and there is the life with which you introduce the discovery of the relics, of course yes, but you understand, i remember, we were seriously sitting, here is a group of students who came to the church, we were sitting, here for 100 days and nights prayed on the stone, in general, is it possible to somehow repeat this today, here we can and something we got up there at night, prayed somehow, it was very inspiring, here is everything that i don’t know, feeding the bear.

secret, even some monks seemed not to know about it, and he carried it out in such a way that on the way to a distant pustyanka, next to the road, somewhere there in the bushes lay a stone, imitating simeon the stylite, who prayed for 49 years, in my opinion, this is an unimaginable number, and here he prayed at night on this stone, and during the day, so that they would not see him, he had his own stone in his cell on ... not pustyanka, and naturally, this period - 100 days, 100 nights, probably needs to be somehow increased for an indefinite time, because well, he could not, here he is during this time, without leaving the stone, neither from the first, nor from the second, to carry out such feat, well then, after all, here is everyday literature, sometimes, as father anthony said, that... it can embellish

and add something, and here it was possible that someone believed that these thousands of days and thousands of nights were exactly that, feeding the bear, i was usually there some kind of apiary, well, not an apiary, but there was something, and the saint had, well, not an apiary, but there were several plums there, this was recorded in archival documents. and the bear, he senses honey, especially in the forest from afar, so i think that to him they came, we had a lot of bears, even when we had a secret facility, sometimes bears would go through the barbed wire, they would just break through it and we had to drive them out of the city, and they would leave without honey, yes, yes, well, apparently they were looking for some kind of food or whatever they had, i don’t know how, what’s the reason

and i do it that way on excursions, when i conduct them, if some guests come to us, we don’t have pilgrims of course, but we still have guests, and i’m talking about the fact that after all a bear is a wild animal, and the reverend fed - well, bears, probably, after all , being behind the fence, that is, he approached the fence, and from behind the fence the priest even , as a joke, i tell him that probably bread, maybe even spread honey. to please the guests from the forest, and so, if you read the literature of life, the first tales about the reverend, here from 1841 by father sergius, then there he writes that to the reverend on a distant postor both earthly reptiles and crawling and all sorts came, well, well, that's why they came to him, and so on was interesting to the saints, that is , some kind of fairy tale was brought into this. well, maybe here is what

i was trying to say, because in such stories, yes, which are present in the lives, there is precisely, it seems to me, this desire to emphasize that holiness, yes, as a person’s aspiration to god, already certain relations of a person with god, it really, well , overcomes some consequences of what we call the fall, yes, this is like an image of harmony, yes, some kind of, you can say so, the icon is precisely as a symbol of this.

the plot is common and the reverend sergei with the bear, and gerasim of jordan with a lion, avazasima, remember, he kept the reverend mary of egypt with the help of a lion that dug a grave, yes, this is such a traditional, in a good sense , detail of many lives demonstrating, yes , exactly the same idea that holiness restores harmony in relations not only between man and god, but also between man and the world around him. i would like to return to the topic of russian holiness, yes, the reverend as such an image of a saint, because what do we remember, yes, this is the appeal my joy. to everyone who comes, christ is risen, christ is risen, my joy, regardless, yes, regardless of who came to you, this is like the quintessence, yes, of what you said, what unites reverend seraphim with others, but still distinguishes him, well, and you know, it also seems to me, some kind of very

warm, such a very warm attention, in a good sense, to the material side, to everyday life, this samovar. there, that there should be hot water, tea, there does not refuse the reverend from treating guests, to treat himself, in this there was felt some kind of care, not distant cold holiness, some kind of alien, here is something real, here now, shown mercy, active love, warming, comforting, again, yes, reasoning formally logically, i can also force myself, here when meeting. says: oh, my joy, there, hello, but in this there will be no inner truth, yes, that is, after all, here it is important not just that he said these words, but that he really said them so, experiencing a meeting with a person, yes, yes, yes, in this sense, for some reason, i remember this gospel episode, when

christ fed 5.00 men, the women and children who accompanied them, yes, with five loaves of bread and two fish, where did they come from? the apostles brought them and through the apostles christ distributed these products, which somehow miraculously multiplied. it seems to me that the reverend seraphim, he is as if from this, or something, gospel story, from this gospel episode, such a transmitter of these gifts of god in a good sense, that nothing he himself seemed to have no wealth, but he drew amazing riches from god and generously distributed them to people, their...

woven, which his admirers brought him, who came to him for either spiritual or physical healing, and he distributed it all, passed it on to the virgin sisters, that is, the virgin sisters are the community over which he patronized, and which he nourished spiritually, it turns out, and materially, they were still , well, at first, not in a very good financial position, so here... regarding the appeal, it seems to me that if there was some spiritual untruth in the words of the venerable seraphim, in his life, then saint felaret drozdov would never have allowed, would never have blessed the publication

of the biography of the venerable seraphim, even before seraphim was glorified, if anyone, saint philorett always very subtly felt this... he writes interestingly, we understand that this phrase really sounds in different contexts, that these are his, his words, yes, it seems to me, this is also a completely evangelical content, because it is about a knot and a log, yes, when it is said in the gospel that you see a speck in your brother's eye, but you do not

notice the log in yourself, and then i don't always remember the continuation, yes, hypocrite, first take the log out of your own eye, then you will see how to take the speck out of: a grove of new testament texts that could illustrate the feat of the saint, i would also remember the words of the apostle paul:

having been tempted himself, he can help those who are tempted, in church slavonic, that is, the one who himself has gone through various temptations, overcame them, can help overcome similar ones temptations and others, and so, of course, of course, the reverend seraphim here insisted in every way with his life that any changes are not only from within only... evolutionary, but in no way revolutionary, and further history showed how our ancestors rushed to a bright future, covering this road, in the words of father alexander schmemann, with many graves. you are my bread, my sleepyhead, night, away, darkness, let the race, do not guess about love, just fall asleep quickly, son, restless and my

cricket, again between us cities, life us separates, as before, i am the eldest on the goths my day has come, and that means it is necessary to gather friends, that's all, so that the side, you and i, was great, two stars, fathers and sons, the final tomorrow after the evening news, today we gathered our thoughts about the reverend seraphim of sarov, priest antony borisovsanovichkin, i am vladimir ligoida, 270 years since the birthday of the reverend this year. we continue, returning to the topic that we started, and a little, i suggested postponing it, this is not a meeting with pushkin,

indeed, well, the peaks of russian culture, russian holiness in the 19th century, contemporaries, reverend seraphim and alexander sergeevich. and, by the way, i should say, we have researchers who believe that there was a meeting, they find in pushkin's work some, as it seems to them, indirect evidence.

the poet who created our literary language, well, and so some interweaving there in the verses, if you look, then we can find such interweaving in the verses of other poets, as we said, we live on the basis of the orthodox culture, and naturally, since we live on such a basis, we sprinkle the culture of the russian orthodox church into our work, returning to the theme of the meeting, that if there was a meeting, then there is no...

but unfortunately there was no such meeting, well , i even consider the fact that at that time the cholera epidemic was raging, there were cordons everywhere, but especially this is on the border. would have passed, and there were cordons in arzamas and pushkin, you can definitely say no, etc., and then there is another point that after all, it is autumn and the road sometimes becomes

sometimes impassable, and to go somewhere on such a long trip, when you have... here a meeting with your beloved bride falls through, here plans collapse in some way, well , of course, i would like to receive help from such a holy man, well, i think that pushkin nevertheless returned to his place in boldino and , moreover, it is not recorded that he was the second in any yes alexandrich still reacted vividly in his work to...

church life, and if clergymen appeared on the pages of the works of the classics, then often, of course, in such satirical form, as in the same pushkin in about the pope and the workers baldu, yes, well, well, and not only there, probably the most churchly in this sense is liskov, or something, here in this galaxy, well, again there with some reservations, although shmeman writes that the most accurate in the description, oddly enough. it turns out that chekhov, chekhov, because even liskov and well, everyone in general has some factual errors, here chekhov is amazing, with all his skepticism, yes, he is surprisingly somehow delicate, well, and accurate from the point of view of simply factual some he's not wrong about things there, well, that's

the tragedy, it seems to me, of our de-revolutionary culture, because if you look at english... literature, but always one way or another a vicar will find, some bishop, will find a place in the plot, and not necessarily a comic one, sometimes very meaningful and worthy, but with us, you know, it's as if this part of society was not noticed at all, the clergy seemed to exist on its own, a closed class, a separate class, a class that has no place in the university, there is no theology in university, theology somewhere there in the spiritual...

that to get acquainted, maybe he generally knows very, very little, that's what is called, where to start, maybe there are some personal experiences, some personal experience, what could it be for that, to get acquainted with the reverend seraphim, with father seraphim, well, i think that every colic praises his own swamp, so i would advise you to start with my book, there of course, for the majority there will be a lot of information and it will be this...

footnotes can be studied during the second reading of the book, since the book requires the conversion of not one. father anthony, and you, what would you advise? i strongly recommend the book of the respected valentin alesanovich, the chapter dedicated to matavilov, the myth-maker, in places sickly, a man who, perhaps, i do not deny, wanted to embellish, highlight, make more vivid. feat of holiness of the venerable seraphim, but still suffered a defeat in this sense, gave life to the venerable seraphim. some a painful glimmer of spiritual charm, it seems to me, and if we talk about some practical things, then, for example, in relation to the prayer rule, the so

-called seraphim's, after all, there is an opinion that this is, you know, a kind of light version of the usual prayer rule , it is probably necessary to explain yes, what is this short, yes, a short prayer rule, but people often believe that the rule taught by seraphim is limited to a short set of prayers. morning and evening, but the venerable seraphim said that before lunch, while doing certain things, while doing certain things, pray before lunch with a short jesus prayer, and after lunch pray to the mother of god, also briefly, the virgin mary is baptized, reading, so this rule is actually more difficult in a practical sense than what we are used to, but at the same time it allows for some correct...

i just had such an episode in my life, when we first found myself in the holy land in the pre-easter time, holy week, and arrived with very powerful impressions, well this is how we visited the places where the gospel took place...

regarding the reverend seraphim of sarov, this and other podcast episodes gathered our thoughts, you can watch on the official pages of the podcast project, hello, this is a podcast of witnesses from einstein and its leading film historians, natalia ryabchikova and stanislav didinsky. our podcast is about who and how created classic, beloved, little-known, forgotten soviet films, and today we will talk about the sixtieth anniversary of,

probably, one of the most beloved soviet films, this is the film "i walk through moscow". and today our guest is the actor who played one of the main roles in this film, evgeny steblov. hello, hello, hello, evgeny gerevich, we will try to tell you what we know, ask you about what we don't know, for example, we know that the story that was later told in i walk through moscow began in the head of gennady shpalikov, well, long before that, and was told in the initial application, which was called friends, about two guys, schoolchildren who meet in the morning line for beer, but in order to find this beer kiosk... one of them had to play detective, because he started looking for this line by the skins of roach that were scattered on the street, and it was by these skins that he

actually came to the kiosk, well, that was shpalikov's idea, and from this story a new version of the script gradually, gradually grows, the schoolchildren are replaced by adults, students, graduates, yes, you can even say that, and a girl appears, new heroes appear and in general... at some point in the end, the fourth main hero moscow appears, whom we see on the screen, and that film appears, which we all know on izust today, but how it was created, probably, is still a question not for us, but for you, yes, as far as i know, that gen, while still a student, according to his script, khutsiev filmed the outpost or yacha or we are 20, so one day

he saw this scene, which then , like tyut, entered the film, when it started to rain, the weather was sunny, and the young a man, a girl was walking in front, he was riding a bicycle behind her and carrying an umbrella for days, this, i know that he wrote this down, this is where it all started, this is the root of this mood that led him to the script, i'm walking around moscow. we can watch this fragment right now, because you appear in this fragment too, well, let's clean it up, friend, oh, no, there's his bride, and where's the groom, i don't know, sasha, sasha, he bought a suit. and his hairstyle

suits him, a typical criminal. but you might not have been in this story at all, you ended up there completely by accident, yes, i accidentally, my classmate, unfortunately, the recently deceased viktor zazulin, an artist of the vakhtansky theater, and i went to a mass film to wander around the corridors, so that someone would suddenly pay attention, notice, well, and i didn’t even have

to wander around the corridors, only... we passed the checkpoint, and immediately met a student from the evening course, and he said: what are you, well, we said, well, he said, well, i understand, and he told us, come into the group i’m walking around moscow, the fourth floor from elevator to the left, that's what i remember, well we went in, first they gave us a script to read, i didn't understand anything in it, but i really wanted to act then, then they...

looked at us, that i decided to do a photo test for you too, so they did this photo test, this photo test turned out to be, you could say, such a star ticket, it really is wonderful, this photo, in the groom's suit, then georgy nikolaevich says, where is he, give him here, and they started to do it for me, it means

that the students really wanted to act, but when we read the documents we often see that it's not really they always let them go easily, what needs to be written in the film crew, they simply forbade it altogether, how could it be, well you knew that they would forbid it anyway, well there was no such thing as forbidding it, how could they forbid it, it's just that at the moscow art theatre studio school, they would immediately expel you, at the shchukin school they wouldn't expel you right away, well, in

general, too... it was somehow not encouraged at all, well, mikhalkov was forbidden, as far as i remember, yes, no, he wasn't forbidden anything, it's just that boris evgenievich zakhava, the people's artist, who was a kutuzal in war and peace. he played, i'm saying this for the audience i explain, he simply told him, you either study or act, well, in general, somehow choose one of the two, well, then he left, nikita to the object of the directing faculty, and an outstanding film director was born, whom we have the honor of knowing, we, frankly speaking, do not see each other that often, but we, we, of course, are people of the same fate, and we are so connected by fate.

they were also acquainted, you really had some kind of almost cosmic friendship with nikita mikhaltov, yes, on the screen that's why it looks so natural, so vividly, this is such a youthful friendship, it's all very realistic, some image of moscow,

which now seems completely real to us, but again we know from memories, yes, that it was supposedly even necessary to wash houses during filming to create such an image of a bright mask. the city that we see on the screen was different from the real moscow of those years, yes, well, here's an example, and how it differed from the talent of vadim ivanovich yusov, an outstanding cameraman, who saw it in moscow like that, that's it, there's nothing to wash here, we have there is such an episode in the documents that we read, that the scene with the cafe in the arbat alleys, the cafe was created for this scene, it was not there and... it was rented out, and this one is a model, a pavilion, a full-scale one, yes, from standard blocks, that is, really at the factory that makes these cafes, they bought blocks for the movie film, made a cafe, filmed the scene, left, then, since they were filming

very quickly, the workers could not free themselves and dismantle this scenery, when they arrived and started dismantling, the residents of the neighboring houses started saying: why are you dismantling, we just had a cafe built, we want this cafe, we like it. i can't answer this question exactly, but i think it's a legend, because somehow in soviet times they didn't improvise anything with construction, everything was no, it's all in the documents, that we will shoot this with the help of, they built a real cafe for the film, rather they just put up a few walls, maybe, i can't say, i remember that when they were filming the scene when i come to nikita. i approach his house, it's on arbatsky lane, then this there was a cafe, and it didn't seem to me that it had just been built when the film came out, i walk through moscow, they write that many people

compared it to marlin khutsyev's film ilcha's outpost, or i'm 20 years old, they often say that this film ilcha's outpost became in many ways an event for that generation, your generation, and... that everyone discussed it, said how revolutionary it was in terms of the filming method, how pelikhina creates some kind of completely unprecedented moscow, and that in many ways the film i walk through moscow is under the aesthetic influence of khutsyev's film, have you heard any stories about the work of shpalikov and khutsyev? well, you know, mariana vertinskaya played the main female role there, she is my constant partner, we are classmates. at the institute, and i remember that she was somehow inspired by working with marlen martynovich and told there under a certain charm of working with him, she was, i remember that, but to say that some

influence, well, firstly, vadim ivanovich yusov, the cameraman, if we talk about the visual influence, he is such a colossus and such a multifaceted colossus. i would say, and i would not i put it together with pelikhina with all due respect to her, and what unites them is that this is shpalikov's script, and then accordingly there... in the grain there is shpalikov's intonation, but this intonation, it was nevertheless transformed into a film classic, by the soul and consciousness of ikolaevich and the director who saw it, transposed it, the same andrei petrov, the composer, in general, you know, somehow not long before his death, he gave me a book, he... he wrote wonderfully, he published several books, and i remember some interview of his,

he said that he could have shot all his films one more time, except for i walk around moscow, and i understand why, because i walk around moscow, it was a mood, it seemed like nothing, but just like that, and the main thing, i remember, georgy nikolaevich, whatever you ask, it was then that the second year moved to the second year, i had experience before that, i starred in an episode in the film the first trolleybus of the gorky studio, that was all my experience, so whatever you ask georgy nikolaevich, he smacks his lips and says, but just like that, that's how it is, we didn't really rehearse, we filmed practically in one or two takes, everything, it was so relaxed and easy that you still come to the conclusion, especially with age, i... as a believer, that this is god's providence, because it is impossible

to explain otherwise, how all these people came together in this place on this topic, you understand, it is difficult to explain, really, here is the french new wave, neorealism, they are like some influential trends in cinema, did they reach you, well, i don't know, maybe someone there from the film crew said: watch the new film by gadar, on the last. watch, but to be honest, i don't think so, it's both shpalikov and georgy nikolaevich daneli, they were such independent artistic personalities, maybe they watched and saw a lot, but i don't think they could shoot something, like something, they were so natural, gifted.

shpalikov as a screenwriter was high, yes, how did this legend take shape before your eyes, in general, screenwriters usually don't communicate with actors or their work ends at the moment when they put the last point in the document in the script, give it to the director go to a new project, that's how he influenced the film itself, well, he didn't influence it at all, so consciously, but the thing is that he was married to my classmate inni gulayu, then... they separated already in the kingdom of heaven

there is no gene, no inochka, no one is alive anymore, so there was some kind of connection, ina was very close friends with valya malyavina, also my classmate, you understand, this is one circle of people, one time, that's what you can analyze and correctly, if you are here you are about you say this, this is the time, the time of certain intonations, i mean intonations. not literally not musical intonations, but such artistic intonations internal some, they were in the air and the most talented people obviously caught them, the same lesha loktyev, that is, galya polskikh, all of us in this intonation, yes, and we were not even acquainted before the picture, but after the picture we are already like relatives. in the film there is a story about how shpalikov actually wrote the lyrics of the final song, here

these poems are famous, there are several versions in different memoirs, natalia ryazantseva has one version, georgy nikolaevich has another in his memoirs, and usually everyone tells daneli's version, that shpalikov was supposed to hand over the text, but disappeared, and came to the shoot when they were filming the footage on mayakovsky square, such a shoot, yes romantic, night already evening, no, no, not... a person, so they put him in the minsk restaurant, ordered him lunch, and daneli and yusaf at

that time were on the roof of this house filming some non-fiction footage from there, how is it there the cars go yes istakad the thing is that shpalikov he was such a man of mood therefore maybe in some ways not very obligatory, therefore they told him that he was told that until you write, you will sit here, well, so he wrote the first line there went out and shouted up there, they say okay continue, well and so this...

right, by the way it came to mind, amazing, but this scene was not a script, it was not, yes, well the thing is that in fact, uh, i don’t know who first came up with this, so, well, from editors, there were such statements from the editors, here are the statements that you mention, but here

they are, in my opinion, and georgy nikolaevich decided to shoot such a scene and uh, inspired. i remember that basov at that time was filming his picture, not even filming, but dubbing, in the sound studio, this is in the old sound studio at massfilm, georgy nikolaevich suggested that he star in this one.