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What is Shukshin red viburnum about? Vasily Shukshin - red viburnum

Narration is in third person. Lots of dialogue. The plot is dynamic, eventful, and largely melodramatic.

Yegor Prokudin's last evening in the zone has ended. In the morning, the boss gives him a farewell. We learn that Yegor dreams of his farm, a cow. His future wife is Lyubov Fedorovna Baikalova. He has never seen her; they know each other only by correspondence. The boss advises you to dress better.

After leaving prison, Prokudin enjoys the spring, feels a surge of strength, and rejoices in the feeling of life. In the regional center, Yegor comes to his comrades “at the hut”. There are a lot of young people there. Among others - Lipslap, Bulldog, Lucien. They are waiting for a call from their accomplices: they are committing another robbery. Egor (he is called Gore there) does not want to talk about the zone, he wants to take a break from the cruelty. They dance with Lucienne. It is felt that no one shares Yegor’s mood, not even Lucien (who understands better than others the abomination of their occupation and Yegor’s inner purity). Lipslap is nervous, Lucien is a little jealous of Yegor. The bell rings: the police have caught up with the accomplices, everyone needs to run away. Yegor also runs, although it is risky for him. He tries to find his acquaintances in the city, but they don’t want to answer him.

“And so the district bus brought Yegor to the village of Yasnoye” - to Lyuba. She meets him at the bus stop. In the teahouse, he says that he was an accountant and ended up in prison by accident. Lyuba knows that he is a repeat offender, but hopes that Yegor will find his way into a normal life. She introduces him to her parents. Lyuba uses Yegor’s “legend” about the accountant so as not to scare her parents. But when Yegor is left alone with them, Lyuba’s father (his wife calls him Mikitka) begins to “interrogate” Yegor. He answers sarcastically: he killed seven, but the eighth didn’t work out. Yegor believes that anyone can end up in prison (ironically reminds the old man about the years of the civil war and collectivization), and there is no point in torturing a person if he has decided to start a new life. Egor tries on the mask of a public figure, a communist, and “convicts” the “backward” old people.

Egor meets Pyotr, Lyuba's brother. Petro and Yegor go to the bathhouse. Petro is indifferent to both the hero’s past and to himself: he doesn’t want to get to know each other or communicate. Yegor doesn’t like feeling like a poor relative, smiling at everyone and at the same time feeling distrust of himself. Petro does not react to Yegor's insults, and after a while Yegor realizes that Petro has no prejudices: he is simply taciturn.

Zoya, Peter's wife, and Lyuba's mother discuss Yegor with her. Lyuba expresses disapproval. Women express the general opinion of the entire village. Unexpectedly, Lyuba is protected by her father. Here Peter's scream is heard. Yegor accidentally scalded him with boiling water. Zoya is horrified, Lyuba’s father grabbed an ax - but everything turned out to be a joke. Neighbors on the street are actively discussing what happened.

The evening in the Baikalovs’ house passes peacefully and calmly. The old people remember some old relatives, Lyuba shows photographs, Egor and Petro peacefully joke about the incident in the bathhouse. At night, Yegor can’t sleep, he wants to talk to Lyuba, she sends him out with her mother’s approval, but she also can’t sleep.

Egor leaves for the regional center. He honestly tells Lyuba: “Maybe I’ll come back. Maybe not." On the way, he imagines that his friends are returning for him. He thinks about Lipslap. In the regional center he goes to the telegraph office and sends him money. At this time, her work friend Varya advises Lyuba to leave Yegor and take back her ex-husband, Kolka. Obviously, the villagers do not like Lyuba’s action, not because Yegor may turn out to be unreliable, but because Lyuba does not behave like everyone else. Varya begins to cheerfully tell how wonderful her life is with her alcoholic husband, whom she beats with a rolling pin.

Egor heads to a restaurant where he is having a “picnic”. He feeds and waters strangers. The most drunken men gather. Egor spends a lot of money. He calls Lyuba and says that he needs to stay the night - he hasn’t settled the issues with the military registration and enlistment office. At this time, the mother incredulously asks Lyuba where Egor is. Again the father protects his daughter and helps her believe in Yegor’s next “legend”.

Yegor continues to “debauch” (Shukshin’s word): he drinks, sings, dances, and pronounces speeches filled with life-affirming pathos. In the end, Yegor gives away the remaining money, takes cognac and chocolate, gets into a taxi and goes to Yasnoye. He comes to Peter and offers him a drink in the bathhouse. In this “close black world” they drink cognac and greet the dawn with the song “I’m sitting behind bars in a damp dungeon.”

In the morning he accompanies Lyuba to the farm. They chat along the way. Among other things, Lyuba mentions her ex-husband Kolka, who constantly drinks. Egor remembers his childhood, his mother and the cow Manka. Lyuba introduces Yegor to the director of the farm, Dmitry Vladimirovich. She gets Yegor a job as a driver at the farm: the director urgently needed a driver. Yegor didn’t like the director: “smooth, happy.” The director doesn’t like Yegor either: “pointlessly obstinate.”

The director gives the task - to pick up foreman Savelyev in the village of Sosnovka. Egor completes the task, but upon returning, refuses further work. It's easier on a tractor.

Egor asks Peter for a dump truck and takes Lyuba with him. On the way, he explains to her that he wants to visit an old woman, Kudelikha. Allegedly, a friend asked him to find out about her health. Lyuba needs to introduce herself as a district security worker and ask about her. The old woman talks about herself, that the children are all confused. Lyuba calms her down. Egor sits silently, wearing dark glasses. When they drove away, he tells Lyuba that this is his mother.

At home, Lyuba’s ex-husband comes to see her with three friends. Yegor drags him out of the house. They retreat to the trees and a fight begins. Kolka has drunk too much, so there is a bit left. Another one rushes at Yegor, but Yegor stops him with one blow. Kolka runs back, grabs the stake, goes towards Yegor - Yegor stops him with a look.

In the morning, Yegor made the first furrow in his life (on a tractor). He breathes in the smell of plowed earth and feels joy from it.

Shura, one of his former accomplices, comes to Yegor. They talk about something, Shura hands over money from Guboshlep (so that Yegor has something to return to them with), but Yegor throws this money in Shura’s face. He's leaving. Lyuba is worried, Yegor tries to calm her down, but it is clear that he himself is not in a good mood.

The next day they work in the field. It's already being sown. Egor notices that a black Volga is parked near the forest. He sees Lipslap, Bully and Lucien there. He goes to them. Lucien, meanwhile, demands that Guboslap not touch Yegor. But Guboshlep emotionally expresses his position: he doesn’t like the fact that Yegor is now almost a saint, and only they are sinners. We learn that danger is looming over Guboshlep and therefore he wants to have time to deal with Yegor.

Lyuba sees Yegor going into the forest with someone. She runs home - it turns out that her father even explained to them how to get there. Here Lyuba stops Petro’s dump truck, they drive towards the forest. The criminals see this, call Guboshlep - he runs out of the forest, hides something under his clothes and they leave.

Egor is seriously wounded. Lyuba and Petro put him in a dump truck and quickly drive him away. But then Yegor feels that he is dying and asks to be put on the ground. He asks Lyuba to take his money and give it to his mother.

“And he, a Russian peasant, lay in his native steppe, close to home... He lay with his cheek pressed to the ground, as if he was listening to something that only he could hear. This is how he pressed himself against the pillars as a child.”

Petro catches up with Volga. People come running. The fate of the criminals is predetermined.

Option 2

In the spring, Yegor Proskudin is released from prison. He dreams of his own farm and cow. In the zone, he met Lyubov Fedorovna Baikalova by correspondence. Yegor visited his comrades “at the hut”. They are getting ready for work. Egor dreams of taking a break from cruelty. I had to run away when the police closed the “hut”. Attempts to find people in the city led to nothing - no one answers Yegor. He decides to go to the village of Yasnoye, to see Lyuba. The woman met him at the bus stop. In the teahouse, he said that he was an accountant and ended up in prison by accident. Lyuba knows that Yegor the thief is a repeat offender, but she openly expects him to start living normally. Introducing Yegor to her parents, she uses the “legend” about the accountant. Left alone with Lyuba's parents, Yegor deliberately frightens them during their interrogations that he killed 7 people and convinces them that anyone could end up in prison. Egor met Lyuba’s taciturn brother Peter, and went to the bathhouse.

The women do not approve of Lyuba’s choice and say that this is the opinion of the entire village. The incident with Yegor scalding Peter in the bathhouse was a joke. But the neighbors have something to talk about.

Leaving for the regional center in the morning, Yegor honestly admits that he may or may not return. On the way, he imagines that his friends have returned for him. He sends money to Guboshlep from the telegraph. At work, Lyuba is advised to leave Yegor and take back her ex, Kolka. In a restaurant in the regional center, Yegor spent a lot of money on a picnic and stays overnight in the city, where in the morning he drinks, sings, and debauches. With his last money he buys cognac and chocolate and goes to Yasnoye. Here he drinks with Peter in the bathhouse.

Lyuba gets Yegor a job as a driver at the farm. The first task is to pick up foreman Savelyev from the village of Sosnovki. He returned and no longer wants to be a driver - he switched to a tractor. Lyuba and I came to the old woman Kudelikha; according to legend, a friend asked to visit. Lyuba asked the old woman about her. Yegor sat all the time wearing dark glasses, was silent, and when they drove away, he said that it was his mother.

Kolka and his friends came to Lyuba. Egor beat them. In the morning he plows the land on a tractor and is happy about it. Shura, a former accomplice, came to Yegor and wants him to return to them, but Yegor does not intend to continue such a life.

The next day sevba. There is a Volga river near the forest, near which Egor’s friends are standing. Lipslap is in danger, so he wants to deal with Yegor. Lyuba arrived with Peter in a dump truck, but it was too late - Yegor was killed. Dying, he asks to give his money to his mother. Petro caught up with the Volga, people came running and began to carry out lynching.

Essay on literature on the topic: Summary of Viburnum red Shukshin

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Brief summary of Viburnum red Shukshin

Details Created 09/19/2016 09:57

The series "Karina the Red" premieres on the channel "Russia-1". Contents of the series.

The series "Karina Krasnaya" is a melodrama.Late 60s, USSR. Karina lives with her parents in a small resort town in the south of the country.

She recently graduated from school and works part-time as a seamstress. The girl has been dating a young man, Mikhail, for several years, who is going to enter MGIMO and become a diplomat. Misha and Karina are in love and happy, they dream of a wonderful family life. But the idyll ends when Misha hits a pedestrian on the road. To save her loved one and his future, Karina decides to take the blame. However, Mikhail, who is responsible for the death of a person, not only allows Karina to incriminate himself, but also breaks off relations with her. Great love turns out to be a deception.

Karina is saved from prison by her father’s acquaintance, the owner of a watch workshop, German Nikolaev. Despite the significant age difference, he unexpectedly confesses his love to Karina and offers her his hand and heart. Karina hopes that she can become happy next to an accomplished, reliable and loving person. She marries him, not suspecting who Nikolaev really is.

And soon Mosfilm employee Alexander Kobzar arrives in the city. At least that’s how he introduces himself to Karina after he saves her from committing suicide. Karina has a difficult road ahead. She will have to find out what role these men are destined to play in her destiny, what she herself will be willing to do for the sake of love, and how, in conditions of Soviet shortages, she can earn big money without ending up in prison.

Cast: Marina Konyashkina, Yuri Chursin, Alexey Koryakov, Sergei Yushkevich, Anton Batyrev, Tim Stefan Vadimovich, Natalya Batrak, Grigory Kalinin, Svetlana Korchagina, Andrey Lebedev, Victor Zaporozhsky.

"Karina Krasnaya" - episode contents

Episode 1
The first love of the “Komsomol member and beauty” Karina turns out to be unhappy. Her boyfriend Misha, who is responsible for the death of a pedestrian, allows Karina to take the blame and breaks off relations with her. Suddenly, Karina receives a marriage proposal from a certain Nikolaev, a friend of her father - an influential and mature man, the owner of a watch workshop. Disappointed in her illusions, the girl marries a man who has something to hide.
Episode 2
Karina is busy arranging Nikolaev’s apartment and shows herself to be a good housewife. At Karina’s request, Nikolaev gets her a job in a watch workshop. Suddenly, Karina finds out that Nikolaev staged the accident that separated her from her fiancé. To the girl’s horror, she witnesses Nikolaev’s reprisal against his accomplice. Out of grief, Karina throws herself off a cliff into the sea, but they manage to pull her out of the water. Karina quickly falls under the spell of her savior Kobzar, and soon they begin an affair.
Episode 3
Hiding from Nikolaev, Karina arrives in Moscow without money or documents. The girl does not disdain hard work and knocks out a corner in a communal apartment. Suddenly Karina finds out that she is pregnant. Several years pass. Nikolaev's accomplices finally find the girl. At the last moment, she manages to contact a police officer she knows, Sukharev, and the bandits are not allowed to deal with Karina.
Episode 4
Nikolaev dies at the hands of bandits, and the persecution of Karina ends. Unexpectedly, Kobzar finds Karina. Their romance resumes, and Karina admits that he is the father of her son. Meanwhile, the police are collecting information about Kobzar. Sukharev tells Karina that Kobzar is a bandit and recommends that the girl cooperate with him. After a conversation with Karina, Kobzar decides to start a new life. He quits crime and gets a job as a worker at Mosfilm. But the calm turns out to be short-lived - old habits and connections pull Kobzar into the past.
Episode 5
Kobzar is accused of double murder. Karina turns to Sukharev for help and becomes his mistress. On a date with Kobzar, Karina finds out where the stolen money is hidden and returns it to its owner. Karina's friend Zhenya introduces her to her influential lover. Karina forces him to provide fabric for sewing clothes according to her sketches. Kobzar's accomplices help her. Karina promises them big money if they succeed. In the zone, they are trying to kill Kobzar by order “from the outside.” The kobzar manages to deal with the attackers and escape. Karina's sewing shop burns down.
Episode 6
Kobzar, who escaped from prison, comes to Karina. Sukharev extracts information about the fugitive from Karina, but he does not receive the necessary information. Spying on Karina also does not produce results. Karina wants to go with Kobzar to Kazakhstan. But Kobzar intends to find the enemy who “ordered” him. A chance meeting with a policeman turns into a shootout, and Kobzar kills him. Karina gathers a gang and asks them to make a choice between her and Kobzar. Sukharev reports that Karina’s criminal enterprise has been uncovered and offers to run away with him.
Episode 7
Sukharev hides Karina in his apartment. Meanwhile, his colleagues are scouring the city in a vain attempt to find the criminal. Suddenly, terrible news hits Karina: her son is seriously ill, and only an urgent operation in Europe can help. The heroine sells her business for the opportunity to travel abroad, and turns to Kobzar for money. Fulfilling this request costs Kobzar his life... Karina and her son leave Russia. Unexpectedly, she meets her first boyfriend Misha.
Episode 8
The "guild worker's" accomplices understand that transporting Karina to Germany is risky and decide to kill her. Rare resourcefulness helps the heroine avoid death and save her son. Karina is forced to turn to Misha for help. To help Karina, he neglects his brilliant diplomatic career. The child is allowed to be taken to the border, but Karina is forced to surrender to justice.

In the evening, after a day of work, people gather in the club. A large man with a weathered face comes onto the stage and announces that the choir of former repeat offenders will now sing the song “Evening Bells.” Together with other prisoners, Yegor Prokudin rises to the stage. This is his last evening in prison.

In the morning, in the office of Yegor’s boss, they ask him about his plans for his future life. Prokudin says that he wants to engage in agriculture and also intends to get married. A young woman is waiting for him in the wild - Lyubov Fedorovna Baikalova, whom he met through correspondence. Prokudin even shows her photograph. The boss advises Yegor to dress up.

The prison doors close behind Prokudin. He enjoys the fine spring day for a long time, and then stops a taxi and goes into the city. On the way, Yegor listens to music with pleasure, reads poetry to the driver and asks to stop in the forest to hug the birch trees. Prokudin has a lot of money, since his friends collected it “for the exit,” as is customary for prisoners. Egor buys a tape recorder he likes from a taxi driver, and then goes “to the hut.”

A lot of people gather in a dirty, tattered room. Among them is a young and beautiful woman, Lucien. She plays the guitar and sings the song “Kalina Krasnaya”. The main one on this “raspberry” is a thief named Guboshlep. Everyone is waiting for news from the group that went to take the stall.

Suddenly there is a knock on the door. One of the young men cautiously goes to open it. Prokudin enters to the sounds of a tape-recorded march. Everyone is happy to see him and congratulates him on his release. In the criminal environment, where Egor enjoys authority, he is known under the nickname Gore.

Lipslap orders the champagne to be opened, Egor and Lucien dance “The Lady”. But then the phone rings. Accomplices report a failed robbery. "Malina" hastily disperses. Lipslap orders everyone to hide and not stick out for two weeks. The leader and Yegor are the last to leave. Guboshlep gives Prokudin money and advises him to have a good rest.

They leave through the back door, but it turns out that the block is cordoned off by the police. Egor tries to lead the chase behind him and breaks away from his pursuers. Prokudin is looking for a place where he can sit out the danger, but everyone refuses him. Since there is nowhere to go, he takes a regular bus to the village of Yasnoye to visit Lyuba.

Baikalova meets Prokudin at a bus stop and carefully examines a short-haired, strong man of about forty with large peasant hands. She invites Yegor to sit in the teahouse, where she asks him to tell him about himself. Prokudin explains that he worked as an accountant. The authorities stole, but he was framed and imprisoned for five years. But Lyuba immediately reveals the deception. She wrote to the head of the prison and knows everything about Yegor.

Prokudin thinks that now he will be driven away, but Baikalova unexpectedly invites the guest to her home. She feels that Yegor is dissatisfied with his fate as a thief and would like to change it. On the way to the house, Lyuba says that she lives with her parents and her older brother’s family. Prokudin is disappointed, but decides to stay with a new friend for a while.

The Baikalovs' house stands on the river bank. Their economy is strong and the place is beautiful. Lyuba's parents are making dumplings when their daughter appears with a former prisoner. The old people receive Yegor warily. Lyuba tells a made-up story about an accountant to calm everyone down. But the father doesn't believe it. He tries to ask Prokudin for his real biography. The guest unexpectedly turns the conversation in a different direction, turning from the accused to an accuser. The old man is completely lost under the pressure of Yegor, who imitates the investigator’s style of interrogation.

Lyuba heats the bathhouse. Her brother Petro, who works as a dump truck driver, returns from work. This healthy and gloomy man calmly takes the news of the appearance of a former prisoner in the house. He does not share the fears of his wife Zoya, who is afraid of Prokudin and also does not believe in the myth about the accountant.

Lyuba sends her brother and Yegor to the bathhouse. The guest is trying to establish contact with Peter there, but it seems to him that Baikalov doesn’t really want to communicate with him. This misunderstanding is soon resolved. Prokudin understands the inhospitable and silent Peter.

At this time, Zoya and her mother scold Lyuba for her unreasonable behavior. Their argument is interrupted by Peter's desperate cries. It turns out that Yegor accidentally splashed hot water from a ladle on him. Zoya is seriously scared. The father grabs the ax. But everything is going well. The burn is smeared with grease, but Petro is not angry with Prokudin.

In the evening, about twelve people gather around the table and reminisce about the past. Lyuba shows Yegor a family photo album. Prokudin asks Peter for forgiveness for the mistake, but he just smiles.

At night, Prokudin is put to bed in the room where his parents sleep. He tries to get into Lyuba’s room, but the old woman threatens to heat him with a frying pan. Egor is angry with all the Baikalovs. In the morning he declares that he will go to the city to dress up. Lyuba does not believe that Yegor will come back, but sadly lets him go. Prokudin is also not at ease. He is sad about the upcoming separation; it seems that all his former boyfriends and girlfriends are following him.

And Lyuba’s friends are trying to persuade her to get back together with her ex-husband. Their arguments are quite logical: a “drunkard” is better than a criminal. But Baikalova is sad, although she herself does not understand how in such a short period of time she managed to attach her heart to Yegor.

In the regional center, Prokudin dresses smartly and transfers his debt to Guboshlep. Then he wastes money in a restaurant and persuades the waiter to organize “debauchery” for him. Egor calls Lyuba and says that he is staying overnight at the military registration and enlistment office in order to register there tomorrow morning.

A strange group of complete strangers gathers around a luxurious table. The women are middle-aged and ugly. Prokudin in a long robe orders the champagne to be poured. The guests are perplexed: what is the reason for the fun? Egor tries to explain: spring, freedom, good mood. He tries to organize a choir from the tipsy guests to perform “Evening Bells,” but nothing works.

An angry Prokudin abandons the feast, calls a taxi and goes to Yasnoye. There he knocks on Peter's door. All night long the men drink cognac in the bathhouse, snack on chocolate and sing songs.

In the morning, Yegor accompanies Lyuba to the farm. The director of the state farm comes across them. Lyuba introduces him to Yegor. It turns out that Prokudin knows how to drive a car, and the director offers Yegor to work as a personal driver. He gives an order, which Prokudin carries out, but the authorities refuse to carry him further. Yegor decides that it is better to work as a tractor driver rather than as a servant.

Having asked Peter for a dump truck, Prokudin leaves on it with Lyuba. On the way, he tells Baikalova about his desire to visit the old woman Kudelikha from Sosnovka and find out about her well-being. Allegedly one of his comrades in prison asked him to do this. Lyuba should introduce herself as an employee of the district social security service and ask the old woman about her health.

In a spacious hut, a woman tells guests about her children. Four are quite prosperous, but she knows nothing about two sons. Egor does not take off his sunglasses while talking. Later he confesses to Lyuba that this old woman is his mother.

At home, Yegor is met by Petro with the news that her ex-husband and his friends have come to see Lyuba. Prokudin is ready to talk like a man with uninvited guests. Thanks to Yegor’s courage and determination, the opponents realized that it was better for them to leave. They threaten to take revenge on Prokudin.

The next day, Yegor goes out on a tractor into the field and plows the first furrow in his life. He enjoys the smell of fresh earth and sings from an excess of feelings.

On the same day, Prokudin’s former accomplice Shura visits. He hands over the money from Guboshlep, but Yegor refuses to accept it and hits Shura in the face with a wad of bills. The angry messenger leaves. Lyuba, who overheard the men’s conversation, is very alarmed. She understands that people don’t just leave the criminal world. Yegor manages to calm Lyuba down. Sitting on the porch, they sing “Red Viburnum.”

Sowing is coming. Egor is working in the field and suddenly notices a Volga car near the landing. Guboslap and two other men are standing nearby, Lucien is sitting in the car. Prokudin puts a wrench in his pocket and heads towards the Volga.

Lucien asks Guboshlep not to touch Yegor: they are finished anyway, so at least let him live and plow the land. But Guboslap angrily interrupts the woman and promises to lay her down next to her.

At this time, Lyuba learns from her parents that some strangers were asking where to find Yegor. Petro is just driving into the yard. Lyuba rushes to her brother and asks him to urgently go to the field. The dump truck turns around and rushes down the road. The alarmed woman keeps urging Petro on, but they still don’t make it in time.

Egor and Guboshlep go into the birch grove. Two other criminals remain near the car. They notice a speeding dump truck and hurry Goobslap. He jumps out of the trees and hides something in his pocket. All the criminals quickly get into the car and drive away.

Lyuba jumps out of the cabin and runs to the birch trees. Yegor comes out to meet her, holding his stomach. The woman picks up the wounded man and, together with her brother, arranges him in the cab of the dump truck.

Petro is in a hurry to take Yegor to the hospital, Lyuba cries. Prokudin asks them to stop and take him to the ground. He feels that he will die soon. Yegor's last request: to give the money to his mother. Lyuba sobs bitterly.

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

Some critics saw a socio-psychological conflict between the criminal and his environment, others - “crime and punishment”, others - the moral meaning of guilt before his 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 assessments directly characterize the picture.

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

“Kalina Krasnaya” is a tragedy of guilt and retribution. From Shukshin’s point of view, the integrity of the narrative is given not by the plot, but by the humanity embodied in it. There are some striking images 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” - runs through the film several times, which appears several times. We can say that the picture is very metaphorical, everything in it is fused with nature. The landscape in it is a poetic leitmotif.

disfigured like Prokudin’s life itself

after meeting his mother

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

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

The image of Yegor Prokudin is very contradictory. 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 outcome (Prokudin's death) is shown in detail. The episode when Prokudin greets the birch trees and encounters 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 had to be “optimistic”. This is a story about the human soul, about “how it is not arranged in life, how it toils and searches for its place.”

In "Kalina Krasnaya" Kolokolnikov's buffoonery turns into a holy fool's provocation by the former criminal, the dissolute peasant son Yegor Prokudin, of the environment of his wanderings - be it the "thieves' raspberry", the dull space of a regional town, or even the house of the peasant family of the Baikalovs, which is genetically close to him. This is the genre range of Shukshin’s hero’s wanderings: from light buffoonery, carnival comedy through holy fool provocations, which are also visible in the simple-minded performances of the hero of his eccentric work. For in “Kalina Krasnaya” the cross-cutting, although most often hidden, motive of Soviet cinema is guessed - “one of our own among strangers, a stranger among our own,” which was resolved primarily on a social plane, when almost the entire nation belonged, if not to those who had passed through the 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 their hearts from place to place across a large, vast country, finding themselves in the position of tumbleweeds, trying to adapt, to take root in a foreign environment. Before “Red Kalina,” Shukshin’s work in literature and cinema was often understood from the point of view of an obsessive opposition between city and village, urban facelessness, lack of spirituality, isolation from roots - and rural naturalness, human individuality, deep connection with the native land.

And only in “Kalina Krasnaya” is this conflict understood on a tragic national, “all-Union level” - the point is not at all that a failed peasant became a repeat offender, leaving his home, betraying his mother, existing without a family, alone, alone, falcon. It was as if the entire 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 become related, how to find peace for its restless soul, which hardly wants only a spree, a “race in the widest”, but to a greater extent he suffers from falling back to the lost foundations of existence.

“Kalina Krasnaya,” directed by the director at the age of 44, is Shukshin’s most confessional and artistically autobiographical film, which in no way fits into the framework of suffocating stagnation.

It is no coincidence that the film begins with a scene of a prison amateur performance - a choir of prisoners thoughtfully and intently sings a song about how the evening bells “bring up a lot of thoughts.” The easiest way to think is that former criminal Yegor Prokudin, having left prison, wants to atone for his previous sins and start a new life in his “native land”, having attached his soul to a good woman Lyuba Baikalova, whom he met through correspondence, but his former friends stubbornly do not let him go and out of spite they start a gangster stabbing. But this is not a “crime drama” or even a melodrama flavored with unexpectedly comic scenes.

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

62. Analysis of the film “Once Upon a Song Thrush”“THE LIVED A SINGING THRUSH”, USSR, GEORGIA-FILM, 1971, b/w, 83 min.

Movie novella.

The title of the film comes from the words of the folk song “Once upon a time there was a song thrush.” And it contains sadness, tenderness, slight irony, 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 timpanist of the opera theater orchestra, documentary director Gele Kandelaki. His face of a true Tbilisi resident either dissolves in the luxurious street crowd of this city, or 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 fighting against it, break out to the surface.

Here he is at the last moment, under the destroying gaze of the director, in time to 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 by the waterfall, as if in heaven, listening to the melody born within him, to his music. The director generously and slyly gave his hero a few bars from Bach's St. Matthew Passion. “Whom I love, I give.”...

Music, noises, sounds, orchestrated by the director into a complete symphony, this is a film within a film that needs to be watched and listened to. There is a prediction in it - in the squeal of car brakes. There is a warning in the inexorable knocking of the clock, these messengers of eternity in our everyday life. And in the pictorial series, festive and worry-free - meetings, feasts, fleeting street contacts, a short stay in the father's house - the turmoil, as will become clear in the finale, is the last morning, afternoon, evening in the hero's life. Black and white chronicle or hagiography?!

Did the hero give himself away to others or waste himself? Did you pour drop by drop the wine of your talent, your very life, or quench someone’s thirst for communication of human participation? Is he kind, generous, loving or irresponsible, scatterbrained, lazy? . So then, after the film was released in 1971, critics and viewers 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 is talented, free, and lived in a different value system. Not in the one where there is “up” and “down”, “better” and “worse”, but in the one where instead of a hierarchy there is juxtaposition, just choose, where the choice process itself is personal and endless, equal to the path of life.

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

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

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

Director: Otar Ioseliani.

Cinematographer: Abesalom Maisuradze.

Production designer: Dmitry Eristavi.

Composer: Teimuraz Bakuradze.

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

Installation: no.

Best foreign film of 1972 at the Italian box office.

Egor Prokudin leaves the zone. His dream is to start his own farm. He must meet his future wife. Egor and Lyubov Fedorovna know each other only by correspondence.

Egor meets with his friends, who are once again preparing for robbery. Grief, as Yegor’s friends call him, doesn’t want to participate in all this. It soon turns out that everyone needs to run away because the police have caught their accomplices.

Egor is dating Lyuba. She introduces him to her parents. Love knows everything about her future husband. She knows that Yegor is a repeat thief, but listens to the tale that he was an accountant and ended up in prison by accident. The bride's father questions Yegor, to which he reacts with mockery and nervousness. Brother Lyubov is very indifferent to both Yegor and his past. Everyone seems unhappy with the girl's choice. Yegor leaves, telling Lyuba that he doesn’t know whether he’ll come back or not. It seems to him that his friends are following him. The hero leads a strange lifestyle. He drinks, treats strangers, throws money down the drain.

Lyuba gets her fiance a job as a driver to the farm, but he leaves work a day later. Egor goes with Lyuba to his mother. One day, Lyubov’s ex-husband comes to her drunk. Egor gets into a fight with him and his friends. Egor works in the field. Former friends take Yegor to the forest for a showdown. Lyuba finds him seriously wounded. Egor is dying. Petro catches up with his friends and deals with them.