April 10th, 2011 , 01:42 pm
Guess the movie with one quote)))
VIOLINIST: Comrade, there is a man saying that he is an alien, something needs to be done.
UNCLE VOVA: Call at 03.
VIOLINIST: I'll call, but he's almost barefoot.
UNCLE VOVA: What do you see? A?
VIOLINIST: Sand...
UNCLE VOVA: So, this crap worked... Was that goat with the holes still there? Calm, just calm... There is sun, there is sand, there is gravity. Where are we? We are on Earth.
VIOLINIST: No, a stranger. Professor Rogozin. He gave us a chef’s concert, and then they forgot to put the violin on the plane.
UNCLE VOVA: Banquet?
VIOLINIST: No, lunch...
UNCLE VOVA: Hello! We are our tourists, we are behind the group. Give us a lift to the city, and then we’ll somehow be on our own... Translate.
VIOLINIST: Du yu spik english?
UEF: Kuu?
UNCLE VOVA: Not a single letter, not a single “made in”...
VIOLINIST: Vladimir Nikolaevich, maybe we still...
UNCLE VOVA: Yes, typical Martians.
BI: Lyusenka, dear, infection, this pasta gave you away.
UNCLE VOVA: Yes. This means we know Russian. Why was it necessary to hide?
BI: And we don’t hide it. It is very difficult to penetrate a language when you think in two languages at once.
UEF: And this kid always speaks in languages, the continuation of which he does not know. Why are you staring, maimuna verishvilo?
VIOLINIST: They also know Georgian...
UNCLE VOVA: What did he say?
VIOLINIST: The monkey is the son of a donkey.
BI: Vladimir Nikolaevich! You said that if we take you, you will give everything. And you stole a match from us yourself! A patsak doesn’t deceive a patsak, it’s ugly, dear...
UNCLE VOVA: Don't flinch! Show your gravitsap. Branded item - let's take it.
UEF: Patsak! What kind of smugglers will they take from me here in front of witnesses, when for him he gets a life sentence with nails? Do you have brains or kyu in your head?
UEF: Stop! Stop, I say! Who are you? I ask, who are you?
UNCLE VOVA: Alien foreman.
UEF: No. You're a kid. And who are you?
VIOLINIST: I'm Georgian.
UEF: No, you’re a kid too. You are a boy, you are a boy and he is a boy. And I am a Chatlanian, and they are Chatlanians! So put on your tsak and sit in your pepelats, okay?
BI: Vladimir Nikolaevich, you have a wife at home, a two-year-old son, you haven’t paid for the cooperative apartment, and here you are fooling around. It will end badly, dear.
VIOLINIST: Excuse me, but are Chatlans and Patsaks a nationality?
UEF: No.
VIOLINIST: Biological factor?
UEF: No.
VIOLINIST: Faces from other planets?
UEF: No.
VIOLINIST: How are they different from each other?
UEF: Are you color blind, Violinist? green color Can’t tell the difference from orange? Tourist…
UEF: Yes, a simple game. I give you half a chatla, you give me three matches on the ground. Here, spit here.
VIOLINIST: Thank you, I don't want to.
UEF: Well, okay, you give me one match, I’ll give you three chatlas, yellow pants and this kind of head start. Let's!
VIOLINIST: No...
UEF: Blue pants...
VIOLINIST: Mr. Uef, I will not do it under any circumstances.
UEF: Back word? So why are you fooling me then, maimuna verisho!
VIOLINIST: Mister Uef! I am a representative of a civilized planet, and I demand that you watch your vocabulary! In!
UEF: Violinist, instead of always thinking that you are the first Georgian cosmonaut, and what should you Nobel Prize If they give it to you, return the spoon you stole from the poor artists.
VIOLINIST: I didn’t think of anything like that... I wanted to take it to the Institute of Non-Ferrous Metals, in case something new...
BI: Heaven! Heaven has never seen such a shameful kid like you, Violinist. I grieve very deeply.
BI: Well, here on Earth, how do you determine who should sit down in front of whom for how long?
UNCLE VOVA: Well, it's by eye.
UEF: Savages!
UEF: I have a proposal, dear. You give us the match now, and then we’ll bring you yellow pants, okay?
UNCLE VOVA: Thank you, I already have it, maybe Violinist needs it? Violinist! Here the aliens are farting with their pants... Yellow ones. Do you need them?
BI: But there is no Violinist, dear...
UNCLE VOVA: Why not?
UEF: I ejected him.
BI: Don’t worry, Vladimir Nikolaevich, we have another catapult. New. This one is still ruined.
UNCLE VOVA: I don’t understand...
UNCLE VOVA: Are you sleeping?
VIOLINIST: No.
UNCLE VOVA: Don't be discouraged, Violinist. If there is a gravitsap on this Plyuk, we’ll get it. That’s not what they got...
VIOLINIST: Yes, I sneezed on your acelop!
UNCLE VOVA: Calm down, Violinist, don’t irritate the lady...
VIOLINIST: It’s because you say what you don’t think, and you think what you don’t think, that’s why you’re sitting in cages. And in general, this whole bitter cataclysm that I am observing here, and Vladimir Nikolaevich too...
UNCLE VOVA: Well? Is everything intact?
VIOLINIST: I stole the cologne.
UNCLE VOVA: Woman...
GALINA BORISOVNA: You are an adult, Gedevan Aleksandrovich. You studied for one semester and disappeared for years! They showed up! With some pebble, with some fragment of Caucasian ceramics and a bell from a donka! And you are applying for... Well, and besides, if you are able to play music, then why didn’t you take part in our amateur course activities? Excuse me, Violinist, but this is elementary!
BI: Checkmate! And he said “second category”.
UEF: He's a braggart!
VIOLINIST: It's not a fair game, you're winning at the expense of my brains.
UEF: If you had any brains, you would be studying at MGIMO now, and not here spoiling everyone’s mood.
UEF: Uncle Vova, you need to turn the tsap, tsap.
UNCLE VOVA: Here! Do it yourself!
UEF: I’m not allowed, I’m a Chatlanian.
UNCLE VOVA: Get out of here! How to advise, so everyone chatlan, how to work, so...
BI: Uff, have you ever seen such a little guy be such a mercantile kyu?
UEF: Never. I said - there is no need for a violinist, this is the result.
VIOLINIST: If there was a sea here, why are there no shells?
UEF: Do you still have seas on Earth?
VIOLINIST: There are seas, and there are rivers, and there are decent people, Mr. Uef.
UEF: Savages, I want to cry.
UNCLE VOVA: It’s a pity, the authorities can’t see me now. The salary would be increased.
VIOLINIST: Quiet, Uncle Vova, they are looking at us...
UNCLE VOVA: Ku!
UEF: This is not an airship, you idiot! This is Mr. PJ's last breath.
VIOLINIST: Nonsense! How could one person breathe so much air before dying? Absurd.
BI: Fear the sky! PJ is alive! And I'm happy!
UEF: And I’m even happier.
UNCLE VOVA: Astronauts! Which one is this?
UEF: There, a rusty nut, dear.
UNCLE VOVA: Everything here is rusty!
UEF: And this one is the rustiest.
VIOLINIST: “...Earthling, hello! I am sure you will fly to this planet someday. You are greeted by Vladimir Nikolaevich Mashkov, a builder from Moscow, and Gedevan Aleksidze from Batumi, who were the first to set foot on these vile sands on the outskirts of the universe..."
VIOLINIST: Ah! Who needs all this?! Tsaki-taraki, all this rubbish! And we…
UNCLE VOVA: Where did you get this? A?
VIOLINIST: On the shelf in the planetarium there was...
UNCLE VOVA: Violinist! You are my kleptomaniac! You whistled for the gravitsap!..
ETSELOP: Guys! Why not muzzled? Turn around! Mr. PZh’s order is for all the boys to put on muzzles... And rejoice. So, well, this is for me, and this is for you... And this is for you. Why aren't you happy?
UEF: And no one has lived here for a long time. The Plukans trangluced us while we were on tour.
VIOLINIST: For what?
UEF: Because we didn’t have time to do them.
VIOLINIST: What are you getting them for?
UEF: So that they don’t loom over your head.
VIOLINIST: And everyone died?
UEF: Of course.
UEF: They will crawl on all fours, and we don’t care about them.
VIOLINIST: Why?
UEF: It's a pleasure to receive!
VIOLINIST: What's the fun in that?
UEF: Still young...
UEF: Gedevan-niko, shvilo, you tell me. I can, I belong. My mother is Georgian. Was.
VIOLINIST: Sadaul.
UEF: Alkhauri.
VIOLINIST: He says my mother is a local Georgian. Was.
UNCLE VOVA: Well, how much you can talk about the same thing. Let's fly. If we fly...
UEF: Because of you, I will sit in a pot forever. Are you too lazy to open your mouth again?
UNCLE VOVA: Brothers! Dear, good, my dear ones, either fly away, or at least close the door. I can’t see you anymore, and I’m so sick.
DECONTE: It doesn't matter. Please, wear breathing apparatus.
VIOLINIST: Why? You have good air.
DECONTE: That's why.
VIOLINIST: Girl, are you the smartest here? Did someone tell you this, or did you decide for yourself?
UNCLE VOVA: Let's do it this way: one to Earth, and the other to the past.
VIOLINIST: Vladimir Nikolaevich, I won’t let you go to Plyuk alone.
UNCLE VOVA: Listen, uncle, press for time.
UNCLE VOVA: Then it won’t happen. We fly only to Earth.
BI: Forever?
UNCLE VOVA: Forever.
UEF: Me to a planet where they don’t know who should curtsy in front of whom? Nonsense. Give it a gravitsap and do whatever you want.
VIOLINIST: Uncle Uef, Uncle B, you will be greeted there like that...
BI: No, Genatsvale! When society doesn't have color differentiation pants, then there is no goal, and when there is no goal...
VIOLINIST: Comrade...
UNCLE VOVA: Eh?
VIOLINIST: How to get to the old Arbat?
UNCLE VOVA: That way, to the right.
VIOLINIST: Thank you.
UNCLE VOVA: Ku!
VIOLINIST: Ku!
UNCLE VOVA: Violinist?
VIOLINIST: Uncle Vova?
Brief CHATLAN-PATSAK DICTIONARY:
KC - match
TsAK - nose bell
ETSIKH - box for prisoners
ETSILOPUS - representative of the authorities
PEPELATS - interstellar ship
GRAVITSAPPA - part from the Pepelats engine
KYU is a socially acceptable curse word.
KU - all other words
Some facts about the film:
The film was shot on DS color film (width 35 mm, length 3693.4 m). Although initially high-quality Kodak film was allocated for the film, director G. Danelia and the film’s cameraman P. Lebeshev decided that the image should be harsh - without halftones and good shadow development. In this regard, all the Kodak film was given to another film crew, and the film “Kin-dza-dza!” filmed on lower quality Soviet DS (daylight) film.
The song “Mom, Mom, what are we going to do” sounds at the beginning and end of the film from the TV in Uncle Vova’s apartment, which is showing a scene from feature film"Kotovsky" 1942. In this scene, the White Guard officers during civil war sit in a restaurant in busy Odessa and watch an incendiary performance of a singer performing pop verses about a cheerful and wild life Odessans (“Odessa woman - that’s what she is, / Odessa woman - ardent, lively! / Odessa woman dances and sings, / Gives kisses / To those who live cheerfully!”). As a chorus to these verses, the male choir sings an excerpt from folk song street children (“Mom, mom, what are we going to do, / When the winter cold comes? / You don’t have a warm handkerchief, / I don’t have a winter coat!”). According to the credits, the composer of the film “Kotovsky” was Sergei Prokofiev. During the film, Uncle Vova plays a different, simpler melody on the violin, presumably taken from “Lullaby” by composer I. Philip (published in the “School of Piano Playing” edited by A. Nikolaev).
The song “on the river, on the river, on that bank,” which Uef sings when he is taken away in an iron box on Plyuk, and also when he is sent to the greenhouse on Alpha, is heard in most of G. Danelia’s films, where E. Leonov starred , starting with "Thirty Three"
A few years after the film was released, film composer Gia Kancheli, at the request of famous violinist Gidon Kremer, wrote a humorous play for symphony orchestra based on the music “Kin-dza-dza” and “Tears fell.” It was first performed in Germany under the title “Eine kleine Danelida” (Little Daneliada). The unusual thing about this piece is that according to the music, the orchestra members must sing the word “ku” several times during the performance. Later, a ballet was staged to this music in Vienna, where “ku” was sung by a female choir.
At one of Kin-dza-dza’s film premieres abroad, American directors approached Georgy Danelia:
The Americans - Great movie, etc. ...what special effects! It’s very expensive here, but could Soviet specialists do special effects for us?
G. Danelia - Special effects? Where did you see them there?
Americans - Well, the flying pepelats!
G. Danelia - Pepelats? These are not effects, we borrowed it from the military.
Color differentiation of pants
In the film “Kin-dza-dza! "The following classification of pants was used:
| Pants color | Privilege | Who has the right to wear | Who wears it in the film | Note |
|---|---|---|---|---|
| Blue pants | Personal pool (Mr. PZh), own security. It is possible that there are other privileges. | Ruler of the planet Plyuk (possibly also some senior officials), as well as persons with a very large amount of CC (according to the scenario - 3 grams) | Mr. PZh, as well as VIPs in the crowd in the “Spitting Championship” scene. | |
| Raspberry pants | Patsaks and Chatlans are obliged to squat in front of the owner of the pants (patsaks - twice, and Chatlans - once). In addition, the owners of crimson pants have immunity status (ethylops are prohibited from beating them at night). | Rich residents of Plyuk who own a large number of CCs | The mother of Mr. PZh, as well as the leader of the smugglers, who deceived the earthlings into stealing a box of matches. | |
| Yellow pants | In front of the owner of the pants, the boys must squat and say “Ku” not once, but twice. | Rich residents of Plyuk who have a CC | Dwarf | |
| Lilac pants | Privileges are unknown. The status of the pants is lower than the crimson ones. It is also likely that they are lower than the yellow ones. | Rich residents of Plyuk | Girlfriend of the leader of the rich smugglers | The leader's girlfriend probably did not have her own CC and therefore could not wear yellow pants |
| Green pants | Privileges are unknown. The status of the pants is lower than the lilac ones. | Rich residents of Plyuk | A rich one-armed smuggler, Ecilop in civilian clothes | The one-armed smuggler, judging by his behavior, has less power in the gang than the leader's girlfriend, dressed in lilac pants. In the book “The Toasted One Drinks to the Bottom,” Georgy Danelia reports that “green pants are for riffraff.” |
In addition to the listed varieties of colored pants, the characters in the film also wear pants of some other colors, but whether these pants are a symbol of status and whether they give any privileges to their owners is unknown.
| Pants color | Who wears it in the film |
|---|---|
| White pants | Chatlanin Uef, the ecilian judge (who sent Uef and Bi to the court), the muzzled ecilian, Mr. PZh’s personal patsok. Mr. PZh himself also likes to appear in white pants in holograms, demonstrating his love for the people. |
| Orange pants | The mustachioed Ecilop pilot, the dissident Chatlanin Kyrr (the author of the phrase “the boys sat on the heads of the Chatlans”), the cowardly Ecilop pilot (“I immediately pressed the mouth guard”), the boy Bi. |
| Black trousers | The leader of the smugglers (before he got rich), the Etsikh guard, the fat Chatlanin on the train, some pluckers at the Ferris wheel. |
| Gray pants | Tsang (woman on a cart), a patsak watchman with a coil on his head, some plyukane at the Ferris wheel. |
see also
Links
- Sokolov B. G. Color differentiation of pants (system analysis) // Anecdote as a cultural phenomenon. Materials of the round table on November 16, 2002. St. Petersburg: St. Petersburg Philosophical Society, 2002. P.109-116.
Color differentiation of pants
In the film “Kin-dza-dza! "The following classification of pants was used:
| Pants color | Privilege | Who has the right to wear | Who wears it in the film | Note |
|---|---|---|---|---|
| Blue pants | Personal pool (Mr. PZh), own security. It is possible that there are other privileges. | Ruler of the planet Plyuk (possibly also some high officials) | Mr. PZh, as well as VIPs in the crowd in the “Spitting Championship” scene. | |
| Raspberry pants | Patsaks and Chatlans are obliged to squat in front of the owner of the pants (patsaks - twice, and Chatlans - once). In addition, the owners of crimson pants have immunity status (ethylops are prohibited from beating them at night). | Rich residents of Plyuk who own a large number of CCs | Mister PJ's mother, as well as the leader of the smugglers who stole the box of matches | |
| Yellow pants | In front of the owner of the pants, the boys must squat and say “Ku” not once, but twice. | Rich residents of Plyuk who have a CC | Dwarf | |
| Lilac pants | Privileges are unknown. The status of the pants is lower than the crimson ones. It is also likely that they are lower than the yellow ones. | Rich residents of Plyuk | Girlfriend of the leader of the rich smugglers | The leader's girlfriend probably did not have her own CC and therefore could not wear yellow pants |
| Green pants | Privileges are unknown. The status of the pants is lower than the lilac ones. | Rich residents of Plyuk | A rich one-armed smuggler, a secret agent. | The one-armed smuggler, judging by his behavior, has less power in the gang than the leader's girlfriend, dressed in lilac pants. In the book “The Toasted One Drinks to the Bottom,” Georgy Danelia reports that “green pants are for riffraff.” |
In addition to the listed varieties of colored pants, the characters in the film also wear pants of some other colors, but whether these pants are a symbol of status and whether they give any privileges to their owners is unknown.
| Pants color | Who wears it in the film |
|---|---|
| White pants | Chatlanin Uef, the ecilian judge (who sent Uef and Bi to the court), the muzzled ecilian, Mr. PZh’s personal patsok. Mr. PZh himself also likes to appear in white pants in holograms, demonstrating his love for the people. |
| Orange pants | The mustachioed Ecilop pilot, the dissident Chatlanin Kyrr (the author of the phrase “the boys sat on the heads of the Chatlans”), the cowardly Ecilop pilot (“I immediately pressed the mouth guard”), the boy Bi. |
| Black trousers | The leader of the smugglers (before he got rich), the Etsikh guard, the fat Chatlanin on the train, some pluckers at the Ferris wheel. |
| Gray pants | Tsang (woman on a cart), a patsak watchman with a coil on his head, some plyukane at the Ferris wheel. |
Quotes from the movie “Kin-dza-dza!”
- - “Yes, a simple game. I give you half a chat, you give me three matches on Earth. Never mind, son." - “Thank you, I don’t want to.” - “Okay, you give me one match, I’ll give you three chatlas, yellow pants and this kind of head start. Let's!" - “No...” - “Blue pants...” - “Mr. Wef, I will not do it under any circumstances.”
- “Savages! Listen, I love you, I will teach you. If I have a little CC, I have the right to wear yellow pants. And the guy in front of me must squat not once, but twice. If I have a lot of CC, I have the right to wear crimson pants, and the guy in front of me must squat twice and do chatlanin ku. And Ecilop has no right to beat me at night! Never!"
- - “I have this proposal, dear. You give us the match now, and then we’ll bring you yellow pants, okay?” - “Thank you, I already have it, maybe Violinist needs it? Violinist! Here the aliens are farting with their pants... Do you need the yellow ones?”
- “Me to a planet where they don’t know who should curtsy in front of whom? Nonsense!"
- “Such a proposal. We find Fiddler, fly to the local government... We say who we are, where we are from... They give us a gravitsappa, and we organize mutually beneficial trade - you give us yellow pants, and we give you as much CC as you want.”
- “Yellow pants - two times ku!”
- "Hey! Patsak! Anyway, you’ll kick off your hooves now. Tell the truth at least once in your life. Why didn’t you move with that goat when you could? What did you want? Raspberry pants? Swimming pool PJ? Tell what?"
- “When society has no color differentiation of pants, there is no purpose! And when there is no goal..."
- “How do you roll a pepelats out of the garage without a gravitsappa?”
- “How do you on Earth determine who should squat in front of whom how many times?” - “Well, it’s just by eye” - “Savages!”
- “Without color differentiation of pants, society is without purpose.”
Similar systems
see also
Links
- Sokolov B. G. Color differentiation of pants (system analysis) // Anecdote as a cultural phenomenon. Materials of the round table on November 16, 2002. St. Petersburg: St. Petersburg Philosophical Society, 2002. P.109-116.
p·o·r Kin-Dza-Dza! |
|
|---|---|
| Works and film adaptations | “Galaxy Kin-dza-dza” (story) · “Kin-dza-dza” (film) · “Kin-dza-dza-dza” (cartoon) |
| Characters | Uncle Vova · Violinist · Bi · Uef · Abradox |
| Character Groups | Patsaki · Chatlan · Eciloppa |
| Devices | |
VIOLINIST: Comrade, there is a man saying that he is an alien, something needs to be done.
UNCLE VOVA: Call at 03.
VIOLINIST: I'll call, but he's almost barefoot.
UNCLE VOVA: What do you see? A?
VIOLINIST: Sand...
UNCLE VOVA: So, this crap worked... Was that goat with the holes still there? Calm, just calm... There is sun, there is sand, there is gravity. Where are we? We are on Earth.
VIOLINIST: No, a stranger. Professor Rogozin. He gave us a chef’s concert, and then they forgot to put the violin on the plane.
UNCLE VOVA: Banquet?
VIOLINIST: No, lunch...
UNCLE VOVA: Hello! We are our tourists, we are behind the group. Give us a lift to the city, and then we’ll somehow be on our own... Translate.
VIOLINIST: Du yu spik english?
UEF: Kuu?
UNCLE VOVA: Not a single letter, not a single “made in”...
VIOLINIST: Vladimir Nikolaevich, maybe we still...
UNCLE VOVA: Yes, typical Martians.
BI: Lyusenka, dear, infection, this pasta gave you away.
UNCLE VOVA: Yes. This means we know Russian. Why was it necessary to hide?
BI: And we don’t hide it. It is very difficult to penetrate a language when you think in two languages at once.
UEF: And this kid always speaks in languages, the continuation of which he does not know. Why are you staring, maimuna verishvilo?
VIOLINIST: They also know Georgian...
UNCLE VOVA: What did he say?
VIOLINIST: The monkey is the son of a donkey.
BI: Vladimir Nikolaevich! You said that if we take you, you will give everything. And you stole a match from us yourself! A patsak doesn’t deceive a patsak, it’s ugly, dear...
UNCLE VOVA: Don't flinch! Show your gravitsap. Branded item - let's take it.
UEF: Patsak! What kind of smugglers will they take from me here in front of witnesses, when for him he gets a life sentence with nails? Do you have brains or kyu in your head?
UEF: Stop! Stop, I say! Who are you? I ask, who are you?
UNCLE VOVA: Alien foreman.
UEF: No. You're a kid. And who are you?
VIOLINIST: I'm Georgian.
UEF: No, you’re a kid too. You are a boy, you are a boy and he is a boy. And I am a Chatlanian, and they are Chatlanians! So put on your tsak and sit in your pepelats, okay?
BI: Vladimir Nikolaevich, you have a wife at home, a two-year-old son, you haven’t paid for the cooperative apartment, and here you are fooling around. It will end badly, dear.
VIOLINIST: Excuse me, but are Chatlans and Patsaks a nationality?
UEF: No.
VIOLINIST: Biological factor?
UEF: No.
VIOLINIST: Faces from other planets?
UEF: No.
VIOLINIST: How are they different from each other?
UEF: Are you colorblind, Violinist—can’t tell the color green from orange? Tourist…
UEF: Yes, a simple game. I give you half a chatla, you give me three matches on the ground. Here, spit here.
VIOLINIST: Thank you, I don't want to.
UEF: Well, okay, you give me one match, I’ll give you three chatlas, yellow pants and this kind of head start. Let's!
VIOLINIST: No...
UEF: Blue pants...
VIOLINIST: Mr. Uef, I will not do it under any circumstances.
UEF: Back word? So why are you fooling me then, maimuna verisho!
VIOLINIST: Mister Uef! I am a representative of a civilized planet, and I demand that you watch your vocabulary! In!
UEF: Violinist, instead of always thinking that you are the first Georgian cosmonaut, and that they will give you the Nobel Prize, return the spoon that you stole from poor artists.
VIOLINIST: I didn’t think anything like that... I wanted to take it to the Institute of Non-Ferrous Metals, maybe something new...
BI: Heaven! Heaven has never seen such a shameful kid like you, Violinist. I grieve very deeply.
BI: Well, here on Earth, how do you determine who should sit down in front of whom for how long?
UNCLE VOVA: Well, it's by eye.
UEF: Savages!
UEF: I have a proposal, dear. You give us the match now, and then we’ll bring you yellow pants, okay?
UNCLE VOVA: Thank you, I already have it, maybe Violinist needs it? Violinist! Here the aliens are farting with their pants... Yellow ones. Do you need them?
BI: But there is no Violinist, dear...
UNCLE VOVA: Why not?
UEF: I ejected him.
BI: Don’t worry, Vladimir Nikolaevich, we have another catapult. New. This one is still ruined.
UNCLE VOVA: I don’t understand...
UNCLE VOVA: Are you sleeping?
VIOLINIST: No.
UNCLE VOVA: Don't be discouraged, Violinist. If there is a gravitsap on this Plyuk, we’ll get it. That’s not what they got...
VIOLINIST: Yes, I sneezed on your acelop!
UNCLE VOVA: Calm down, Violinist, don’t irritate the lady...
VIOLINIST: It’s because you say what you don’t think, and you think what you don’t think, that’s why you’re sitting in cages. And in general, this whole bitter cataclysm that I am observing here, and Vladimir Nikolaevich too...
UNCLE VOVA: Well? Is everything intact?
VIOLINIST: I stole the cologne.
UNCLE VOVA: Woman...
GALINA BORISOVNA: You are an adult, Gedevan Aleksandrovich. You studied for one semester and disappeared for years! They showed up! With some pebble, with some fragment of Caucasian ceramics and a bell from a donka! And you are applying for... Well, and besides, if you are able to play music, then why didn’t you take part in our amateur course activities? Excuse me, Violinist, but this is elementary!
BI: Checkmate! And he said “second category”.
UEF: He's a braggart!
VIOLINIST: It's not a fair game, you're winning at the expense of my brains.
UEF: If you had any brains, you would be studying at MGIMO now, and not here spoiling everyone’s mood.
UEF: Uncle Vova, you need to turn the tsap, tsap.
UNCLE VOVA: Here! Do it yourself!
UEF: I’m not allowed, I’m a Chatlanian.
UNCLE VOVA: Get out of here! How to advise, so everyone chatlan, how to work, so...
BI: Uff, have you ever seen such a little guy be such a mercantile kyu?
UEF: Never. I said - there is no need for a violinist, this is the result.
VIOLINIST: If there was a sea here, why are there no shells?
UEF: Do you still have seas on Earth?
VIOLINIST: There are seas, and there are rivers, and there are decent people, Mr. Uef.
UEF: Savages, I want to cry.
UNCLE VOVA: It’s a pity, the authorities can’t see me now. The salary would be increased.
VIOLINIST: Quiet, Uncle Vova, they are looking at us...
UNCLE VOVA: Ku!
UEF: This is not an airship, you idiot! This is Mr. PJ's last breath.
VIOLINIST: Nonsense! How could one person breathe so much air before dying? Absurd.
BI: Fear the sky! PJ is alive! And I'm happy!
UEF: And I’m even happier.
UNCLE VOVA: Astronauts! Which one is this?
UEF: There, a rusty nut, dear.
UNCLE VOVA: Everything here is rusty!
UEF: And this one is the rustiest.
VIOLINIST: “...Earthling, hello! I am sure you will fly to this planet someday. You are greeted by Vladimir Nikolaevich Mashkov, a builder from Moscow, and Gedevan Aleksidze from Batumi, who were the first to set foot on these vile sands on the outskirts of the universe..."
VIOLINIST: Ah! Who needs all this?! Tsaki-taraki, all this rubbish! And we…
UNCLE VOVA: Where did you get this? A?
VIOLINIST: On the shelf in the planetarium there was...
UNCLE VOVA: Violinist! You are my kleptomaniac! You whistled for the gravitsap!..
ETSELOP: Guys! Why not muzzled? Turn around! Mr. PZh’s order is for all the boys to put on muzzles... And rejoice. So, well, this is for me, and this is for you... And this is for you. Why aren't you happy?
UEF: And no one has lived here for a long time. The Plukans trangluced us while we were on tour.
VIOLINIST: For what?
UEF: Because we didn’t have time to do them.
VIOLINIST: What are you getting them for?
UEF: So that they don’t loom over your head.
VIOLINIST: And everyone died?
UEF: Of course.
UEF: They will crawl on all fours, and we don’t care about them.
VIOLINIST: Why?
UEF: It's a pleasure to receive!
VIOLINIST: What's the fun in that?
UEF: Still young...
UEF: Gedevan-niko, shvilo, you tell me. I can, I belong. My mother is Georgian. Was.
VIOLINIST: Sadaul.
UEF: Alkhauri.
VIOLINIST: He says my mother is a local Georgian. Was.
UNCLE VOVA: Well, how much you can talk about the same thing. Let's fly. If we fly...
UEF: Because of you, I will sit in a pot forever. Are you too lazy to open your mouth again?
UNCLE VOVA: Brothers! Dear, good, my dear ones, either fly away, or at least close the door. I can’t see you anymore, and I’m so sick.
DECONTE: It doesn't matter. Please, wear breathing apparatus.
VIOLINIST: Why? You have good air.
DECONTE: That's why.
VIOLINIST: Girl, are you the smartest here? Did someone tell you this, or did you decide for yourself?
UNCLE VOVA: Let's do it this way: one to Earth, and the other to the past.
VIOLINIST: Vladimir Nikolaevich, I won’t let you go to Plyuk alone.
UNCLE VOVA: Listen, uncle, press for time.
UNCLE VOVA: Then it won’t happen. We fly only to Earth.
BI: Forever?
UNCLE VOVA: Forever.
UEF: Me to a planet where they don’t know who should curtsy in front of whom? Nonsense. Give it a gravitsap and do whatever you want.
VIOLINIST: Uncle Uef, Uncle B, you will be greeted there like that...
BI: No, Genatsvale! When a society does not have a color differentiation of pants, then there is no goal, and when there is no goal...
VIOLINIST: Comrade...
UNCLE VOVA: Eh?
VIOLINIST: How to get to the old Arbat?
UNCLE VOVA: That way, to the right.
VIOLINIST: Thank you.
UNCLE VOVA: Ku!
VIOLINIST: Ku!
UNCLE VOVA: Violinist?
VIOLINIST: Uncle Vova?
Brief CHATLAN-PATSAK DICTIONARY:
KC - match
TsAK - nose bell
ETSIKH - box for prisoners
ETSILOPUS - representative of the authorities
PEPELATS - interstellar ship
GRAVITSAPPA - part from the Pepelats engine
KYU is an acceptable curse word in society
KU - all other words
Some facts about the film:
The film was shot on DS color film (width 35 mm, length 3693.4 m). Although initially high-quality Kodak film was allocated for the film, director G. Danelia and the film’s cameraman P. Lebeshev decided that the image should be harsh - without halftones and good shadow development. In this regard, all the Kodak film was given to another film crew, and the film “Kin-dza-dza!” filmed on lower quality Soviet DS (daylight) film.
The song “Mom, Mom, what are we going to do” is heard at the beginning and end of the film from the TV in Uncle Vova’s apartment, which is showing a scene from the 1942 feature film “Kotovsky”. In this scene, during the Civil War, White Guard officers sit in a restaurant in Odessa, which they occupied, and watch an incendiary performance by a singer performing pop verses about the cheerful and wild life of Odessans (“Odessa woman - that’s what she is, / Odessa woman - ardent, lively! / Odessa woman dances and sings , / Gives kisses / To those who live cheerfully!”). As a chorus to these verses, the male choir several times performs an excerpt from a folk song of street children (“Mom, mom, what will we do, / When the winter cold comes? / You don’t have a warm handkerchief, / I don’t have a winter coat!”) . According to the credits, the composer of the film “Kotovsky” was Sergei Prokofiev. During the film, Uncle Vova plays a different, simpler melody on the violin, presumably taken from “Lullaby” by composer I. Philip (published in the “School of Piano Playing” edited by A. Nikolaev).
The song “on the river, on the river, on that bank,” which Uef sings when he is taken away in an iron box on Plyuk, and also when he is sent to the greenhouse on Alpha, is heard in most of G. Danelia’s films, where E. Leonov starred , starting with "Thirty Three"
A few years after the film’s release, the film’s composer, Giya Kancheli, at the request of the famous violinist Gidon Kremer, wrote a humorous piece for a symphony orchestra based on the music of “Kin-dza-dza” and “Tears Fell.” It was first performed in Germany under the title “Eine kleine Danelida” (Little Daneliada). The unusual thing about this piece is that according to the music, the orchestra members must sing the word “ku” several times during the performance. Later, a ballet was staged to this music in Vienna, where “ku” was sung by a female choir.
At one of Kin-dza-dza’s film premieres abroad, American directors approached Georgy Danelia:
The Americans - Great movie, etc. ...what special effects! It’s very expensive here, but could Soviet specialists do special effects for us?
G. Danelia - Special effects? Where did you see them there?
Americans - Well, the flying pepelats!
G. Danelia - Pepelats? These are not effects, we borrowed it from the military.
Strictly speaking, the problem of color differentiation of pants vital only worried about the characters in the film “Kin-dza-dza”. Me - not really. And because I am not included in this issue, I can judge it objectively. To what extent, of course, is it possible to talk about objectivity at all (for the author of these lines, for he is a philosopher by diploma, and “according to the staff” since the time of R. Descartes, he has been charged with the duty to doubt everything, especially reality and objectivity).
Let me remind you for those who have forgotten the essence of the problem, and for those who have not seen the film, I will tell you a little about it. One of the heroes of the film (played by Evgeny Leonov) makes something like this: “I will not live in a society where there is no color differentiation of pants.” If we say this “in Russian,” then the phrase could be translated as follows: “There is no point in living in that underdeveloped and primitive society, where there are no “foundations of foundations” and “values of values”, which are personified in the color differentiation of pants.” The fact is that the society of the planet to which the above-quoted character belonged had its own values and goals. And it must be said that these values and goals are quite far from the values of both socialist society (the time to which the film was created) and modern democracy and civil society. These values were personified in the hierarchical system of differentiation of pants. Those. a certain color of pants (say, purple [hereinafter we take colors arbitrarily, because we don’t quite remember the exact differentiation in the movie]) reflected the social status of the wearer and was the object of coveted desire for those whose pants were cast in a lower social color (for example, blue).
So, before us is quite social organized world: caste and hierarchical system of relations. The role of the indicator social status in this world they perform color differentiated pants.
Before we move on to the actual problematization of the color differentiation of pants, it is necessary to clarify the very context of this differentiation, i.e. the world in which it takes place. This world is enough amazing world, because he is unreal world, but the world is fictional, i.e. constructed. As a constructed world, it is a world of the mind, i.e. nous and nowhere except this nous not localized. In other words, the world of the indicated fantasy world- this is the noumenal world, and in the Kantian sense of the word. Let us explain what was stated. The world of “Kin-dza-dza” is a utopia (or a dystopia, what difference does it make to us?), but a utopia built by the mind of its creator. It is unreal, although its forms - like everything else in any movie - are visibly represented. But their visibility refers only to the givens of reason, the givens of our consciousness. At the same time, the world is quite stable for our consciousness, since it does not “fall apart”, again, for our consciousness. Thus, the objects (if one can speak allegorically about non-existent objects and worlds) of this film (as well as any other film, especially fantasy) have amazing properties - their identity in itself And for us, i.e. their representation and intelligibility coincide, since both are equally unreal. In other words, their representation is their noumenality. Those. the world that we see is no different from the world itself, since both are creations of the mind. The world of the film “Kin-dza-dza” in this regard is both phenomenal and noumenal. Those. we have a unique opportunity to see a phenomenon that is no different from a noumenon. And in this sense, we see that the world of “Kin-dza-dza” is a noumenal world, which does not lose any of its noumenality from the fact that it becomes an object for our vision. Let us recall that for I. Kant, noumenon is an “intelligible object.” By the way, as a noumenal world, the world of color differentiation of pants cannot become the subject of possible experience and be considered by the human mind. According to the same Kant, the noumenal world can become the subject of possible experience for another, say, for angelic understanding, and reasoning about it can become the subject of angelic patience on the part of those listening to this reasoning about it. In other words, what we are talking about now is the problem of color differentiation of pants - discussions about the angelic and, therefore, about the divine, i.e. theology par excellence.
Now let's return to the very issue of color differentiation of pants. The very title of the article “Color differentiation of pants (system analysis)” is not accidental. We will talk about how to systematically consider the color differentiation of pants. At the same time, it is assumed - and quite strongly - that color differentiation itself is an indisputable given. This is a given of the social and ethical planes, which we, since we are not Marxists, must not change, but explore. Let's face it - we have a dead end in front of us, from which, in theory, systemic analysis should find a way out. Here we consider system analysis not as is sometimes customary in certain types of systems, but as an analysis that provides an understanding of an interconnected whole. Even if it’s not a dead end, it’s a labyrinth (consisting of different colors of pants), and the system is that Ariadne’s thread that will help us not only get out of our pants, but also intelligently and scientifically rank and coordinate these pants.
To begin with, let us take for granted the following differentiation of pants: lilac (L) color of pants is the color of the highest rank, the color of the pants of rulers; orange (O) is the color of, as they would now say, the middle class; and blue (C) is, excuse me, the color of the commoner. For comfort further analysis Let's take only three colors, and as Aristotle used to say, they are enough for our analysis. We need to analyze this given and identify certain patterns in it that will allow us to evaluate the integrity of the blue (S), orange (O) and purple (L) pants and comprehend the ethical foundations of the society of the film “Kin-dza-dza”. What strategy should we choose? That is the question (quoted from the memory of “Hamlet” by W. Shakespeare). It’s difficult to immediately choose an analysis strategy that would allow us to systematically approach the problem of color differentiation of pants without thinking about it (there are 19 volumes, no less), so let’s turn to the most well-known strategies and apply them in practice (pants).
Of course, if we are to choose a methodology that will provide us with genuine and objective comprehension (in our case it coincides, let me remind you, with the noumenal), then we should, first of all, turn to those methods that are promoted and used not without success (one nuclear bomb what is it worth!!) natural sciences. So, scientific methodology. I lay out my pants on the table. What should I do in this case? natural Science? Dismember, disassemble into atoms, and having described the structure of the pants, the structure and frequency of the color wave, approach the desired solution to the problem. Let’s do it (it’s hard to decide on this if there aren’t that many pants). We dissect the pants, describe their structure, compare them with other pants, etc. Well!? Never mind. Nothing, believe me, works out. If you don’t believe me, then dismember the pants yourself and - I guarantee - you won’t understand a damn thing about how what color pants correspond to the various lines of the “table of ranks” of the “planet Kin-dza-dza”. The result that can be achieved in a similar experimental way is the transformation of pants into rags for wiping a car...
Maybe, then, we’ll turn to humanitarian methodologies and try to find in their ranks the desired method that will provide us with the systemic integrity of this phenomenon, especially since the color differentiation of pants “in theory” should relate to social, ethical, political... in short, to humanitarian spheres.
Let's take at random (this is at random for the reader, but not for me) several methodologies. First, the method of speculation. For it is clear that knowledge about the color differentiation of pants does not apply to individuals, but to the most general issues human society and it is impossible to obtain this knowledge inductively, as Bacon would have liked, but it inherently belongs to the sphere that is subject to the Aristotelian mind, i.e. speculation about the very first principles.
So we speculate on the pants. Let me remind you: about pants S, O, L. We speculate, speculate... we cannot speculate anything except the objective (may Husserl forgive me) given. No matter how much you stare (either with your eyes or with your mind), you do not comprehend the eternal and imperishable reality of color differentiation. Doesn't fit... Let's move on... And we'll get to Aristotle.
Our appeal to Aristotle (or rather to his ethics) is not accidental, because the differentiation of pants is an ethical problem, and Aristotle himself is a fairly wise thinker. What would he do if he were in our place? He would probably use his achievements in this area and apply what he successfully tested in his ethics, namely, that the most important thing is to find justice, which is the driving principle of any human communication. Color differentiation, of course, consolidates and fixes existing social connections and therefore its comprehension and preservation is a matter of the greatest scientific and political importance (in particular, this would be important for Aristotle from the “planet Kin-dza-dza,” if there is such a thing). As the basis of order (and for Aristotle, order is “something”) the system of differentiation must maintain justice and avoid extremes, for justice is the mean between two extremes. If we “translate” what is stated to the colors of the pants, it turns out that the O pants are such because they are equidistant from the two extremes, from the C pants and the L pants. By the way, you can, with the help of Aristotle, determine the topos of the pants, i.e. their natural place, to which they necessarily strive. And their natural place is the legs and loins, and where these legs and loins go, the natural top of the pants migrates to the same place... Beauty? Something doesn't work out with Aristotle's pants. Let's take something newer.
For example, Hegel. From the point of view of Hegelian dialectics, what should we do with pants? Probably you need to choose a beginning (just as Hegel chooses being for himself) and “untwist the chosen trousers dialectically. Let's say pants C are the beginning. They have an internal contradiction that drives them along the path of development to their other - pants O. Pants O not only their otherness of pants C, they deny them and preserve them in their truth. So, pants C undergo a process of Aufhebung (removal, i.e., pants are taken off) and pass into pants O. But this does not end there, for everything goes to a higher unity, which is then personified by pants A, containing both the removed pants C, so are the pants O, removed in truth. At the same time, it should also be noted that since we have a dialectical process here, we can say the same thing that Hegel said about each stage of development of the absolute idea - it is an absolute idea: pants C are pants A , just like pants O are pants L. Honestly, except for taking off your pants, everything is complete rubbish, so maybe we’ll take an even newer system?
Well, for example M. Heidegger. Probably he would have said this about pants in the Black Forest house: “Pants are pants in the gap of pants, declaring the oblivion of pants.” And from the said profundity of the singer of the 3rd Reich, we would not have felt any better and we would not have advanced at all in understanding the color differentiation of pants.
Then maybe the “scourge of the twentieth century” and hysterical women, S. Freud, will help us here. Probably the problem of pants would have found its sympathy with him, because pants are so “erotic”, because they are adjacent to two erogenous zones- anus and phallus. How this appeal to the problem of color differentiation of trousers in psychoanalysis would end is not so difficult to predict - everything would ultimately come down to eros and thanatos, and if Freud’s follower Jung had taken up the matter, then it would be archishtans floating on the surface of the unconscious. But this would not make us or the pants any better: unconsciousness would be inaccessible to rationality and would be honorably consigned to a psychiatric hospital.
And the list of methodologies and systems goes on...
What should we do if they can’t give us anything worthwhile?
So, what do we get from the systematic application of any methodology to the problem of color differentiation of pants? Yes, in general, nothing. She didn’t give us anything and didn’t explain anything. Maybe the point is that the human mind is weak for divine affairs, for we saw from the very beginning that the talk about the noumenality-phenomenality of the world “Kin-dza-dza” is a matter of the angelic understanding?
At its core, the color differentiation of pants, as a visible manifestation, crystallization of human connections, the structure of society, is no better and no worse than any other. And the impossibility of systematically comprehending it, which was, of course, presented in this text in an exaggerated form, in principle demonstrates the impossibility of giving an “exhaustive” and “final” explanation in the humanitarian sphere. Why is this happening?
Yes by various reasons. Let's take just two. The mind strives for understanding, which, by the way, does not have the properties of statics, but acts based on equality, on statics. Even A. Bergson pointed out the fact that rationality is focused on the inanimate, and in the sphere of life and development it cannot achieve anything “outstanding.” We “kill” in order to know, but we shouldn’t treat the living like that...
Let us point out one more reason that goes against any “reason”. Trying to understand the world, society, people, we strive to find something constant, rhythmic, predictable. But such a desire is not entirely adequate real situation of things. There is a reason that was pointed out by the ancients. For example, Aristotle said in the Nicomachean Ethics that virtue alone is not enough for happiness, but luck is also needed. Reality human existence is that chance (luck), surprise is something that does not play last role in our lives (we are born by chance and leave this world by chance), However, it is chance that to a lesser extent has the “right of citizenship” in science, and one can regret it along with Fr. Nietzsche, that the most ancient aristocracy of this world (His Majesty the case) is undeservedly ignored.
And there are many, many such reasons... But science simply ignores them... Every time it gets hit in the pants...
Once again: what to do?
It’s very simple: think, give birth to a thought...
Think contrary to someone else’s thought, because if a thought is not born in spite of it, then it simply does not exist. Thought must kill thought, in the same sense as the Buddhists called “Kill the Buddha.” And there seems to be no other way.
What about color differentiation of pants? But who cares... She played her part, led us to other horizons of thought and, like Othello, must retire.
And one last thing. The collection is dedicated to an anecdote, but here I am with my pants... What should I do? But no way. The joke is that no way. As I. Kant used to say, humor (and if a joke is not humor, then I am not me) consists in turning expectation into nothing. And in this regard, all the nonsense that I just had the honor of presenting to your attention precisely and “insidiously” turns your expectations into nothing. And that’s why, it seems to me, this is where he belongs. And finally, as the already mentioned Aristotle would say many times, it must be said that this enough has already been said...
