately remained with two missing pages, well , yes, and here of course it is now possible, like in borkhis, to move in different directions further about platonov, reasoning and speaking, and perhaps it is possible to touch on yes and ... his family tragedy, because well, he was not repressed, yes, he was not arrested, although, although in fact it is of course amazing that he was not arrested, especially considering the fact that almost all the police officers who worked under his leadership in voronezh, all they went to prison at the end of the twenties, they went to prison, that's the obvious way, he was the only one who wasn't touched, it's just that he went to moscow in some sense got lost, but it happened in the very same year when he was scolded for burying.

here's a flurry of crazy criticism, pouring on his subordinates saluted, here's this platonov, that he was going through a very hard time, he was actually thrown out of literary life for two and a half years, in some sense his happiness was that he said to himself i a technical person, and for him literature. nature was never the main thing, as he thought, in life, but the main thing was engineering, there is melioration, well, here you go again, well, because he understood perfectly well that he was a writer and as if i were a technical person, it is very good that he had such a profession, by the way, mariel sannu, again, was always very indignant when they wrote that he was sweeping the yard there, because he always worked, he always worked, among other things, but of course he was great understood his gift. he understood perfectly well that he was a writer, a great writer, maybe even so, you know, here again some kind of realization, to me in general, when

the conversation turns to platonov on the topic, a soviet man, not a soviet man, excuse me, of course, all this does not matter, absolutely, does not matter, that is, it is interesting for a biography, there for how to say, and so on, but... he is a great writer, dear friends, we continue, this is a podcast life of the remarkable, i am with you, his leading writer alexey varlamov, we are talking about andrey platonov and my interlocutor, elena shubina, a philologist, publisher, well, in my understanding, platonov is still a soviet writer, well, it just seems to me that platonov was inspired by the soviet project, and this made him feel terribly offended later, it was offensive, this is what bulgakov suffered from.

he has a terrible crisis in the early thirties, including because he understands that what he dreamed of did not work out, well, it did not work out, then fate sends him turkmenistan, he goes to in 1933, in turkmenistan, here are his turkmen notebooks, the story dzhan is absolutely amazing, yes, because the story dzhan, it seems to me, is in some sense an antonym of chevingur, because if in chevingur he shows people, yes, who decided... that they are at the forefront of the revolution, that they built socialism in a separate place, and he with tenderness, bitterness, sarcasm, pain,

compassion, here he is a very emotional person, and... describes the tragedy of this city, which ultimately perishes, it is not clear from the reds or from the whites, we will soon touch on this topic, that genre, as it seems to me, is a story about how this small nation, lost in the sands of central asia precisely thanks to the soviet project, still gets life, what i would say, thanks to the soviet project, or the main thought for this writer, this concerns turkmenistan, not turkmenistan, the pit, chevingur, yepefansky.

coincided, here further, in my opinion, if we talk about platonov's evolution in this story, the transformation of a soviet writer into a russian, because as it seems to me, here in at the end of his life, he gradually leaves this haze of socialism and soviet ideas, yes, he leaves, here in his late years pushkin lives, yes, that is, beyond the patudan river, the family will pass on the whole book, the patudan river, yes , there, with the exception of maybe the story of immortality, but it is such a strange story , well, soon we see this photograph, of course, the most terrible thing in plato's life. the fate of his son, of course, here is the fact that his only son, who was born in 1922, who was named plato, yes, he was platon andreevich platonov, tosha, who was infinitely loved by his father and mother, in 1938 he was arrested, the family believed that it was such, well, as far as i know, such an exquisite revenge, platonov himself was not arrested, they took his son, but there is another

version, that it was not exquisite. and there is a very good article about this in the comments too, yes, well , in short, yes, he was arrested and of course it was a terrible thing, they managed to get him out of the gulag and from norelsk after 2 years , but he returned first, he was in vologda in vologda yes in prison and marya aleksandna there something didn't go there oh she went she went around the prison circles yes this is well and daughter masha.

of course, which we have just seen in the photo of this photo, it's not even a matter of the war, well this is such a case, as if what is called in exchange for loss, not very much yes, because platon dies in forty-third year from tuberculosis, in forty-fourth year masha is born, and there is again this mythological version that andrei platonovich became infected from his dying son, maryan, she just took it as an insult, because she said, damn, she made sure it was in another room, it was there, well, in short, yes, but here, what can you say, well, it's just a terrible life , i'm saying, in this book of letters, all this is there, there are absolutely amazing letters that he writes to stalin when tosha was arrested and where he says that if tosha is guilty, then i am guilty, i

raised him like that, that's why.

zzufy, he simply asked to be called up, he was really called up to the active army, and he worked for 1942, well, 1943, 1944-1945, he was with the active army, he wrote articles. he wrote absolutely amazing stories, platonov wrote a very good review of the novel in the occupied stalingrad, but if we talk about the fact that the war in some sense, well, i don’t know what verb to choose correctly, but as andrei platonovich himself very well said to semyon lipkin, that andrei doesn’t scold you anymore, i’m now on the recovering team, yes, yes, that is, during war, they published it, they recognized it, that's terrible, remember that after the war , everyone really had the feeling that having lived through such...

he had what is called a salon, in which there were, well, as they would say now, writers of no first rank, lev gumilevsky, yakov rokachev, in general nagibina, and i just absolutely adore gumilevsky's books, memories of how, well, they didn't just sit there, but something like that, someone read a story, they analyzed it somehow, he read his story gumilevsky. that's it, everyone scolded him and so on, and andrei platonovich sat as always, he had a separate chair, a shot glass, a cigarette and so on, then they go out with rokachev and he says, and he says, and you andrei platonovich, what

do you think, he says, brilliant, a magnificent story, then they go out with rokachev, he says, andrei platonovich, well, the story is bad, what are you saying, he says, oh well, the main thing is that he doesn't misbehave in the entrances. should i introduce vagumilysky, the priest's son, such, you know, such a big man, positive, he was then, by the way, very popular, the young guard published books, not just a series of jazelle, there is a great engineer, great something there, he should not be confused with lev gomilev, these are different people, lev gomelevsky, lev gelyov, that's of course, yes, that's in nogime this phrase, it's better to write bad stories than to hooligan in the gateway, yes, yes, yes, yes, yes. it's a pity that our time has come to an end, you can talk about platonov endlessly, what can i say, dear ones my, read platonov, not because he is 125 years old, but because he is truly the deepest, the smartest, the most precise, in my opinion, russian writer, philosopher,

wizard, magician, sorcerer in the 20th century, amazing and theatrical productions that are going on now, the platonov festival in voronezh, and films that are poorly filmed, although i still do not understand how it is possible not to film there was a pit, chivingur, the same thing to film, i think that it is possible, i think that this is a challenge to modern directors, if i were a director, i would try to film this, because it is really a challenge to you, but in any case , we still have to platonov, as andrey bitov said, platonov's time is still ahead, this was a podcast life of the remarkable, i was with you, its leading writer alexey varlamov, my guest is a philologist. platon vvet publisher, elena shubina. thank

you. hello. this is a podcast of witnesses from einstein, where we, film historians natalya ryabchikova and stanislav didinsky, talk about who and how created famous, little-known. cult forgotten soviet films. today our program is dedicated to the film, which is known under two names: zastava ilyicha and i am 20 years old. it was shot by marlen khutseyev. why does this film have a name, how did it happen that it was filmed for about 5 years, and there are two versions of this film, today we will talk about it, so, what was before the film zastava ilyicha, we need to start with this, who is marlen khutsiev? well, i would say that there were two authors who worked in tandem, these are marlen khutsiev and felix mironer, they had one coat for two, because poverty there was such a thing among the students that they - as their friends recalled, went to vgik to study

in turns, this was in the late forties, yes, actually post-war moscow, here are two students who live in one room, in a dorm, have only one coat for two, so they go to lectures in shifts because of the cold weather, but it is precisely this friendship that is formed in those years that becomes the basis for their working relationship, first they have their own joint directorial application, actually a joint diploma work. there they have a joint work and a city planner, and finally, their finest hour, this is the film spring on zarichnaya street, firstly, it is one of the most famous thaw films, a symbol of thaw cinema, the thaw, and that era of the sixties is a time of summer rains, spring rains, this trend sets as in many ways, of course, and the film spring on zarichnaya street, with which the well-known biography of khutsyev as a director begins, after which he wakes up famous, then and ... the paths diverge, but not quite, they shoot

almost simultaneously, in odessa, marlen martinovich khutseyev shoots the film two fyodors, where he makes a star out of the then student of the directing department, a student of mikhail romm, vasily shukshin, and on this filming he becomes a mentor to another future famous director, andrei torkovsky, in general, their paths with mironer, on the one hand, diverge, they have their own projects. on the other hand, they want to work together , they submit a new application, which is called zastavoycha, and this happens somewhere at the very, very end of the fifties, already gorky studios in moscow. what's in this application? four friends, young muscovites, all workers, work at the same factory, one of them has just returned from the army, so he goes to the factory and rejoins this peaceful moscow life. his friends, one of them is a newlywed,

another is a bachelor who is courting a girl named zoya, she is a nurse at the same factory, another younger man is dating the main character's sister, they also have a mentor at this factory who works in their workshop, he has near the heart there is a fragment from forty-three and... according to the idea of ​​miraner and khutseyev, as they tell about it in the application, the ilch outpost is like a patrol that connects the youth of the late fifties and the youth of the early twenties, the film, or rather the application, and the film also then begins with us seeing a red guard patrol passing through pre-dawn moscow, we begin in the past, the first post-revolutionary years, and then we are transported to these very years that are already being called.

reaches khutseyev and he decides to involve him

absolutely, it would seem, a screenwriter with a zero filmography, nothing really has been filmed by him yet, but nevertheless, shpalikov is really a singer of the thaw era, and logically khutsiev decides to involve him, because it seems to him that this is the person who can tell about those people who sing, dance, have a good time, about the first free generation, which brings many new ideas. to the script by marlin khutsiev and felix meronero. firstly, the number of characters is reduced. four friends is a bit too much. they remove one, the youngest, they remove. this is their senior factory comrade, who should represent more than a generation , an old wise soviet worker, this is a cliché, from which the filmmakers themselves became first of all, but at the same time one collision remains, which is written in the script: the main character sergei meets a girl who, as

it is written, is from a good, decent family, and she has a slightly different company, not working boys, she has... eh, a prosperous family, an arranged life, according to her request she also has there is also a groom, in the film he turns out to be an ex- husband, it seems to me that shpalikov also brought some more modern moscow relations at that time, and sergei, the hero, at some point because of this girl, because of this other environment, begins to distance himself from his friends, the application left the ending open, they all get together again, but what will happen to them is unknown, and ... absolutely such a story of reflections on the young generation, on how to live on, in general, this question was ultimately sounded in the film openly, but what else did shalikov bring there, he brought there, he brought there physically, his company, his friends, geeks, future

celebrities, in the film there is a company of golden youth, this term is used, of course, in a negative way. i mean, then those who discuss this film, andrei konchalovsky appears there, andrei torkovsky appears there, pavel fin appears there, natalya ryazantseva appears there, and these guys play a party, this is the scene of the birthday of the main character, anya, she is played by maryana vertinskaya, also a young star, the main character is ultimately played by valentin popov, then he never became a film actor, but... in this film he played wonderfully , received a prize at the venice film festival, his two friends are played by stanislav lyubshin and nikolai gubenko, here popov's character gets to a party where they joke about something extremely dear to him, according to the script, shortly before this we see a scene when his mother remembers

the war days in moscow, about how she lost her food cards, she was digging... potatoes near moscow and they were shelling her, then there are absolutely such days, the most intense, these moscow rich kids, yes-yes-yes, they laugh at this potato, konchelovsky's heroes bring alaryus potatoes in a pot for a birthday, a conflict arises, we have a fragment, we can see how it looked, and do you have things that you can talk about seriously, can you answer me at least something about this?

it worked out after all, torkovsky left this shooting with a red cheek. torkovsky, by the way, plays wonderfully, he has very few roles on the screen, but every time he attracted the attention of even his colleagues, at this point he is still unknown, at the moment when the film is being shot, at the moment when it is being completed.