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Sunday, March 18, 2018

“The last Soviet writer” say a word

Publishing house “Young guard” begins as part of the famous series “Life of remarkable people” the project “Modern classics”. The name speaks for itself: the project is dedicated to the works and days is known to our contemporaries.

The series the book of Olga Arikova “the Last Soviet writer” of Yuri Polyakov. Came a fact, a thousand pages, which explains not only the richness of the creative biography of the author of “a Kid in milk”, but the desire to reconstruct the recent Soviet and post-Soviet past, to recall facts and events, often deliberately concealed or distorted. In addition, in the first book used unpublished diary and memoir texts Polyakov. The presentation will take place on 15 October at the Pushkin Museum on Prechistenka.

photo: Natalia Muslinkina

We offer our readers an excerpt from the book “the Last Soviet writer”.

“…With the release of “state of emergency…” and “homework” writing, the authorities drew attention to the talented young author and began to promote it.

“Once I came to our literary Department — writers’ Union of the USSR, located in the “house of Growth” in the street thieves ‘ (now cook’s), recalls the Poles. I think I had to apply for documents for overseas travel, on what before did not dream. Go and see: meet me in the narrow corridor, like a tight piston moving in the second person, the joint venture of the USSR Yury Nikolaevich Varchenko. He was so thick that the plane he took two tickets: one chair did not fit. In the hallway to break up with him was just diving into some office. That’s what I did. But first almost not notice me literary General stopped with a sly smile, beckoned-sausage asked:

— Yes, I know.

— What, sorry?

— Do you know? Then, listen: yesterday, Mikhail Gorbachev praised your “PE…” on the Politburo. Said, we have plenty. Understand? Don’t lose your head!

— Well, you! — I shook my head, pretending to obedient embarrassed, which is so like the boss.

— All right, you are too modest! He looked at me with an attentive smile pattern cutting fate.

Once again I have met in life, this fitting opinion of the authorities, to choose another candidate for the nomination. I moved in 86-m, choosing from the Secretary of the Moscow writers ‘ organization and the joint venture of RSFSR and a member of the Board of the USSR writers Union. Now, when the literary community has turned into something between a trade Union of the homeless and club free scribblers, to understand the extent of my rise difficult. To people who have forgotten or youthful years do not know the nomenclature of the hands understand what we’re talking about, can you give a hint. Imagine: you immediately become a member of the Board of Directors of “Gazprom”, “Rosneft” and Sberbank. At the same time! So clear? It remains to add: in those early years, the famous writer was taken in the Kremlin ranking very high position. And how! Lenin, Stalin, Brezhnev — all wrote books. Now this place belongs to medal athletes and night-motorcyclists attach to the horned helm of our tricolor.

When the Congress of Soviet writers discussed the composition of the Supreme organ of the future Secretariat, the wise Georgi Markov Mokeevich seeing in the list of secretaries and my name, and said:

— You really want the guy’s life to ruin!

And I humanely lowered — moved to the Board. My vertical take-off caused the restrained indignation of my colleagues and even friends

I look at Yuri Polyakov.

Active — this good.

Entered as scrap in the literature.

Where are you, the Komsomolets, will you?”

In the fall of 1986, the jury learned that “PE…”, which caused such severe irritation of the powers that be, including the Komsomol superiors, he was awarded the Lenin Komsomol prize. The news caught him in the house of creativity “Gulripshi” near Sukhumi. The fate of the “PE…”, after so many years of uncertainty finally turned out well: in the same year the Novella appeared in the collection molodogvardiis’ka “Category of life”, composed by Ernst Afranowym. And in 1987, the Theatre-Studio of Oleg Tabakov was staged dramatization of “PE…” called “the Chair” Mikhail Khomyakov, Aleksey Serebryakov, Irina Apeksimova and Marina Suginoi in the lead roles. In fact, with the resounding success of the play and began the famous “Tabakerka”. However, since then, not just, much water has flowed — the author and Director took the position in opposing ideological and political camps, and maybe that’s why the theater does not like to think about the play, which went then by the name.

…It is no wonder that almost immediately after posting the question arose about the film adaptation of “state of emergency of regional scale”. The rights to the story immediately bought “Scenic Studio” — was created when the state self-supporting organization, which sought and brought to mind a scenario which it then profits by selling the studios of the country, is clearly not pocivavsek for rapidly changing literary situation. Wanted to shoot a picture there are several, but the Council “Lenfilm”, who bought the script stopped on Sergey Snezhkin, which was not in the League in my first year of Cinematography married to a Mexican woman (the challenge at the time!) and literally from childhood identify themselves to the ideological anti-Soviet. The script, written Polyakov together with Peter Coracinus by order of the Studio, reflects all the ambivalence of the story, and Director, human maximalist views, it is not satisfied. If the novel is the main theme — the problem of moral choice character, his internal conflict with himself, in the film Snezhkin conflict is resolved otherwise: this story is finished, seen through the eyes of an indifferent artist.

As you know, the language of literature directly on film language not translated, although the positive experience of the Soviet cinema were at least remember “the Quiet don” Sergey Gerasimov, “the ordeal” Grigory Roshal or a picture of Sergey Bondarchuk “War and peace”, which literally quotes the novel by Leo Tolstoy.

Remaking a movie Director (this was the technology adopted), Snezhkin relied just on the fact that cinema has its own laws and language, which is much rougher literary, and therefore more choice “black and white” format. Snezhkin has rechelbacher Shumilina, removing the film, the ideological and artistic level, confirmed his personal belief that the Soviet government has no right to exist. The poles showed in the story that the riot in the district Committee is a drama school student, who was insulted in the best feelings, in passing, on the formal basis of not accepting the Communist youth League, where he, along with all sought. Even at this time for many young people joining the Komsomol was a major life event, and few were willing to become an outcast among classmates. Was the practical explanation for such a massive entry into the young Communist League: to apply to many universities in the country from applicants needed Komsomol characteristics, and limited contingent fighting in Afghanistan, didn’t take volunteers without the recommendation of the Komsomol organization. It took a lot of effort, including “state of emergency of regional scale” (primarily in the theatrical and cinematic versions) to decades acquired the authority of the Communist League to shake.

But the Director Snezhkin cared quite another. He Shumilin drunk stops at the portraits of Politburo members who were then in all urban areas, and looking at the faces of the gods, is another portrait sees himself, with a noble gray hair and a Star of Hero of socialist labor. “Wait!” he says, winking portraits. The last scene of the movie is more symbolic: the stolen banner (which in the story is like one of the many artistic details) was found, and Shumilin carries it at night on the deserted Leningrad. “Look for the banner when lost the meaning of life!” — admired the reviewers, seeing this as the main idea of the film…

When the Poles saw that turns Snezhkin, he tried to protest, but he answered: you do not understand the laws of cinema. The film “state of emergency…” (with the debutant Igor Bochkina in the title role) is a pamphlet exposing the monstrous system of human monsters that represent it. The film’s protagonist is a washed-up bastard, and ambitious, easily stepping over people’s lives, including loved ones. This is clearly shown in the sex scenes with his wife in the bedroom and a mistress in the kitchen of interest have not spoiled the eroticism of the Soviet viewer. This could become a hero Polyakova years later. Could but not necessarily would. After all, the author completes the story for a moment before taking the fatal step of the hero, and the reader is still hope that Shumilin did not pay off in his career, the fate of the boys.

Then, in 1988, the film was accepted with enthusiasm. However, as already mentioned, initially, the wide screen would not let him and a couple of months has organized private screenings, well then it’s time the long queues in the cinemas…”


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