me remind you that this is a podcast of witnesses from einstein, where we, film historians natalya ryabchikovand stanislav didinsky, talk about who and how created and watched classic, famous, little-known, forgotten soviet films. in addition to the people who were involved in feature films, there were people who made newsreels, in fact, who filmed battle front-line cameramen, and then it was collected in film magazines, which were shown before each show, in fact, here is your news, they were definitely in your cinema so. writes one of the contemporary film historians, valery famin, in the very first days of the war, the first thing that went into the furnace were the secret plans that the filmmakers had in case the war started, because that was how it was suddenly, all these plans were no longer possible to implement, it was necessary to come up with completely new ones, and how do you get out of this, what stories do you come up with, with stories in general it was very difficult, because you want to be closer to what is happening at the front . will direct andrei rublev in soviet cinema, as

citizens, hello, this is a podcast of sitters from einstein and its leading film historians, natalya ryabchikovast is about who and how... classic, beloved, little-known, forgotten soviet films, and today we will talk about the sixtieth anniversary, probably one of the most beloved soviet films 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, evgeniyvich, we will try to tell you what we know, ask you about what we don’t know. and... for example, we know that the story, which was later told in yashegaya in moscow, began in the head of gennady shpalikov, well, long before that, and was told in the initial application, which was called buddies, about two guys, schoolchildren who meet in the morning line for beer, but to find this beer stall, one of them had to play detective. because he started looking for this line of roach skins that were scattered on the street, using these skins he actually went to the stall, well, that was shpalikov’s idea, from this story a new version of the script gradua

hello, this is the podcast of ezenshtein's witnesses and his leading film historians natalya ryabchikova created watched cult, well-known, little-known, forgotten soviet films, this is a school of moviegoers, where we reveal the secrets of film archives and tell you why watch soviet cinema now, how to better understand it, how to find new meanings in it and get the most out of it .

ezenshtein-125 podcast is on the air, in the cinema studio artyom sopin and film historian natalya ryabchikovatein himself, but is also probably one of the most significant films, in principle, in the history of culture of the 20th century, because it is a film that collected many features of different types of arts, in fact, it was precisely thanks to this film, including, that isenstein proved that cinema is a full-fledged part of the world. literature, theater and in ivan the terrible, we , together with older types, with painting, see how many features are intertwined. in addition, this film, of course, is historically interesting in various aspects, historically not in the sense that in the ancient history when it was filmed, much less in the ancient history to which it relates, but in relation to our interests, in history, regarding how historical science is now developing, in general, ivan the terrible. and the intensification of the great terror at the end of the thirties especially affected his situation, because that he was one of the brightest figures of that left avant-garde of the

i am film historian natalya ryabchikova and with me in the studio is my colleague, film vet artyom soping. the films actually began in february of forty-three and continued the tension of forty-three, forty-four, and the fact is that at that time the studios evacuated to almaat were gradually returning, but there was no longer any need to interrupt in the middle of filming, as was the case in 1941, but here the production was already planned in such a way that a director finishes a film in almaat and starts a new one in moscow, azenshtein did not finish and did not finish, because the long complex filming was already in fact everyone is back. moscow isenshtein was already one of the last to remain in almaat in 1944, and since the question arose that one series had to be completed before others, it is important that in almaat three series were filmed in parallel, here they were finally completed filming the missing scenes of the first episode, returned to moscow, in the fall of forty-four in moscow they were editing the first episode of the formidable and in the winter of 44-45 they conti

for coming, and we say goodbye, this was a podcast of witnesses from einstein and its host natalya ryabchikovanify it for me. well, probably not only female beauty, but human beauty in general, with which we today break the stereotype that you can be either smart or beautiful, because in our it seems to me that it’s already time, it’s strange to choose one thing, and if you haven’t become smart and beautiful, then something is wrong with you, because there are all the possibilities for this, beauty is not only about appearance, it’s also for you , what is beauty, talent, first of all, i don’t mean a person. in general, i mean those moments of beauty that are associated with unique people, for example, for me, beauty is in the raised, shrunken shoulders of galina sergeevna ulanova in gizzelle, for me beauty is yulia’s face in this cosmic window against the backdrop of the sun, for i love the beauty when a mother runs towards her children, and what is depicted. at this moment is depicted on her face, for me beauty is a surgeon bent over the operating table, so this is beauty, this is a moment in

hello, this is the witness podcast from einstein and its leading film historians natalya ryabchikovand stanislav didinsky. we talk about who created and how they watched cult, famous, little-known, forgotten soviet films. this is a film-goer's school, where we reveal the secrets of film archives and tell you why watch soviet films now cinema, how to better understand it, how... the idea arises of creating, well, in general , an economically feasible film product that can be made in the current conditions, which are developing quickly, yes, because after all, film plans, as we know, are usually very long processes, especially for a full-length film, you need to approve the script, you need to approve the actors, build the scenery and so on, in general it can take six months or a year or even more, the filmmakers, after thinking, decide what needs to be done... collection, collections of short films that will consist of small plots, there are 10-15 minutes, and tell some kind of, well, accessible in simple language story about what is happening in the rear at the front, let's look at f