Retelling viburnum red. Vasily Shukshin - red viburnum

A rich and famous woman of forty-six is ​​considered the most famous actress in England. Julia Lambert plays her roles in the theater she owns. Michael, Julia's husband, is the director of this theater, combining directing with administrative work. A partner in his enterprise was a fan of Julia, a wealthy aristocrat Dolly de Vries. Dolly moved in high society, which helped her introduce young Michael and Julia into the circle of aristocratic nobility.

The actress's husband was an admirer of her talent, and Julia fell in love with him at the age of nineteen. Young people passionately desired to formalize a legal marriage, but the parents were against the choice of the young man. Using her talent as an actress, Julia managed to win the favor of Michael's parents, and they got married. Soon Michael went to war, and Julia realized that her feelings for her husband had disappeared. Leaving for the front, her husband instilled in the actress the confidence that she should not leave the stage, but that she should continue her artistic activities. Time passed, their son Roger appeared in their family, and Julia became a famous actress.

Once, Michael introduced his wife to a young accountant who helped him with the accounts. Julia, wanting some fun, invited young Tom Fannel to dinner. The actress was flattered that Tom saw all the performances with her participation, and was an ardent admirer of her talent.

After the next performance, Fannel sent a bouquet of flowers to his favorite actress and invited her to visit for tea. Going to the young admirer, Julia saw his modest dwelling. This brought back to her memories of the same apartment that she once rented when she was still just an aspiring actress.

Tom's passionate confessions and his hot kisses pushed Julia into the arms of an ardent young man. The actress wanted to throw this frivolous act out of life. Tom's perseverance and determination led the actress to fall madly in love with her admirer. Julia took over the maintenance of her lover, made him expensive presents, often appeared with him in public.

Dolly de Vries decided to make Michael aware of the rumored behavior of his wife. This put Julia's thoughts in order for a while.

In the summer, the Lambert family went out of town, where their son Roger was also supposed to come. Tom was invited for company to his son. Julia was counting on a summer vacation to continue the stormy romance, but Tom spends all the time in Roger's company.

The forty-six-year-old actress begins to realize that she looks like an old woman to Tom. When the family returned to the city after a summer vacation, Tom and Julia's meetings stopped for a while. From her son, the actress learns that she and Tom spend most of their time in entertainment with young actresses. Roger explained his behavior by the fact that he wants to see real life, that at home he sees only the acting of actors. Julia is jealous of Tom. She masterfully hurts his pride, and the lover returns to the actress all the gifts that Julia once gave him. Not expecting such a result, the woman is horrified that Tom might end their relationship, but is afraid that her son will reveal the truth. To her relief, her son leaves home again.

Dolly de Vries told Julia that a young lover is using her for personal gain, he is sure that she is ready for anything for him. Indeed, Tom asks for a role in the performance of a young actress.

Convinced of Tom's perfidy, Julia gives the role to Evis Crichton, preparing to crush the young actress on the day of the performance.

Trying to get rid of her attachment to Fannel, she leaves London for a while to stay with her mother. To her disappointment, her mother is not at all interested in the life and brilliant career of her famous daughter. Then the actress returns to London, with the aim of bestowing her favor on her longtime friend and admirer, Lord Charles Tamerley. But even here failure awaits her, the lord refuses the once coveted body of the actress. The woman comes to the conclusion that she has lost her feminine attractiveness, and in order to somehow rehabilitate herself, Julia goes for a walk in unpresentable quarters. Julia puts on defiant makeup, but the man who drew attention to her just asks for an autograph.

Working carelessly at rehearsals, Julia Lambert threw out all her talent at the premiere of the play. Evis Crichton's career as a young actress failed miserably, and Julia, having avenged her rival, again found herself at an unattainable height. The lover again wanted to show admiration for the great actress, but for her he was already in the past. In honor of the great actress, fanfares sound again, the crowd expresses sincere admiration for her, Julia Lambert is once again basking in the rays of glory. She comes to understand that her performance on stage is real life, and life itself is just a pretense. Having finally found happiness, she became free.

The novel tells about different views on life, so everyone chooses what is closer to him.

Picture or drawing Maugham - Theater

The main character of the work is a young man named Colin. He is handsome, and besides, he is very rich. Colin has his own chef Nicolas, a big house. The young man does not work.

Julia Lambert is the best actress in England. She is forty-six; she is beautiful, rich, famous; busy with what she loves in the most favorable conditions for this, that is, she plays in her own theater; her marriage is considered ideal; she has a grown son...

Thomas Fennel is a young accountant hired by her husband to clean up the theatre's account books. In gratitude for teaching Tom how to cut his income tax without breaking the law, Michael, Julia's husband, introduces him to his famous wife. The poor accountant is incredibly embarrassed, blushes, turns pale, and Julia is pleased - because she lives with the delights of the public; to finally make the young man happy, she gives him her photograph.

Going through old pictures, Julia remembers her life...

She was born on the island of Jersey in the family of a veterinarian. Her aunt, a former actress, gave her her first acting lessons. At the age of sixteen, she entered the Royal Academy of Dramatic Art, but a real actress was made of her by Middlepool director Jimmy Langton.

While playing in Jimmy's troupe, she met Michael. He was divinely handsome. Julia fell in love with him at first sight, but could not achieve reciprocal love - perhaps because Michael was completely devoid of temperament both on stage and in life; but he admired her acting. Michael was the son of a colonel, graduated from Cambridge, and his family did not approve of his chosen theatrical career. Julia sensitively caught all this and managed to create and play the role of a girl who could please his parents. She reached her goal - Michael proposed to her. But even after the engagement, nothing changed in their relationship ....

Julia Lambert is the most successful actress in England. She has reached the age of forty-six, famous, rich and simply beautiful herself. She does what she loves in the most pleasant conditions for this - she has her own theater. Her marriage is considered exemplary. Her son is already an adult.
Her husband hired a young accountant, Thomas Fennel, to clean up the theatrical account books. Tom taught him how to lower income tax, while not breaking the law, and Michael, Julia's husband, wanting to thank the young man, introduced him to his famous wife. The accountant is very embarrassed, blushed, then turned pale. Julia was flattered, because she loves the attention of the public. Having finally made the young man happy, she gave him her photograph. Revisiting old photographs, Julia indulges in the memory of her past life.
She was born in the family of a veteran on the island of Jersey. Her aunt, a former actress, teaches her her first acting classes. Then, at the age of sixteen, she entered the Royal Academy for dramatic arts. But it was Jimmy Langton, a director from Middlepool, who sculpted her into a true actress.
While playing in his troupe, she met Michael. He was incredibly handsome. For Julia, it was love at first sight. But she could not get a response from him, Michael was completely devoid of temperament, not only on stage, but also in life. But he liked her game. Michael - the son of a colonel, graduated from Cambridge. His family disapproved of his chosen career as an actor. Julia, with some instinct, immediately guessed everything and managed to blind and play the role of such a girl who would certainly like his family. Her calculations came true - Michael invited her to become his wife. But even after the engagement, their relationship remained the same. Michael didn't seem to feel anything for her. And now Michael was offered a great contract abroad. Julia did not believe that he could go and leave her. But Michael still leaves for America. He returned with a fee and set aside illusions at his own expense - he understands that the profession of an actor is not for him. They got married and moved to London.
The first year of married life could have been quite stormy if not for Michael's calm nature. Still unable to make his practical mind love herself, Julia was jealous of him like crazy and threw tantrums.
During the First World War, Michael goes to the front. He suits a military uniform. Julia wants to follow him, but he won't let her - she can't afford to let the audience forget herself. She stayed on stage and is recognized as the best actress of the younger generation. Her fame becomes so great that she can afford to leave the stage for a few months for the birth of a child.
Before the end of the war, she suddenly fell out of love with Michael and, along with regret, feels triumph, as if taking revenge on him for her past torment. Now she is freed, now they can speak as equals.
In the post-war period, using a small inheritance left by her husband's parents, they open their own theater. They are financially aided by Dolly de Vries, a wealthy old lady who has been crazy about Julia ever since she was with Jimmy Langton's troupe. Michael became the administrative head and director. He succeeds in this much better than an acting career. Memories of the past make Julia sad. Life has not justified itself, love has disappeared. But her art is still with her - you can always plunge from the world of reality into the world of pretense.
In the evening, after the performance, they brought her a bouquet of flowers from Thomas Fennel. Quite automatically, as she always does, so as not to offend the viewer, Julia writes a thank you note and forgets about this incident. But Thomas Fennel called her early in the morning and invited her to tea. Then Julia remembers that he is exactly the young accountant who blushed and stuttered. The actress agreed to condescend to a visit to the unfortunate clerk.
His sparsely furnished room reminds Julia of the time when she herself was still an aspiring artist, reminds her of her youth. Suddenly, the young man rushed to her and began to kiss passionately. The actress, surprised at herself, responds to his caresses.
Laughing to herself for such unthinkable stupidity, Julia, meanwhile, feels rejuvenated by several decades.
And suddenly she is horrified, realizing that she has fallen in love.
Without confessing her feelings to Tom, she tries by any means to bind him to her person. Tom is a pretty snob and she introduced him to the high society of the capital. Tom is not rich and she gives him expensive gifts and pays off his debts.
Julia forgot about her age. But reality quickly sobered her up. Resting with her, Tom does not hide much, preferring to spend time with his peer, her son, forgetting about her company. Her revenge is subtle and insidious. Knowing all the sick calluses of his pride, she leaves a note for him, in which she reminded him that the servant must leave a tip and left money for him in an envelope.
Tom returned all her gifts to her the next day, as she really managed to offend him. But she did not count on such an effect. The very thought of breaking up with Tom terrifies her. But she's an actress and does a great job explaining the scene - Tom stayed with her.
She settled Tom closer to her and completely chose the environment for her. He didn't mind. They appear in nightclubs and restaurants at least three times a week. She is sure that she conquered Tom to the end and is completely happy. It did not occur to her that unpleasant rumors had already spread about her.
Julia was told about this by Michael, who in turn was told everything by the terribly jealous Dolly de Vries. Julia turned directly to Dolly to immediately find out who dared to gossip and spread rumors about her. And as a result, he learns that Tom promised some Evis Crichton to help get a role in her theater and boasted that Julia fulfills his every whim. Julia was barely able to contain her emotions and not betray her overwhelmed feelings. So that's it. Tom doesn't love her. But what's worse, he takes her for nothing more than an old woman with money, whom he can easily manipulate. But what makes this situation completely vile is that he prefers a third-rate actress to her.
Indeed, soon Tom invited Julia to watch the young actress Evis Crichton. He rants about how talented she is and how she deserves to play in her Siddons Theatre. Julia is unbearable to watch how much a young man is in love with this actress. She promised Tom that she would take the girl and give her the role. This will be her revenge. You can compete with her anywhere, but never on stage.
Realizing that Tom and their love affair are offensive to her and not worth it, Julia is still too weak to overpower her love. In order to forget herself, she leaves the capital and goes to her mother, to relax at her place. The daughter is confident that her visit will make her old mother happy and brighten up her dull boring days. But, to her amazement, the old woman is not particularly enthusiastic about her daughter's visit, she is not impressed by her fame and she likes her dull boring life.
Returning to London, Julia decides to make her longtime admirer Sir Charles Tamerley happy. She was recorded as his mistress so long ago that in the eyes of the world they already look quite respectable. But Charles either does not want her, or is no longer able to want.
Her self-confidence is shattered. But has she really lost her former beauty? Julia went so far as to take a walk through the dangerous quarter, putting on more than usual layer of makeup. But the only one of the men who turned their eyes on her asked her for an autograph.
Roger, her son, made Julia think deeply. He told her that he had no idea what kind of mother she really was, because even in life she constantly plays. It all consists of many of its roles. Sometimes he is afraid to follow her into the room. Will it suddenly be empty? Julia does not fully understand the meaning of his reproaches, but still feels fear. Looks like Roger is right.
In the premiere of the play, in which she gave the role to Evis Crichton, Julia accidentally runs into Tom Fenell and realizes with great pleasure that the young man means nothing to her anymore. But she still intends to destroy Avis.
And now came the finest hour for Julia. At rehearsals, she allowed herself to play only half-heartedly. At the premiere of the performance, she turned to the full power of her skill and talent. Avis's only meaningful mise-en-scene turned into a triumphant playground for the incomparable Julia Lambert. She was called for an encore ten times. A crowd of three hundred people rampages at the service entrance. Dolly arranged a luxurious reception in honor of her idol. Tom forgets about Evis and bows at her feet. Michael is more than ever delighted with her game. Julia is happy for herself. She tells herself that this moment will never happen again in her life and she is not going to share it with anyone. She eluded everyone from the reception and went to a restaurant. There she ordered a steak with onions, fried potatoes and beer. She had not eaten such food for over ten years. What is love worth compared to a steak like this? Her heart belongs only to her and this is the most wonderful thing. Unrecognizable by her wide-brimmed hat, Julia surveys the restaurant's patrons and reflects that her son was wrong. Actresses and their roles in plays are the symbols of the aimless, disorderly struggle that everyone calls life. Only the symbol is real. Her so-called pretense is the only possible reality.
Now, having gained freedom and found her place, she is happy.
The summary of the novel "Theater" was retold by Osipova A.S.

Please note that this is only a summary of the literary work "Theater". This summary omits many important points and quotations.

The film has features characteristic of the direction of the 70s. This is a bright, free reflection on a life colored by an obvious and vibrant originality. This is a simple picture, designed for a wide audience, but it is complicated because it has many layers. The main question here is “what?”, not “how?”. It can be seen that the director feels free in the choice of material, means, and editing.

Some critics saw the socio-psychological conflict of the criminal with his environment, others - "crime and punishment", others - the moral meaning of guilt before an abandoned mother (He is a lonely outcast who becomes a criminal to fill his soul). Some wrote that this film is a song, others accused it of an anti-song composition. And all these estimates directly characterize the picture.

The structure of the film is a trom (literal and figurative meaning of the image). There is a plot, and there are many more layers (just what critics see).

"Kalina Krasnaya" is a tragedy of guilt and retribution. The integrity of the narrative, from the point of view of Shukshin, is given not by the plot, but by the humanity embodied in it. Some of the highlights in this film. For example, the image of a "birch forest" is a bright, clean world, including human purity. Or the image of the "white church" - several times passes through the film, which appears several times. We can say that the picture is very metaphorical, everything in it is soldered to nature. The landscape in it is a poetic leitmotif.

mutilated like Prokudin's life itself

after meeting mother

after his death. A direct metaphor is his life as a desecrated church.

Catharsis occurs in Egor's awareness of his guilt, the desire for purification and love of Lyuba for Egor.

The image of Yegor Prokudin is very controversial. He is looking for a holiday and wants it right now, at the same time he strives for harmony. In this regard, the picture consists of contrasting episodes - gradually increasing contrast.

The inevitability of the denouement (the death of Prokudin) is shown in detail. The episode when Prokudin greets the birches and collides with a crow, then a montage with a flooded church.

USSR, MOSFILM, 1973, color, 108 min.

Tragic melodrama.

This painting by Vasily Shukshin is an extremely rare genre exception in Soviet art, where all tragedies were bound to be "optimistic". This is a story about the human soul, about "how it is not arranged in life, how it toils and looks for its place."

In "Kalina Krasnaya", Kolokolnikov's jokes turn into a foolish provocation by the former criminal, dissolute peasant son Yegor Prokudin, of the environment of his wanderings - whether it be "thieves' raspberries", the dull space of a regional town or even the house of the Baikalov peasant family genetically close to him. Such is the genre range of the wanderings of the hero Shukshin: from light jokes, carnival comedy through foolish provocations, which are also visible in the ingenuous performances of the hero of his eccentric work. For in “Kalina Krasnaya” a cross-cutting, although most often hidden motif of Soviet cinema is guessed - “one of us among strangers, a stranger among our own”, which was decided mainly in the social plane, when almost the entire nation belonged, if not to the past camps or to relatives those who were imprisoned, so necessarily to a variety of "displaced persons", recruits, migrants and "limiters". Almost everyone moved by force or at the call of the heart from place to place across a large, vast country, found themselves in the position of tumbleweeds, trying to adapt, take root in a foreign environment. Before "Kalina Krasnaya", Shukshin's work in literature and cinema was often understood from the point of view of the obsessive opposition of the city and the countryside, urban facelessness, lack of spirituality, isolation from the roots - and rural naturalness, human individuality, deep connection with native land.

And only in "Kalina Krasnaya" this conflict is understood on a tragic national, "all-Union level" - the point is by no means that the failed peasant became a recidivist thief, leaving his house, betraying his mother, existing without a family, all alone, naked as falcon. It was as if the whole country, which then made up a sixth of the Earth, found itself in the situation of an “eternal restless wanderer”, not knowing where to settle down, with whom to intermarry, how to find peace for its restless soul, which hardly wants only a spree, a “run in width”, but to a greater extent it suffers to fall to the lost foundations of being.

"Kalina Krasnaya", staged by the director at the age of 44, is Shukshin's most confessional and artistically autobiographical film, which does not fit into the suffocating stagnation.

It is no coincidence that the picture begins with a scene of a performance by prison amateur performances - the choir of prisoners thoughtfully and concentratedly displays a song about how “many thoughts suggest” the evening ringing. The easiest way is to calculate that the former criminal Yegor Prokudin, after leaving prison, wants to atone for his previous sins and start a new life in his “native land”, having become attached to the good woman Lyuba Baikalova, whom he met through correspondence, but his former friends stubbornly do not let him go and out of spite arrange a bandit stabbing. But this is not a "crime drama" and not even a melodrama, flavored with unexpectedly comic scenes.

Cast: Vasily Shukshin, Lidiya Fedoseeva-Shukshina, Alexey Vanin, Ivan Ryzhov, Maria Skvortsova, Maria Vinogradova, Ofimiya Bystrova, Zhanna Prokhorenko, Lev Durov, Nikolai Pogodin, Georgy Burkov, Tatyana Gavrilova, Artur Makarov, Oleg Korchikov. Director: Vasily Shukshin. Script writer: Vasily Shukshin. Cameraman: Anatoly Zabolotsky. Production designer: Ippolit Novoderezhkin. Composer: Pavel Chekalov. Sound engineer: Viktor Belyarov.

62. Analysis of the film "There once was a song thrush"“LID ON A SINGING THRUSH”, USSR, GEORGIA-FILM, 1971, b/w, 83 min.

Film novella.

The name of the film comes from the words of the folk song "There was a song thrush". And there is sadness, tenderness, light irony in it, addressed by the author - Otar Ioseliani - to the hero and, for some reason, it seems to himself and, of course, to the leading role of the opera theater orchestra timpani player, documentary filmmaker Gela Kandelaki. His face of a true Tbilisian now dissolves in the luxurious street crowd of this city, then comes to the fore. His impulsive, at first glance, devoid of meaning and goal-setting, actions either drown in the stream of life, or, as if struggling with it, break out to the surface.

Here he is at the last moment, under the director's annihilating gaze, in time for his drums in the theater orchestra in order to fit his drums into the overall music of the finale. Here he lies alone in the grass near the waterfall, as if in paradise, listening to the melody born in him, to his music. The director generously and slyly gave his hero a few bars from Bach's Matthew Passion. "Whom I love - I give" ...

The music, the noises, the sounds orchestrated by the director into a complete symphony, this is a film within a film to watch and listen to. There is a prediction in it - in the squeal of car brakes. There is a warning - in the inexorable tick of the clock, these messengers of eternity in our everyday life. And in the visual series, festive and undisturbed - meetings, feasts, fleeting street contacts, a short stay in the father's house - turmoil, as it will become clear in the finale, the last morning, afternoon, evening in the hero's life. Black and white chronicle or life?!

Did the hero gift himself to others or wasted himself? Have you poured the wine of your talent, your very life, or quenched someone's thirst for communication of human participation? Is he kind, generous, loving or irresponsible, scattered, lazy? . So then, after the release of the film in 1971, critics and the audience argued about the hero, about the meaning of the film. And they did not find answers from the author, not because he knew, but hid them. But because he was talented, free, lived in a different system of values. Not in the one where there is “up” and “down”, “better” and “worse”, but in the one where instead of hierarchy there is rank, just choose, where the selection process itself is personal and endless, equal to the life path.

Otar Ioseliani also suggested to us, deaf people of the 70s, suppressed, standardized, hierarchized, choose ... if you can.

The film was released in limited release (320 copies).

Cast: Gela Kandelaki, Gogi Chkheidze, Jansug Kakhidze, Irina Jandieri, Marina Kartsivadze, I. Mdivani, Nugzar Erkomaishvili, Deya Ivanidze, Tamara Gedevanishvili, Maka Makharadze, Revaz Baramidze, Giorgi Margvelashvili, T. Mtatsmindeli, Vakhtang Eramashvili, O. Tsomaya , Kakhi Kavsadze.

Director: Otar Ioseliani.

Cinematographer: Abesalom Maisuradze.

Production Designer: Dmitry Eristavi.

Composer: Teimuraz Bakuradze

Sound engineers: Tengiz Nanobashvili, Mikhail Nizharadze, Otar Gegechkori.

Mounting: no.

Best Foreign Film of 1972 at the Italian box office.