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excerpt from the book “I walk around Moscow. Return to utopia “

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Knowing how much the Soviet audience later fell in love with “I’m Walking in Moscow”, it is strange to read about the doubts that the script caused the Art Council. Its members are constantly suspecting something and constantly asking new and new questions, increasing the list of edits and comments. Why are posters hanging on the wall on how to act in the event of a nuclear attack? funds »)? What kind of self-incriminating speech does the protagonist say, either seriously or with a snarl, climbing on someone else’s balcony (“The abyss into which I fall has no bottom. The weight of my actions oppresses me and has no excuses. I’m young! I’ll still get better!” And maybe it will happen again, citizens of the judge, citizens of the jury and dear friends, that you will be proud of this day, when your leniency returned to society a man, a mother – a son, children – a father “)? Why are the characters shown to be inoperative? Why are they walking in the park for so long? It needs to be fixed!

Even at the stage of the script application called “Verzila” Shpalikov tried to avoid a potential problem that could attract the attention of editors: the issue of parasitism, evasion of “community service”, which was punishable by a 1961 decree “eviction to specially designated areas.” for a period of two to five years with confiscation of property. To dispel possible accusations against his characters, the screenwriter first promised a story about 16-17-year-old boys: this is not allowed to work, and walking is allowed. Without going into the details of the future plot, Shpalikov convinced the editors of “Mosfilm”: case, I repeat – honestly evaluating people and what’s going on »РГАЛИ. F. 2453. Op. 4. Ed. hr. 469. L. 82..

The appearance of a romantic line in the script increased the age of “Verzil” (or rather, “Friends”) to 18-20 years and their number – from two to three. I had to come up with the idea that one of them is waiting for a call, the other is in the capital on his way from work, and the third is on a night shift. But still they remained suspicious. It is felt that the cinematographic authorities were very afraid to show the youth somehow wrong.

The culprit was another film written by Shpalikov, Marlen Khutsiev’s The Ilyich’s Outpost. Just in March 1963 – between the submission of the second version of the literary script of the future “I walk in Moscow” and its discussion – Khutsiev’s film was attacked by the leader of the party and the country Nikita Khrushchev. The main scene that provoked the wrath of the superiors was the imaginary meeting of the young son and his father, who died in the war even younger. Khrushchev saw this scene as follows: the younger generation believes that the older generation is not able to help them understand life and its moral dilemmas, nor that it takes the matter to the political plane at all.

The comparison of Shpalikov’s two scripts for different films really did not look in favor of Danelia’s future film: “Three guys and a girl are wandering around the city and doing nothing,” the director described the problem. – And in our scenario, three guys and a girl. And also wander. And too Shpalikov »Danelia G. Ticketless passenger. M .: Eksmo, 2003. S. 209. The head of the lecture department (and since 1964 the director) of the Bureau for the Propaganda of Soviet Cinematography Armen Medvedev later recalled: “When the newly appointed chairman Goskino AV Romanov publicly criticized “Ilyich’s Outpost”, for example, he staged “Youth of Maxim” for M. Khutsiev and G. Shpalikov: there are also three friends and one girl, but what are they! Then one of our restaurant liberals thought: in “I’m walking around Moscow” there are also three heroes and one heroine, so the film was commissioned by Romanov. I think that such an assumption would surprise, and perhaps frighten, Alexei Vladimirovich himself. ” – Medvedev A. The territory of cinema. M .: Vagrius, 2001. S. 104.. At the meetings, Danelia could not help objecting to those who demanded that Shpalikov answer for the new script for “mistakes of the old” – but objected in such a way that it turned out as if he agreed: “I would not like our film to be responsible for mistakes and mistakes of the film “Ilyich’s Flag”. We conceived our painting as the complete opposite of Ilyich’s Flag. There will be a completely different mood in our film. We want to make a film without a single bad human “РГАЛИ. F. 2453. Op. 4. Ed. hr. 469. L. 70..

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