little more was found in the middle of the decade in leningrad by the famous directors koznentsev and trauberge are ordinary people, but the film was not released, it was put on the shelf, and yet for peltser this was an acquaintance with the real film director, she finally understood how to lead a role at the direction of the director. she understood how to work in cinema, it seems to me that all her life she appreciated what koznintsev gave her, even if the audience did not see it then, and then worked with his assistants, with nadezhda kosheverova with ilya frez, it so happened that these are two directors who filmed her very often, then, well , in the theater it goes into the theater of satire, here in the late forties a play was staged, a wedding with a devotee, it is so... . it’s popular that in fifty -three, it seems, it was filmed, the play itself was staged by boris rovenskikh, and the film adaptation was made by tatyana lukashevich, there is a young vera vasilyeva, there are wonderful songs and a small role of such a klutz collective farmer, she sings a little, she sings chistushki,

to make his debut in feature films, makes successful comedies, or former assistants, kozensov and trauberg, that’s why in the fifties there was a whole new layer of acting, and actors were needed for different roles, but you, you can’t only have ivan brovkin, yes, in fact, it’s just not easy for those who... families, maybe single-parent families, and after the great patriotic war, but we need to show the older generation, this is where the pelzer star appears, and we need - this is the older generation, yes , here she is in ivan brovkin, a collective farmer who survived war, raised her son, and she needs to somehow arrange for him, somehow start a new life, this feeling of a new life and a family that stands behind her, yes, it is in the one in which i live. the cranes are flying and in all these wonderful films - the fifties, sixties, then, of course, the younger generation already appears, as the main one, the child on the screen and so on, but again, yes, the child needs a grandmother, children's cinema, here you go, please, who could you play, say, in the thirties in a film by sergei

role was found in the middle of the decade in leningrad with the famous directors koznentsev and traubergser this was... an acquaintance with a real film director, she finally understood how to play a role at the direction of the director, she understood how to work in cinema, it seems to me that all her life she appreciated what kozentsev gave her, even if the audience did not see it then, and then worked with him assistants, with nadezhda kosheverova and ilya frez, it so happened that these are two directors who filmed it very often, then, well, in the theater it goes into the theater of satire, here in the late forties the play “wedding with a devotee” was staged. he is so popular that in fifty-three, it seems like this year it will be filmed. the play itself was staged by boris rovenskikh, and the film adaptation was made by tatyana lukashevich. there is young vera vasilyeva, there are wonderful songs and a small role for such a klutz collective farmer. she sings a little, she sings clean songs, that’s peltser. in the play they were all so magnificent, in the first year we awarded the