historian natalya ryabchikova, we’re talking with my colleague film expert artyom sopin about sergei ezensteingn travel and adventures of ezenstein and his friends in europe, the usa and mexico. hello, and this trip, in general, divided zenshtein’s life into two parts and contained a lot in itself, despite the fact that it lasted, in general, on the one hand, not so much, and not so little, 3 years, during these 3 years isenstein managed to catch a lot of phenomena that by the end of the twenties were just leaving european culture, but he still managed to, as they say, feel them, touch them, look at them from the other side , he had already very astutely noticed those features that would be characteristic of the thirties and forties, no longer traveling outside the soviet union in subsequent years, he nevertheless meets in the foreign press or in the domestic press... encountering certain names mentioned, he i said it, but i already did it i know, i’ve already seen it, here’s how it’s developing now, and it was back in ’30-thirty-one, it was an absolutely turning point, because eisenstein was

sergei ezenstein is still one of the largest figures in the history of russian cinema.es of how russian cinema was created and continues to be created. we want to make it enjoyable, interesting and useful for modern viewers. watch classics, popular, little-known, forgotten films of russian cinema, and today we will talk about greb panfilov’s film the beginning, which was released in the seventieth year, but despite the fact that it is known, perhaps not everyone knows how it was made, in what context, in what conditions , and what could happen after him in the fate of panfilov, churikova and soviet cinema in general, and panfilov himself, our hero, as a director and as a scriptwriter, the person who launches, of course, this story, but it launches on his first full-length film of the year sixty-seven, which is called there is no ford in fire, inna chyurikova already plays the main role, and panfilov, in this film, comes to this film as not a very young man, and his story, the story of gleb ponfilov, is also important for how the film turned out, because he started worki

cinema natalya ryabshchikova, we are talking with my colleague film critic artyom sopin about sergei ezensteint lasted, in general, on the one hand, not so much and not so little 3 years. during these 3 years, isenshtein managed to catch many phenomena that by the end of the twenties were just leaving european culture, but he still managed to, as they say, feel, touch, look at them, on the other hand, he was already very shrewdly noticed those features that would be characteristic of the thirties and forties, no longer traveling outside the soviet union in subsequent years, he nevertheless met in the foreign press or in the domestic press, meeting certain names mentioned, he said, and i said this i already know, i’ve already seen it and here it is, how it’s developing now, and it was back in ’30, ’31, it was an absolutely turning point, because izinstein was invited to hollywood, invited to hollywood in ’27, but he went he's there only in the twenty-ninth, and 29, this is already a completely different world, this is a world on the eve of the collapse of the nyuk stock exchange, this is a worl

anyone who was able to stick to his line, or rather, there was such a person, his name was sergey mikhailovich ezensteinconsidered himself a figure absolutely equal to stalin, he felt incredible respect for people capable of turning the world upside down, he considered himself the same, he was not at all afraid of them, arrests, or any stalinist influence, only with such a worldview was it possible to do what he ultimately did, that is, he reflected some movement, some change, mass expression of the will of nations, which at first seemed spontaneous, but then acquired some, some organized features, in battleship potemkin, in the strike in october, achilles's cock... it is nemoki who achieves the emotional effect. with his hyperbolism, with his emphasis on the camera and some excess of acting, as soon as sound came to cinema, immediately all the emotionality went to waste, misenstein tried how he could extend the period of silent cinema in mexico, where there was, of course, sound cinema bad due to technological backwardness. and then alexander nevsky made a not very successful film, full of some kind of

sergei mikhailovich ezenshtein. imagine, the fact is that ezenstein considered himself a figure absolutely equal to stalin.ncredible respect for people capable of turning the world upside down, considered himself the same , and was not at all afraid of arrests or any stalinist influence, only with such a mentality was it possible to do what he... eventually did, that is, it reflected some movement, some change - the mass expression of the will of nations, which seemed at first spontaneous, but then acquiring some organized features in battleship potemkin in the strike in october, the achilles heel of einstein ’s work was still its somewhat archaic nature, sergei mikhailovich clearly understood that it was not my cinema that achieved the greatest emotional effect, but with its hyperbolism, with its emphasis on the camera and some excessive acting, as soon as sound came to cinema, all emotionality immediately began to wane. esenstein tried as best he could to prolong period of a little cinema in mexico, where... with sound cinema, of course, it was bad due to technological backwardness, and then alexander ne

hello, this is the ezenstein-125 podcast, i am film historian natalya ryabchikova, we are talking with my colleague film expert artyom sopin about sergeife into two parts; it contained a lot, despite the fact that it lasted , on the one hand, not so much and not so little 3 years, during these 3 years isenstein managed to see a lot many phenomena that were just leaving european culture at the end of the twenties, but he still managed to, as they say, feel, touch, look at them, on the other hand, he had already very astutely noticed those features that would be characteristic of the thirties and forties, without having gone to subsequent years outside the soviet union, he nevertheless meets in the foreign press or in the domestic press, he encounters certain names and references, he said, and i already know this, i have already seen this, this is how it is developing now, and it was back in '30-31, it was an absolutely turning point, because ezenstein was invited to hollywood, invited to hollywood in '27, but he only went there in '29, and '29 is already a completely different world , this... and the world on the eve of the collapse of