The image in the literary source differs from the usual cinematic interpretation. According to the book, Zheglov is 25-26 years old (he is only a few years older than Sharapov), although in the film he is a mature 40-year-old man. tall, dexterous, mobile, quick brown eyes bulging. Dark skin, blue-black hair. Very broad in the shoulders.
Head of the Department for Combating Banditry (OBB). I have been at MUR for five years, that is, since 1940. What he did in the period after the end of the 9th grade (~ 1936) and before entering the police service is unknown. Knows how to use a hair dryer. Available awards, according to Sharapov: "Order of the Red Star, badges of an excellent militia student, parachutist." Komsomolets.
Already in the 21st century, Georgy Vainer admitted: “Those who have read this novel know that it is written there very carefully and very carefully, without any revolutionary cries, that wonderful person, the outstanding detective Gleb Zheglov is essentially Stalin's executioner. There is no value for him human life, freedom, experiences. And it is quite obvious for those who remember a little bit of history that after the events of 45-46, described in the novel, there came a wave of monstrous repressions, where it was the Zheglovs who distinguished themselves in the corps of the Ministry of Internal Affairs-MGB with unheard-of abuses, unheard-of atrocities, because sincere conviction that they were right the work they do, the unconditional personal abilities, the absence of any moral doubts made them a terrible tool. This can be traced in the novel, and it is clear what will happen from Zheglov tomorrow. In the film, this topic is practically gone, because the text disappeared, and the great charm of Volodya Vysotsky remained. Ivan Dykhovichny adds: "Volodya simplified it because he was madly in love."
In film
samples
According to legend, Vysotsky stood at the origins of the creation of the tape, persuading the Weiner brothers to write a script, according to which he really wanted to play. Arkady Vainer recalls: “Vysotsky (...) literally fell in love with Zheglov and this novel. You could say it was love at first sight. He, having received a novel from me as a gift on the day of its release - so to speak, the author's copy (there were 10 of them in total), the next day in the morning he came all imbued with this novel and exclaimed that it was he who would play Zheglov, because no one else played him so well won't play." The brothers decided to play tricks, and said in return that Sergey Shakurov and Nikolai Gubenko would have played this role well.
"I've come to stake out Zheglov." - "In what sense" to stake out "?" He says, “Literally. You don't pretend that you don't know that this is the script of a gigantic serial film, and I would like to play Zheglov in this film. And in general, no one will play Zheglov for you like me. (from the memoirs of Arkady Vainer) .
However, judging by the memoirs of Govorukhin, Vysotsky allegedly had not read the book by the time the Vainers offered him Zheglov, but Vysotsky and Govorukhin decided not to tell the writers this.
Georgy Vainer adds: “The role was written for Volodya, and Volodya knew from the very beginning that he would play this role at any cost. The problem was that Vysotsky was not a screen artist, he was never allowed on television, and therefore the main task was to punch Vysotsky for the role. It cost a lot of blood, and we must pay tribute to Govorukhin that he, being Vysotsky's comrade, took the risk of closing the picture, defending Vysotsky's candidacy in front of all this monstrous crowd from television. And we managed to do it.” Arkady adds that the role of Zheglov was "tailored" to Vysotsky.
As for the trials, Govorukhin says: “I could approve Volodya without trials, because for me, as for all of us, it was clear that only he should play this role. But for the sake of formality, I made several samples of other actors for this role, who obviously could not compete with Vysotsky. And when I showed them to the management, I also showed those that were, of course, much worse than Vysotsky's samples. The management was very convinced. “Of course, only Vysotsky!” - they said and quite easily approved him for the role. Among the "dummy" Zheglovs was Evgeny Stezhko (he eventually got the role of Toporkov).
filming
When working on the image, Vysotsky meticulously asked experienced detectives about their work, found out every little thing.
The appearance of Zheglov, created by the costume designers, is characteristic. Arkady Vainer points out: “Vysotsky chose clothes for his hero at the costume warehouse of the Odessa Film Studio with costume designer Akimova. Things were looked for long and carefully. Inevitable elements for the second half of the 1940s military uniform: riding breeches, boots. And also a jacket, an apache shirt, a striped jumper. Approximately so the movie hero Al Pacino was dressed in one of the films that Volodya really liked.
Vysotsky added a script to the image and plot - so, it was Vysotsky who came up with the idea of putting a photo of Vari on the wall of the pantry; and from June 19 to 21 and from June 26 to 30, while Govorukhin was in the GDR, he generally replaced him as a director; then again in Moscow. Govorukhin mentioned two scenes filmed by Vysotsky - the identification of Fox and the interrogation of Gruzdev.
The museum of the Odessa Film Studio keeps the payroll of the film “The Meeting Place Cannot Be Changed”. According to this document, Vysotsky received 42 rubles per shooting day. V. Konkin received ten rubles more
Songs
Vysotsky offered several of his songs for the film ( "For those who are in the MUR", "Song of the End of the War", "The Ballad of Childhood" and others), one way or another consonant with the plot, but they were eventually rejected by Govorukhin, who believed that they did not fit the image of Zheglov. When Govorukhin invited him to sing A. Vertinsky's song "Purple Negro" (this episode is not in the book), Vysotsky initially rejected this idea. But in the end he agreed - however, in the series, the performance of the song to piano accompaniment is interspersed with prose phrases. In addition, in another episode imposed on him (previous - in the only scene, when Zheglov appears in the ceremonial police tunic of an NKVD captain), Vysotsky puts on a tunic (although the artist also categorically refused to wear this form of Stalin's times) and belittles him with the words: “... Oh, Sharapov. My home clothes: something like pajamas. (...) Yes, because I never had to dress and probably never have to. ”
However, the memories of Arkady Vainer regarding the songs again contradict the words of Govorukhin: “Vysotsky wrote blanks for all five songs, but when they were shooting at the Odessa Film Studio, he suddenly said: “Guys, it’s wrong if I act as a singer-songwriter. We spend a lot of effort so that by the tenth minute of the first episode the viewer has forgotten that I am Vysotsky. I am Zheglov. And when I sing my song, all the work will go to dust. We reluctantly had to agree with him.”. Georgy Vainer says the same: Vysotsky said, having tried different variants: "I think it's crap. As soon as I sing, everyone will immediately say: what kind of Zheglov is this, this is Vysotsky.
Interpretation of the image
Georgy Vainer praises Vysotsky's performance: “One important circumstance should be noted: Vysotsky very accurately understood social role Zheglov ... So bright and strong man like Zheglov, under certain historical prerequisites, left to his instincts and his understanding of legal consciousness, turns from a butt, with the help of which crime was kept in check, into a flail against decent people.
“... In general, there were many restrictions. Glavlit, for example, received the famous order of the Deputy Minister of Internal Affairs Yuri Churbanov, from which it followed: literary heroes- detectives, investigators - were forbidden to drink, divorce their wives and, God forbid, have a mistress! To supervise us, writers and journalists, at that time there was a whole state system: Glavlit, the press bureau of the KGB, the press bureau of the Ministry of Internal Affairs and the press bureau of the USSR Prosecutor's Office. I specifically talk about this censorship insanity, so that it is clear: the appearance in literature of such a bright anti-hero as Gleb Zheglov is a powerful breakthrough for the Vainer brothers. They were already very famous people when they started working on The Era of Mercy. I think it's them main novel. The victory over censorship also happened because the novel was published in Military Publishing. Military censorship was not interested in the moral character of the detectives; they were interested in whether there were any military secrets in the novel - a description of a new tank or the deployment of troops. None of this was in the novel. So for the first time in detective literature the image of an antihero arose - tall, with slim waist, gypsy-beautiful Gleb Zheglov. He Difficult person. I could give my bread cards to a neighbor; but he could take a criminal case forgotten by a friend on the table, hide it and watch the friend suffer all day. The Viners did not like their hero - he never appears anywhere else, and Sharapov "moves" to new book"Vertical racing". Vysotsky made Zheglov different. Song charm and skill of the actor have made of the anti-hero - the hero. "A thief must be in prison" - this has become a commandment for many detectives. But, unfortunately, to plant a gun or drugs on someone who needs it has become as commonplace for some as for Zheglov - to stuff a wallet into the pocket of the thief Kostya Saprykin, so memorably played by Sadalsky".
penultimate role
Vysotsky played Zheglov at the age of 41. Two roles - Zheglov and Don Juan in "Little Tragedies" of the same 1979 turned out to be the last for Vysotsky, who died the next year. Govorukhin recalls: “May 10, 1978 is the first day of filming. And the birthday of Marina Vladi. We are in Odessa, at our friend's dacha. And here is a surprise. Marina takes me to another room, locks the door, asks with tears: “Let Volodya go, shoot another artist.” And Volodya: “Understand, I have so little left, I can’t waste a year of my life on this role!” How much the audience would lose if I gave up that evening. Once, when I told this incident at a meeting with the audience, a note came from the audience: “Is a year of Vysotsky's life worth this role?” A tricky question. If he spent the year that filming took on writing poetry, then the answer would be unequivocal: it’s not worth it! To be a poet - that was his main purpose in this life! But Volodya had other plans, I knew them, and we built a sparing shooting regime for him so that he could carry out everything he had planned: visit Tahiti, make a tour of the cities of America.
Vysotsky’s biographer adds to this episode of persuasion: “For a minute, Vysotsky himself succumbs to weakness:“ I have so little left, I can’t spend a year of my life on this role! Zheglov can pull out just now. This will not be a standard Soviet policeman, not a "cop", but a character like Balzac's Vautrin: he himself is from the "former", he knows the thieves' environment thoroughly. This is not in the script, but you can drag such a subtext purely psychologically. Plus the ability to loop creative biography, to combine this work with their early, "thieves" songs, to show everyone where they grew up from. Perhaps, "The Ballad of Childhood" is quite suitable to sound behind the scenes. And you can also write about the end of the war ... Yes, what doubts - he himself started all this fuss, he made the porridge himself. Let's loosen up!"
In 1987 for creating the image of Zheglov in the television feature film"The meeting place cannot be changed" and the author's performance of the songs Vladimir Vysotsky was awarded the State Prize of the USSR (posthumously).
The further fate of Zheglov
In the 21st century, Georgy Vainer spoke several times (see also above) about the personality of his literary character, denoting the contours of his development and noting that film interpretation simplifies everything: “... in the minds of millions of people, he is a hero, a merry fellow, a disinterested wonderful person. No one understands that this guy is through a very a short time those handsome, charming young and fearless workers of the MGB came out, who twisted their arms, knocked out their teeth: They did the work without evil and without any malevolent desire to torture these people. They worked like carpenters: the boards had to be planed and sawn.
Songs
Gleb Zheglov first appears in the songwriting of Vysotsky himself - in the playful song "To the Weiner Brothers":
Citizens, oh, how long have I not sung, but not from laziness -
There is no one: the wife is in Paris, all the friends are sitting.
Even Gleb Zheglov, who worked a little on a new hair dryer -
Didn't sing anything, weirdo, five nights in a row. .
Vysotsky also mentions him in the song “I didn’t sing to you in the cinema, even though I wanted to ...” about the filming:
I did not sing to you in the cinema, even though I wanted to,
Even my brothers supported me:
There, according to the book, my Gleb sang somewhere,
And the whole MUR endured all five days,
But in Odessa, Zheglov was clamped down. .
Perhaps this is exactly the song that Arkady Vainer recalls, telling how Vysotsky persuaded him and his brother to write a sequel: “We were forced to abandon the sequel, because we had planned the novel“ A Cure for Fear. But you need to know the persistence of Vysotsky, he did not retreat from us. And one morning, when the troupe gathered, he sang a comic song “About Vinerism”, dedicated to my brother and me. We were very pleased with it." In total, Vysotsky dedicated 2 songs to the brothers.
Almazov, Boris Aleksandrovich, in a song dedicated to the memory of Vysotsky (about a ship named after the artist), mentions this character:
His helmsman, firmly soldered into the deck,
He stood like Inspector Zheglov. .
In 1990, the Lyube group for the first time performed Alexander Shaganov's song "Atas", dedicated to the heroes of the film "The meeting place cannot be changed":
Gleb Zheglov and Volodya Sharapov
Sitting at the table was not in vain.
Gleb Zheglov and Volodya Sharapov
They catch the gang and the leader ... " .
The heroes of the film “The meeting place cannot be changed” are dedicated to the song by Mikhail Sheleg “ Black cat» in the genre of Russian chanson:
Fox was tracked down by Captain Zheglov.
Gruzdev asks for an interrogation to Sharapov
.
see also
- David Gotsman (TV series "Liquidation")
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Comments
Notes
- . www.sovsecretno.ru Retrieved 3 April 2016.
- “Today” No. 80 (3213), 04/15/2009, p. 4, “Near Lutsenko now Zheglov smokes around the clock”
An excerpt characterizing Gleb Zheglov
The case was presented by the offended in such a way that, after repulsing the transport, Major Denisov, without any call, appeared in a drunken state to the chief provisions master, called him a thief, threatened to beat him, and when he was taken out, he rushed to the office, beat two officials and dislocated one arm.Denisov, to Rostov's new questions, laughingly said that it seemed that some other one had turned up here, but that all this was nonsense, trifles, that he did not even think to be afraid of any courts, and that if these scoundrels dare to bully him, he will answer them so that they will remember.
Denisov spoke dismissively about the whole affair; but Rostov knew him too well not to notice that in his heart (hiding this from others) he was afraid of the court and was tormented by this affair, which, obviously, was supposed to have bad consequences. Every day, paper requests began to arrive, demands for the court, and on the first of May Denisov was ordered to hand over the squadron to the senior officer and report to the headquarters of the division for explanations on the case of the riot in the provisions commission. On the eve of this day, Platov made reconnaissance of the enemy with two Cossack regiments and two squadrons of hussars. Denisov, as always, rode ahead of the chain, flaunting his courage. One of the bullets fired by the French riflemen hit him in the flesh of the upper leg. Maybe at another time Denisov would not have left the regiment with such a light wound, but now he took advantage of this opportunity, refused to appear in the division and went to the hospital.
In June, the Battle of Friedland took place, in which the Pavlogradites did not participate, and after it a truce was announced. Rostov, who felt hard the absence of his friend, having had no news of him since his departure and worrying about the course of his case and wounds, took advantage of the truce and asked to go to the hospital to visit Denisov.
The hospital was located in a small Prussian town, twice ruined by the Russians and French troops. Precisely because it was summer, when the field was so good, this place, with its broken roofs and fences and its filthy streets, ragged inhabitants and drunken and sick soldiers wandering around it, presented a particularly gloomy spectacle.
In a stone house, in the yard with the remains of a dismantled fence, frames and glass broken in part, there was a hospital. Several bandaged, pale and swollen soldiers walked and sat in the yard in the sun.
As soon as Rostov entered the door of the house, he was overwhelmed by the smell of a rotting body and a hospital. On the stairs he met a Russian military doctor with a cigar in his mouth. A Russian paramedic followed the doctor.
“I can’t burst,” said the doctor; - come to Makar Alekseevich in the evening, I'll be there. The paramedic asked him something else.
- E! do as you know! Isn't it all the same? The doctor saw Rostov going up the stairs.
“Why are you, your honor?” the doctor said. - Why are you? Or the bullet did not take you, so you want to get typhus? Here, father, is the house of the lepers.
- From what? Rostov asked.
- Typhoid, father. Whoever ascends - death. Only the two of us with Makeev (he pointed to the paramedic) are chatting here. At this point, five of our brother doctors died. As soon as the new one arrives, he’ll be ready in a week,” the doctor said with visible pleasure. - Prussian doctors were called, so our allies do not like it.
Rostov explained to him that he wished to see the hussar major Denisov lying here.
“I don’t know, I don’t know, father. After all, you think, I have three hospitals for one, 400 patients too! It’s also good, the Prussian ladies of the benefactor send us coffee and lint at two pounds a month, otherwise they would be lost. He laughed. - 400, father; and they keep sending me new ones. After all, there are 400? A? He turned to the paramedic.
The paramedic had exhausted look. He evidently waited with annoyance to see if the chattering doctor would leave soon.
“Major Denisov,” repeated Rostov; - he was wounded near Moliten.
- Looks like he's dead. What about Makeev? the doctor asked the paramedic indifferently.
The paramedic, however, did not confirm the words of the doctor.
- Why is he so long, reddish? the doctor asked.
Rostov described Denisov's appearance.
“There was, there was such a person,” the doctor said as if joyfully, “this one must have died, but I can handle it, I had lists. Do you have it, Makeev?
“Makar Alekseevich has the lists,” said the paramedic. “But come to the officers’ chambers, you’ll see for yourself there,” he added, turning to Rostov.
“Oh, it’s better not to go, father,” said the doctor, “otherwise you don’t stay here yourself.” - But Rostov bowed to the doctor and asked the paramedic to accompany him.
"Don't blame me," the doctor shouted from under the stairs.
Rostov with the paramedic entered the corridor. The hospital smell was so strong in this dark corridor that Rostov grabbed his nose and had to stop in order to gather his strength and move on. A door opened to the right, and a thin, yellow man, barefoot and in nothing but underwear, leaned out on crutches.
Leaning against the lintel, he looked at the passers-by with shining, envious eyes. Glancing through the door, Rostov saw that the sick and wounded were lying there on the floor, on straw and overcoats.
- Can I come in and have a look? Rostov asked.
- What to watch? the paramedic said. But precisely because the paramedic obviously did not want to let him in, Rostov entered the soldiers' chambers. The smell he had already smelled in the corridor was even stronger here. This smell has changed somewhat here; it was sharper, and it was sensitive that it was precisely from here that he came.
In a long room, brightly lit by the sun through large windows, in two rows, with their heads to the walls and leaving a passage in the middle, lay the sick and the wounded. Most of of them were in oblivion and did not pay attention to those who entered. Those that were in the memory all rose or raised their thin, yellow faces, and all with the same expression of hope for help, reproach and envy for someone else's health, without taking their eyes off Rostov. Rostov went to the middle of the room, looked into the neighboring doors of the rooms with the doors open, and saw the same thing on both sides. He stopped, silently looking around him. He never expected to see this. In front of him lay almost across the middle aisle, on the bare floor, a sick man, probably a Cossack, because his hair was cut in a bracket. This Cossack was lying on his back, his huge arms and legs spread out. His face was purplish red, his eyes were completely rolled up, so that only whites were visible, and on bare feet his and on his hands, still red, the veins tensed like ropes. He hit the back of his head on the floor and said something hoarsely and began to repeat this word. Rostov listened to what he was saying and made out the word he repeated. The word was: drink - drink - drink! Rostov looked around, looking for someone who could put this patient in his place and give him water.
- Who's here for the sick? he asked the paramedic. At this time, a Furstadt soldier, a hospital attendant, came out of the next room, and stretched out in front of Rostov, beating a step.
- I wish you good health, your highness! - shouted this soldier, rolling his eyes at Rostov and, obviously, mistaking him for the hospital authorities.
“Take him away, give him water,” said Rostov, pointing to the Cossack.
“I’m listening, your honor,” the soldier said with pleasure, rolling his eyes even more diligently and stretching himself, but not moving.
“No, there’s nothing you can do about it,” thought Rostov, lowering his eyes, and he wanted to go out, but with right side he felt a significant gaze fixed upon him, and looked back at him. Almost in the very corner, on an overcoat, with a skeleton-yellow, thin, stern face and an unshaven gray beard, an old soldier was sitting and staring stubbornly at Rostov. On the one hand, the neighbor of the old soldier was whispering something to him, pointing to Rostov. Rostov realized that the old man intended to ask him for something. He came closer and saw that the old man had only one leg bent, and the other was not at all above the knee. Another neighbor of the old man, who lay motionless with his head thrown back, quite far from him, was a young soldier with a waxy pallor on a snub-nosed face, still covered with freckles, and with eyes rolled under the eyelids. Rostov looked at the snub-nosed soldier, and a frost ran down his back.
“But this one, it seems ...” he turned to the paramedic.
“As requested, your honor,” said the old soldier with a tremor in his lower jaw. - Finished in the morning. After all, they are also people, not dogs ...
“I’ll send it right now, they’ll take it away, they’ll take it away,” the paramedic said hastily. “Please, your honor.
“Let’s go, let’s go,” Rostov said hurriedly, and lowering his eyes and shrinking, trying to pass unnoticed through the array of those reproachful and envious eyes fixed on him, he left the room.
Having passed the corridor, the paramedic led Rostov into the officers' chambers, which consisted of three rooms with open doors. These rooms had beds; wounded and sick officers lay and sat on them. Some walked around the rooms in hospital gowns. The first person that Rostov met in the officers' wards was a small, thin man without an arm, in a cap and a hospital gown with a bitten pipe, walking in the first room. Rostov, peering at him, tried to remember where he had seen him.
“This is where God brought me to meet,” said small man. - Tushin, Tushin, do you remember taking you near Shengraben? And they cut off a piece for me, here ... - he said, smiling, pointing to the empty sleeve of his dressing gown. - Are you looking for Vasily Dmitrievich Denisov? - roommate! - he said, having learned who Rostov needed. - Here, here, Tushin led him to another room, from which the laughter of several voices was heard.
“And how can they not only laugh, but live here”? thought Rostov, still hearing this smell dead body, whom he had picked up while still in the soldier's hospital, and still seeing around him those envious looks that followed him from both sides, and the face of this young soldier with rolled eyes.
Denisov, covering himself with a blanket, slept on the bed, despite the fact that it was 12 o'clock in the afternoon.
“Ah, G” skeleton? 3do “ovo, hello” ovo, ”he shouted in the same voice as he used to in the regiment; but Rostov sadly noticed how, behind this habitual swagger and liveliness, some new, bad, hidden feeling peeped through in the facial expression, in the intonations and words of Denisov.
His wound, in spite of its insignificance, still did not heal, although six weeks had already passed since he had been wounded. His face had the same pale swelling that was on all hospital faces. But this was not what struck Rostov; he was struck by the fact that Denisov seemed not to be pleased with him and smiled unnaturally at him. Denisov did not ask about the regiment, nor about the general course of affairs. When Rostov talked about this, Denisov did not listen.
Rostov even noticed that it was unpleasant for Denisov when he was reminded of the regiment and, in general, of that other, free life that went on outside the hospital. He seemed to be trying to forget that former life and was only interested in his business with the provisional officials. When asked by Rostov what the situation was, he immediately took out from under the pillow the paper received from the commission, and his rough answer to it. He perked up, beginning to read his paper, and especially let Rostov notice the barbs that he spoke to his enemies in this paper. The hospital comrades of Denisov, who had surrounded Rostov - a person newly arrived from the free world - began to gradually disperse as soon as Denisov began to read his paper. From their faces, Rostov realized that all these gentlemen had already heard this whole story that had managed to get bored of them more than once. Only the neighbor on the bed, a fat lancer, was sitting on his bunk, frowning gloomily and smoking a pipe, and little Tushin, without an arm, continued to listen, shaking his head disapprovingly. In the middle of the reading, the lancer interrupted Denisov.
“But for me,” he said, turning to Rostov, “you just need to ask the sovereign for mercy.” Now, they say, the rewards will be great, and they will surely forgive ...
- I ask the sovereign! - Denisov said in a voice to which he wanted to give the former energy and ardor, but which sounded like useless irritability. - About what? If I were a robber, I would ask for mercy, otherwise I am suing for what I bring to clean water robbers. Let them judge, I'm not afraid of anyone: I honestly served the king, the fatherland and did not steal! And to demote me, and ... Listen, I write to them directly, so I write: “if I were an embezzler ...
- Deftly written, what to say, - said Tushin. But that’s not the point, Vasily Dmitritch,” he also turned to Rostov, “it’s necessary to submit, but Vasily Dmitritch does not want to. After all, the auditor told you that your business is bad.
“Well, let it be bad,” said Denisov. - The auditor wrote a request to you, - Tushin continued, - and you need to sign it, but send it with them. They have it right (he pointed to Rostov) and they have a hand in the headquarters. You won't find a better case.
“Why, I said that I wouldn’t be mean,” Denisov interrupted and again continued reading his paper.
Rostov did not dare to persuade Denisov, although he instinctively felt that the path offered by Tushin and other officers was the most correct, and although he would consider himself happy if he could help Denisov: he knew the inflexibility of Denisov's will and his truthful ardor.
When the reading of Denisov's poisonous papers, which lasted more than an hour, ended, Rostov said nothing, and in the saddest frame of mind, in the company of Denisov's hospital comrades again gathered around him, spent the rest of the day talking about what he knew and listening to the stories of others. . Denisov was gloomy silent throughout the whole evening.
Late in the evening, Rostov was about to leave and asked Denisov if there would be any instructions?
“Yes, wait,” said Denisov, looked back at the officers, and, taking his papers from under the pillow, went to the window, on which he had an inkwell, and sat down to write.
“You can’t see the butt with a whip,” he said, moving away from the window and giving Rostov a large envelope. “It was a request addressed to the sovereign, drawn up by an auditor, in which Denisov, without mentioning anything about the wines of the food department, asked only for pardon.
“Pass it on, I see…” He didn’t finish and smiled a painfully fake smile.
Returning to the regiment and conveying to the commander the state of affairs of Denisov, Rostov went to Tilsit with a letter to the sovereign.
On June 13, the French and Russian emperors gathered in Tilsit. Boris Drubetskoy asked the important person under whom he belonged to be included in the retinue appointed to be in Tilsit.
“Je voudrais voir le grand homme, [I would like to see a great man,” he said, speaking of Napoleon, whom he still always, like everyone else, called Buonaparte.
– Vous parlez de Buonaparte? [Are you talking about Buonaparte?] – the general told him smiling.
Boris looked inquiringly at his general and immediately realized that this was a mock test.
- Mon prince, je parle de l "empereur Napoleon, [Prince, I'm talking about Emperor Napoleon,] - he answered. The general patted him on the shoulder with a smile.
“You will go far,” he said to him, and took him with him.
Boris was among the few on the Neman on the day of the meeting of the emperors; he saw rafts with monograms, Napoleon's passage along the other bank, past the French guards, he saw the pensive face of Emperor Alexander, while he silently sat in a tavern on the banks of the Neman, waiting for Napoleon's arrival; I saw how both emperors got into the boats and how Napoleon, having first landed on the raft, went forward with quick steps and, meeting Alexander, gave him his hand, and how both disappeared into the pavilion. Since its entry into higher worlds, Boris made it a habit to carefully observe what was happening around him and write it down. During a meeting in Tilsit, he asked about the names of those people who came with Napoleon, about the uniforms that they were wearing, and listened carefully to the words that were spoken by important people. At the same time as the emperors entered the pavilion, he looked at his watch and did not forget to look again at the time when Alexander left the pavilion. The meeting lasted an hour and fifty-three minutes: he wrote it down that evening, among other facts that, he believed, had historical meaning. Since the emperor’s retinue was very small, it was very important for a person who valued success in his service to be in Tilsit during the meeting of the emperors, and Boris, having got to Tilsit, felt that from that time on his position was completely established. He was not only known, but they got accustomed to him and got used to him. Twice he carried out assignments for the sovereign himself, so that the sovereign knew him by sight, and all those close to him not only did not be ashamed of him, as before, considering him a new face, but would be surprised if he were not there.
Boris lived with another adjutant, the Polish Count Zhilinsky. Zhilinsky, a Pole brought up in Paris, was rich, passionately loved the French, and almost every day during his stay in Tilsit, French officers from the guards and the main French headquarters gathered for lunch and breakfast at Zhilinsky and Boris.
On June 24, in the evening, Count Zhilinsky, Boris' roommate, arranged a dinner for his French acquaintances. At this supper there was an honored guest, one adjutant of Napoleon, several officers of the French guards and a young boy of an old aristocratic French surname, Napoleon's page. On that very day, Rostov, taking advantage of the darkness so as not to be recognized, in civilian clothes, arrived in Tilsit and entered the apartment of Zhilinsky and Boris.
In Rostov, as well as in the whole army, from which he came, the revolution that took place in the main apartment and in Boris was still far from being accomplished in relation to Napoleon and the French, who had become friends from enemies. Still continued in the army to experience the same mixed feeling of anger, contempt and fear for Bonaparte and the French. Until recently, Rostov, talking with a Platovsky Cossack officer, argued that if Napoleon had been taken prisoner, he would have been treated not as a sovereign, but as a criminal. More recently, on the road, having met with a French wounded colonel, Rostov got excited, proving to him that there could be no peace between the legitimate sovereign and the criminal Bonaparte. Therefore, Rostov was strangely struck in Boris's apartment by the sight of French officers in those same uniforms, which he was accustomed to look at in a completely different way from the flanker chain. As soon as he saw the French officer leaning out of the door, that feeling of war, hostility, which he always felt at the sight of the enemy, suddenly seized him. He stopped on the threshold and asked in Russian if Drubetskoy lived there. Boris, hearing someone else's voice in the hall, went out to meet him. His face in the first minute, when he recognized Rostov, expressed annoyance.
“Oh, it’s you, very glad, very glad to see you,” he said, however, smiling and moving towards him. But Rostov noticed his first movement.
“I don’t seem to be on time,” he said, “I wouldn’t come, but I have a business,” he said coldly ...
- No, I'm just surprised how you came from the regiment. - "Dans un moment je suis a vous", [I'm at your service this minute,] - he turned to the voice of the one who called him.
“I see that I am not on time,” repeated Rostov.
The expression of annoyance had already disappeared from Boris's face; apparently having considered and decided what to do, he took him by both hands with special calmness and led him into the next room. Boris's eyes, calmly and firmly looking at Rostov, were as if covered with something, as if some kind of shutter - the blue glasses of the hostel - were put on them. So it seemed to Rostov.
- Oh, come on, please, can you be at the wrong time, - said Boris. - Boris led him into the room where dinner was laid, introduced him to the guests, naming him and explaining that he was not a civilian, but a hussar officer, his old friend. - Count Zhilinsky, le comte N.N., le capitaine S.S., [count N.N., captain S.S.] - he called the guests. Rostov frowned at the French, reluctantly bowed and was silent.
Zhilinsky, apparently, did not happily accept this new Russian face to his circle and said nothing to Rostov. Boris did not seem to notice the embarrassment that had occurred from the new face, and with the same pleasant calmness and veiled eyes with which he met Rostov, he tried to revive the conversation. One of the French turned with ordinary French courtesy to Rostov, who was stubbornly silent, and told him that he had probably come to Tilsit to see the emperor.
"No, I have business," Rostov answered curtly.
Rostov became out of sorts immediately after he noticed the displeasure on Boris's face, and, as always happens with people who are out of sorts, it seemed to him that everyone was looking at him with hostility and that he interfered with everyone. Indeed, he interfered with everyone and alone remained outside the newly ensued general conversation. "And why is he sitting here?" said the glances cast at him by the guests. He got up and walked over to Boris.
“However, I’m embarrassing you,” he said to him quietly, “let’s go and talk about business, and I’ll leave.”
“No, not at all,” said Boris. And if you're tired, let's go to my room and lie down and rest.
- And in fact ...
They entered the small room where Boris slept. Rostov, without sitting down, immediately with irritation - as if Boris was to blame for something before him - began to tell him Denisov's case, asking if he wanted and could ask about Denisov through his general from the sovereign and through him to convey a letter. When they were alone, Rostov was convinced for the first time that it was embarrassing for him to look Boris in the eyes. Boris crossing his legs and stroking his left hand thin fingers right hand, listened to Rostov, as the general listens to the report of his subordinate, now looking to the side, then with the same obscured gaze, looking straight into Rostov's eyes. Rostov felt awkward every time and lowered his eyes.
– I have heard about such cases and I know that the Emperor is very strict in these cases. I think we should not bring it to His Majesty. In my opinion, it would be better to directly ask the corps commander ... But in general, I think ...
“So you don’t want to do anything, just say so!” - Rostov almost shouted, not looking Boris in the eyes.
Boris smiled: - On the contrary, I will do what I can, only I thought ...
At this time, the voice of Zhilinsky was heard in the door, calling Boris.
- Well, go, go, go ... - said Rostov and refusing dinner, and left alone in a small room, he walked back and forth in it for a long time, and listened to the cheerful French dialect from the next room.
Rostov arrived in Tilsit on the day least convenient for intercession for Denisov. He himself could not go to the general on duty, since he was in a tailcoat and arrived in Tilsit without the permission of his superiors, and Boris, even if he wanted to, could not do this the next day after Rostov's arrival. On this day, June 27, the first terms of peace were signed. The emperors exchanged orders: Alexander received the Legion of Honor, and Napoleon received the 1st degree, and on this day a dinner was appointed for the Preobrazhensky battalion, which was given to him by the battalion of the French guard. The sovereigns were to attend this banquet.
Rostov was so awkward and unpleasant with Boris that when Boris looked in after dinner, he pretended to be asleep and the next day, early in the morning, trying not to see him, left the house. In a tailcoat and a round hat, Nikolai wandered around the city, looking at the French and their uniforms, looking at the streets and houses where the Russian and french emperors. On the square, he saw tables being set up and preparations for dinner; on the streets he saw draperies thrown over with banners of Russian and French colors and huge monograms A. and N. There were also banners and monograms in the windows of the houses.
“Boris does not want to help me, and I do not want to contact him. This matter is settled, thought Nikolai, everything is over between us, but I will not leave here without doing everything I can for Denisov and, most importantly, without handing over the letter to the sovereign. Sovereign?! ... He is here! thought Rostov, involuntarily going back to the house occupied by Alexander.
Riding horses stood at this house and a retinue gathered, apparently preparing for the departure of the sovereign.
“I can see him at any moment,” thought Rostov. If only I could hand him the letter directly and tell him everything, would I really be arrested for wearing a tailcoat? Can't be! He would understand which side justice is on. He understands everything, knows everything. Who can be more just and generous than him? Well, if I were arrested for being here, what's the trouble? he thought, looking at the officer going up to the house occupied by the sovereign. “After all, they are rising. - E! it's all nonsense. I’ll go and submit a letter to the sovereign myself: so much the worse for Drubetskoy, who brought me to this. And suddenly, with a decisiveness that he himself did not expect from himself, Rostov, feeling the letter in his pocket, went straight to the house occupied by the sovereign.
Gleb Zheglov
Gleba Zheglova gave us the novel by the Vainer brothers The Era of Mercy (1976) and, probably, the movie The Meeting Place Cannot Be Changed (1979) based on it. The role of Zheglov in the film was played by Vladimir Vysotsky. This role was remembered by the audience most of all, making up a kind of portrait of the personality of Vysotsky himself.
The film destroyed the stereotypes characteristic of Soviet cinema, in particular, the performance carefully created by the previous story Soviet people about police officers and security officers as crystal-clear, perfectly decent people. In "Meeting Place ...", MUR employees, perhaps for the first time, avoided idealization.
The plot of the film "The meeting place cannot be changed" is built on the opposition of two characters. The authors created a model of confrontation in which: Sharapov, intelligent, with a developed legal consciousness, and Zheglov, prone to arbitrariness, fighting for one thing, look like complete opposites. After the release of the film, Literaturnaya Gazeta wrote that “the spiritual and legal essence of Stalinism is expressed in Zheglov.” But Zheglov was played by Vladimir Vysotsky. The actor, preserving the meaning of the model, filled it with the truth of life, which is remembered by all those over fifty. Therefore, most likely, the majority of people of the older generation recognize that in that particular historical reality, Zheglov was right, and not Sharapov. Moreover, Sharapov could afford the luxury of being "clean" only because he used the results of Zheglov's "dirty" work. The bottom line is that traditional Soviet thinking covers all participants in the legal drama and takes care of reconciling all interests (and not just the interests of the suspect as a potential victim of the state). Over time, losing ideological roots, "marginalizing", the image of Gleb Zheglov nevertheless remains beloved by the current generation of young moviegoers.
Many phrases from the movie (“A thief should be in prison”, “Now - Humpbacked! I said - Hunchbacked!”) Have entered the common vocabulary.
The famous detective Gleb Zheglov, investigator of the Moscow Criminal Investigation Department, is known to us from the dramatic post-war events in Moscow in August - November 1945.
MUR employees - an experienced operative Gleb Zheglov and a front-line soldier, but a newcomer to the search business, Vladimir Sharapov, oppose the Black Cat gang. At first, the task force is engaged in several cases at the same time, but after rumors about the "Black Cat" filled all of Moscow, the authorities demand that only this gang be developed. In reality, it is difficult to expose the gang members - the suspect Gruzdev may turn out to be innocent, the MUR employee may be a coward and a traitor, and one of the Black Cat bandits may be a front-line friend of Sharapov's operative.
The psychological portrait of Zheglov well illustrates the dispute between Sharapov and Zheglov about the forgery. Zheglov planted evidence in the pocket of a criminal named Brick in order to blackmail him with the information necessary to solve the crime. Then he withdraws his wallet in the presence of attesting witnesses, while talking about the years that the pickpocket will spend "on the southern coast of the Arctic Ocean", that is, in the words of a journalist from the Nevskoe Vremya newspaper, he uses " classic way cop's setup." V. Vysotsky, in an interview on this occasion with a Moscow radio correspondent, said: “By the way, many people like that Zheglov deliberately put his wallet in the pocket of a thief so cleverly, because he is an obvious thief ... On behalf of my character, I say that do this with them: press from beginning to end, if you are one hundred percent sure that you have a criminal in front of you.
The image of Zheglov is inextricably linked with the image of the people's poet Vladimir Vysotsky, who played this role, already formed by the time the film was released. Both images seem to have merged into one, mutually complementing and enriching each other. It is also known that for Vysotsky this role was his favorite film work until the end of his life.
On a May evening in 1978, at a dacha in Odessa, Vysotsky, Vlady and Govorukhin gathered to discuss the script for the future film. And suddenly Marina Vlady, with tears in her eyes, takes Govorukhin by the hand and leads him out of the room. “Let Volodya go, shoot another artist!” Vysotsky echoed her: “Understand, I have so little left! I can’t waste a year of my life on this role.” “How much the audience would have lost if I had given up that evening,” Govorukhin later recalled.
The value of Zheglov's image is in its extreme realism. Many viewers were convinced that Gleb Zheglov was not a fictional character. After the film was shown, letters continued for a long time to the address: "Ministry of Internal Affairs, to Captain Zheglov."
Zheglov is a nonconformist. Zheglov acts contrary to the amorphous public opinion, which is a useless weapon against a rigidly structured crime family. If necessary, he reincarnates according to the thieves' temper and custom. Therefore, the singing of Brick - a pickpocket, belonging to the anger of the criminal hierarchy and playing the disadvantaged in civil rights Everyman, does not affect the Fox Opera. Vysotsky-Zheglov is akin epic heroes, defenders of the humiliated and offended, restoring the reality and tangibility of the world. Zheglov is the guardian of the meaning of existence. “But who did I do it for? For yourself, for a matchmaker, for a brother?<…>We will now go out and ask a hundred people: what is more to their hearts - my lie or your truth? And then you will know whether I am right or not,” Zheglov defended his position in this way, finding an excuse for “lying in the name of good.”
A monument to Vladimir Vysotsky in the image of the MUR investigator Zheglov was erected in the center of Mariupol, next to the Mesto Vstrechi restaurant. There is also a monument to Zheglov and Sharapov in Kyiv near the building of the Ministry of Internal Affairs.
In 1990, the Lyube group for the first time performed Alexander Shaganov's song "Atas", dedicated to the heroes of the film "The meeting place cannot be changed."
Zheglov, unlike Sharapov, is not mentioned in any of the other Weiner books other than Era of Mercy. Nevertheless, even during the life of Vysotsky, the idea appeared to write the script for the film "The meeting place cannot be changed-2." The Weiners returned to it in the mid-1990s, then in the late 2000s. However, the idea remained unrealized.
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In the book
The image in the literary source differs from the usual cinematic interpretation. According to the book, Zheglov is 25-26 years old (he is only a few years older than Sharapov). Tall, agile, agile, fast brown eyes bulging. Dark skin, blue-black hair. Very broad in the shoulders.
Head of the Department for Combating Banditry (OBB). I have been at MUR for five years, that is, since 1940. What he did in the period after the end of the 9th grade (~ 1936) and before entering the police service is unknown. Knows how to use a hair dryer. The available awards, according to Sharapov: "Order of the Red Star, badges of the excellent student of the police, parachutist." Komsomolets.
Already in the 21st century, Georgy Vainer admitted: “Those who read this novel know that it is written there very carefully and very carefully, without any revolutionary cries, that a wonderful person, an outstanding detective Gleb Zheglov, is essentially a Stalinist executioner. For him, there is no value of human life, freedom, experiences. And it is quite obvious for those who remember a little bit of history that after the events of 45-46, described in the novel, there came a wave of monstrous repressions, where it was the Zheglovs who distinguished themselves in the corps of the Ministry of Internal Affairs-MGB with unheard-of abuses, unheard-of atrocities, because sincere conviction that they were right the work they do, the unconditional personal abilities, the absence of any moral doubts made them a terrible tool. This can be traced in the novel, and it is clear what will happen from Zheglov tomorrow. In the film, this topic is practically gone, because the text disappeared, and the great charm of Volodya Vysotsky remained. Ivan Dykhovichny adds: "Volodya simplified it because he was madly in love."
In film
samples
According to legend, Vysotsky stood at the origins of the creation of the tape, persuading the Weiner brothers to write a script, according to which he really wanted to play. Arkady Vainer recalls: “Vysotsky (...) literally fell in love with Zheglov and this novel. You could say it was love at first sight. He, having received a novel from me as a gift on the day of its release - so to speak, the author's copy (there were 10 of them in total), the next day in the morning he came all imbued with this novel and exclaimed that it was he who would play Zheglov, because no one else played him so well won't play." The brothers decided to play a trick, and said in return that both Sergey Shakurov and Nikolai Gubenko would have played this role well.
"I've come to stake out Zheglov." - "In what sense" to stake out "?" He says, “Literally. You don't pretend that you don't know that this is the script of a gigantic serial film, and I would like to play Zheglov in this film. And in general, no one will play Zheglov for you like me. (from the memoirs of Arkady Vainer) .
However, judging by the memoirs of Govorukhin, Vysotsky allegedly had not read the book by the time the Vainers offered him Zheglov, but Vysotsky and Govorukhin decided not to tell the writers this.
Georgy Vainer adds: “The role was written for Volodya, and Volodya knew from the very beginning that he would play this role at any cost. The problem was that Vysotsky was not a screen artist, he was never allowed on television, and therefore the main task was to get Vysotsky into the role. It cost a lot of blood, and we must pay tribute to Govorukhin that he, being Vysotsky's comrade, took the risk of closing the picture, defending Vysotsky's candidacy in front of all this monstrous crowd from television. And we managed to do it.” Arkady adds that the role of Zheglov was "tailored" to Vysotsky.
As for the trials, Govorukhin says: “I could approve Volodya without trials, because for me, as for all of us, it was clear that only he should play this role. But for the sake of formality, I made several samples of other actors for this role, who obviously could not compete with Vysotsky. And when I showed them to the management, I also showed those that were, of course, much worse than Vysotsky's samples. The management was very convinced. “Of course, only Vysotsky!” - they said and quite easily approved him for the role. Among the "dummy" Zheglovs was Evgeny Stezhko (he eventually got the role of Toporkov).
filming
When working on the image, Vysotsky meticulously asked experienced detectives about their work, found out every little thing.
The appearance of Zheglov, created by the costume designers, is characteristic. Arkady Vainer points out: “Vysotsky chose clothes for his hero at the costume warehouse of the Odessa Film Studio with costume designer Akimova. Things were looked for long and carefully. Inevitable for the second half of the 1940s, elements of a military uniform: riding breeches, boots. And also a jacket, an apache shirt, a striped jumper. Approximately so the movie hero Al Pacino was dressed in one of the films, which Volodya really liked.
Vysotsky added a script to the image and plot - so, it was Vysotsky who came up with the idea of putting a photo of Vari on the wall of the pantry; and from June 19 to 21 and from June 26 to 30, while Govorukhin was in the GDR, he generally replaced him as a director; then again in Moscow. Govorukhin mentioned two scenes filmed by Vysotsky - the identification of Fox and the interrogation of Gruzdev.
The museum of the Odessa Film Studio keeps the payroll of the film “The Meeting Place Cannot Be Changed”. According to this document, Vysotsky received 42 rubles per shooting day. V. Konkin received ten rubles more
Songs
Vysotsky offered several of his songs for the film ( "For those who are in the MUR", "Song of the End of the War", "Ballad about childhood" and others), one way or another consonant with the plot, but they were eventually rejected by Govorukhin, who believed that they did not fit the image of Zheglov. When Govorukhin invited him to sing A. Vertinsky's song "Purple Negro" (this episode is not in the book), Vysotsky initially rejected this idea. But in the end he agreed - however, in the series, the performance of the song to piano accompaniment is interspersed with prose phrases. In addition, in another episode imposed on him (the previous one - in the only scene when Zheglov appears in the ceremonial police tunic of an NKVD captain), Vysotsky puts on a tunic (although the artist also categorically refused to wear this form of Stalin's times) and belittles him with the words: “... Oh, Sharapov. My home clothes: something like pajamas. (...) Yes, because I never had to dress and probably never have to. ”
However, the memories of Arkady Vainer regarding the songs again contradict the words of Govorukhin: “Vysotsky wrote blanks for all five songs, but when they were shooting at the Odessa Film Studio, he suddenly said: “Guys, it’s wrong if I act as a singer-songwriter. We spend a lot of effort so that by the tenth minute of the first episode the viewer has forgotten that I am Vysotsky. I am Zheglov. And when I sing my song, all the work will go to dust. We reluctantly had to agree with him.”. Georgy Vainer says the same: “Vysotsky said, after trying different options:“ In my opinion, this is crap. As soon as I sing, everyone will immediately say: what kind of Zheglov is this, this is Vysotsky.
Interpretation of the image
Georgy Vainer praises Vysotsky's performance: “One important circumstance should be noted: Vysotsky very accurately understood the social role of Zheglov ... Such a bright and strong person as Zheglov, given certain historical prerequisites, left to his instincts and his understanding of legal consciousness, turns from a butt, with the help of which crime was kept in check, into flail against decent people ".
“... In general, there were many restrictions. Glavlit, for example, received the famous order of the Deputy Minister of Internal Affairs Yuri Churbanov, from which it followed: literary heroes - detectives, investigators - were forbidden to drink, disagree with their wives and, God forbid, have a mistress! To supervise us, writers and journalists, at that time there was a whole state system: Glavlit, the press bureau of the KGB, the press bureau of the Ministry of Internal Affairs and the press bureau of the USSR Prosecutor's Office. I specifically talk about this censorship insanity to make it clear: the appearance in literature of such a bright anti-hero as Gleb Zheglov is a powerful breakthrough for the Vainer brothers. They were already very famous people when they started working on Mercy Era. I think this is their main novel. The victory over censorship was also due to the fact that the novel was published in Voenizdat. Military censorship was not interested in the moral character of the detectives; they were interested in whether there were any military secrets in the novel - a description of a new tank or the deployment of troops. None of this was in the novel. Thus, for the first time in detective literature, the image of an anti-hero arose - a tall, thin-waisted, gypsy-handsome Gleb Zheglov. He is a complex person. I could give my bread cards to a neighbor; but he could take a criminal case forgotten by a friend on the table, hide it and watch the friend suffer all day. The Viners did not like their hero - he never appears anywhere else, and Sharapov "moves" into the new book "Vertical Racing". Vysotsky made Zheglov different. Song charm and skill of the actor have made of the anti-hero - the hero. "A thief must go to jail" - this has become a commandment for many detectives. But, unfortunately, to plant a gun or drugs on someone who needs it has become as commonplace for some as for Zheglov - to stuff a wallet into the pocket of the thief Kostya Saprykin, so memorably played by Sadalsky".
penultimate role
Vysotsky played Zheglov at the age of 41. Two roles - Zheglov and Don Guan in "Little Tragedies" of the same 1979 turned out to be the last for Vysotsky, who died the next year. Govorukhin recalls: “May 10, 1978 is the first day of filming. And Marina Vladi's birthday. We are in Odessa, at our friend's dacha. And here is a surprise. Marina takes me to another room, locks the door, asks with tears: “Let Volodya go, shoot another artist.” And Volodya: “Understand, I have so little left, I can’t waste a year of my life on this role!” How much the audience would lose if I gave up that evening. Once, when I told this incident at a meeting with the audience, a note came from the audience: “Is a year of Vysotsky's life worth this role?” A tricky question. If he spent the year that filming took on writing poetry, then the answer would be unequivocal: it’s not worth it! To be a poet - that was his main purpose in this life! But Volodya had other plans, I knew them, and we built a sparing shooting regime for him so that he could carry out everything he had planned: visit Tahiti, make a tour of the cities of America.
Vysotsky’s biographer adds to this episode of persuasion: “For a minute, Vysotsky himself succumbs to weakness:“ I have so little left, I can’t spend a year of my life on this role! Zheglov can pull out just now. This will not be a standard Soviet policeman, not a "cop", but a character like Balzac's Vautrin: he himself is from the "former", he knows the thieves' environment thoroughly. This is not in the script, but you can drag such a subtext purely psychologically. Plus, the opportunity to loop a creative biography, to close this work with their early, “thieves” songs, to show everyone where they grew up from. Perhaps, "The Ballad of Childhood" is quite suitable to sound behind the scenes. And you can also write about the end of the war ... Yes, what doubts - he himself started all this fuss, he made the porridge himself. Let's loosen up!"
In 1987, Vladimir Vysotsky was awarded the State Prize of the USSR (posthumously) for creating the image of Zheglov in the television feature film "The meeting place cannot be changed" and for the author's performance of the songs.
The further fate of Zheglov
In the 21st century, Georgy Vainer spoke several times (see also above) about the personality of his literary character, outlining the contours of his development and noting that film interpretation simplifies everything: “... in the minds of millions of people, he is a hero, a merry fellow, a disinterested wonderful person. No one understands that after a very short time, those handsome, charming young and fearless employees of the MGB came out of this guy, who twisted their arms, knocked out their teeth: They did the work without evil and without any malevolent desire to torment these people. They worked like carpenters: the boards had to be planed and sawn. (At later film critics, this idea comes to generalizations that make Zheglov a symbol of the era: “The most intelligible image of Comrade Stalin in domestic cinema created - well, who would doubt - Vladimir Vysotsky (...) They were all there - the Stalins. Regardless of the surname and position - be it Gleb Zheglov or Joseph Dzhugashvili, a Moscow cop or the ruler of half the world ").
Songs
Gleb Zheglov first appears in the songwriting of Vysotsky himself - in the playful song "To the Weiner Brothers":
Citizens, oh, how long have I not sung, but not from laziness -
There is no one: the wife is in Paris, all the friends are sitting.
Even Gleb Zheglov, who worked a little on a new hair dryer -
Didn't sing anything, weirdo, five nights in a row. .
Vysotsky also mentions him in the song “I didn’t sing to you in the cinema, even though I wanted to ...” about the filming:
I did not sing to you in the cinema, even though I wanted to,
Even my brothers supported me:
There, according to the book, my Gleb sang somewhere,
And the whole MUR endured all five days,
But in Odessa, Zheglov was clamped down. .
Perhaps this is exactly the song that Arkady Vainer recalls, telling how Vysotsky persuaded him and his brother to write a sequel: “We were forced to abandon the sequel, because we had planned the novel“ A Cure for Fear. But you need to know the persistence of Vysotsky, he did not retreat from us. And one morning, when the troupe gathered, he sang a comic song “About Vinerism”, dedicated to my brother and me. We were very pleased with it." In total, Vysotsky dedicated 2 songs “Black Cat” to the brothers in the genre of Russian chanson:
Fox was tracked down by Captain Zheglov.
Gruzdev asks for an interrogation to Sharapov
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Gleb Zheglov - main character the famous film-series "The meeting place cannot be changed", released in 1979 and based on the novel by the Weiner brothers "Era of Mercy". An employee of the Moscow Criminal Investigation Department, or MUR, Zheglov devoted his life to the fight against banditry. His phrase "A thief should be in prison" became winged, but in general this film, which has become somewhat of a cult, is literally all sorted into quotes. Not last role Zheglov's popularity as a character was also played by the fact that Vladimir Vysotsky played him, coping with the ambiguous and difficult role just brilliant.
Gleb Georgievich Zheglov is an experienced operative, captain of the MUR, irreconcilable, tough, uncompromising and somewhere very quick to punish. Against his background, Senior Lieutenant Sharapov, a novice and champion of justice, looks naive and even infantile, but it is on the opposition of these heroes that the plot is built.
Surprisingly, according to the idea of the authors, the Vainer brothers, Zheglov is a rather negative character, a product Stalin era, a small but strong screw of a huge punitive machine that grinds everyone indiscriminately. But in 1979 a film was released, and although it was filmed very close to the book plot, everything in it turned out to be wrong, and Zheglov's personality turned out to be the main paradox. Yes, the audience loved it. Tough, uncompromising, ruthless and not too thinking, Zheglov nevertheless fell in love with the Soviet audience. They believed him. It is not known whether the personal charm of Vladimir Vysotsky was the reason for this, or people yearned for "strong leaders", but they sympathized with Zheglov, agreed with him, and the humanist Sharapov invariably looked a little "softer" against his background than an employee of the wrestling department should have been with banditry.
There is a story that when Vysotsky read the Weiners' novel "The Era of Mercy", he immediately asked to stake out the role of Zheglov for him, saying that no one could play him better than him. And in general, exactly Vladimir Vysotsky suggested to the Viners that their book is very cinematic and should be scripted. But later, when it was time to start filming, Vysotsky hardly agreed, referring to the fact that he had too little time to spend on filming a movie - he needed to write.
Be that as it may, the film turned out to be serious, powerful and very interesting - it was watched by the whole country. They say that during the premiere, which was timed to coincide with the Day of the Police, it was at this time that a record low number of crimes was recorded in the country, and this was even included in the official report of the Ministry of Internal Affairs.
According to the plot, a young operative Vladimir Sharapov (as you know, he is played by Vladimir Konkin) arrives to serve in the anti-banditry department of the MUR. He is paired with the experienced Gleb Zheglov, who is waging an uncompromising fight against the Black Cat gang. The main thread in the film is the confrontation between the naive champion of justice Sharapov and the cynical, experienced, and therefore ruthless Zheglov, but this should not be taken literally. Despite some cruelty, Zheglov cannot be perceived as a "red sadist" - he is a good person in his own way, but, unlike the young idealist Sharpov, he knows for sure that the criminal cannot be "corrected". And it is from this position that he conducts his personal and civil war with organized banditry.
By the way, opinions about the image and character of Zheglov differed greatly among the audience - the so-called intelligentsia saw in him an unequivocal product of the Stalinist era, while people "simpler" saw him as a real hero.
It is difficult to say whether Zheglov was a hero, and whether it was appropriate to be a hero in those circumstances, but he was not a negative character, as he was originally conceived by the Weiner brothers, and this can be said with absolute certainty. He was direct and understandable - he hated cowards, despised the philistines and "small people", and at the same time appreciated and respected "simple and honest people", who paid him the same. So, he immediately fell in love with all the inhabitants of the communal apartment in which Sharapov settled - he was respected and even adored, and Sharapov was flattered and pleased to be friends with such a person. But still this friendship was not destined be too long different people were Gleb Zheglov And Volodya Sharapov.
The film "The meeting place cannot be changed" turned out to be literally disassembled into quotes, and if you look at these catchphrases, it turns out that many of them belong to Gleb Zheglov. It was he who said "A thief should be in prison", "Mercy is a priestly word", "Here is MUR, not an institute for noble maidens!", "He will be in prison !!! I said" and, of course, the legendary phrase "Now Humpbacked! I said: Hunchbacked!
The film "The meeting place cannot be changed" has been gathering people at the TV screens for the fourth decade, and despite the fact that we already know some scenes by heart, it still looks interesting. It's hard to say what the secret of this Soviet mini-series' charm is; perhaps precisely in its ambiguity - there are no ready-made answers in it and unequivocally positive characters. Such and Gleb Zheglov- a complex and simple person at the same time, which is simply impossible to characterize. Vysotsky turned out to be complex and rebellious - too direct and at the same time thinking, cruel and at the same time kind. Zheglov, no doubt, had his own truth - he hated the gangster evil spirits, and sincerely believed that it was possible to defeat it only by destroying it. "If there is a devil in the world, then he is not a goat-legged stag, but he is a dragon with three heads, and these heads are cunning, greed, betrayal. And if one bites a person, then the other two will eat him to the ground," I am sure Gleb Zheglov.
