The most famous hero of Ryazanov's films 100. Films of Eldar Ryazanov, which are ashamed not to know

On the night of November 30, the cult film director and screenwriter Eldar Ryazanov died. He was 88 years old. During his film career, he shot about 30 films, almost all became box office. We have compiled for you a selection of ten Ryazanov films that you should definitely watch if you have not already done so. Or reconsider.

"Love affair at work"

The two-part tragicomedy was created by Eldar Ryazanov at Mosfilm in 1977, and became the leader of the box office in the following 1978. The main characters are the director of the Institute of Statistics, Lyudmila Kalugina, a lonely woman in her thirties, and Anatoly Novoseltsev, her subordinate, a forty-year-old man who is raising two sons. The new employee of the institution (Yuri Samokhvalov, Kalugina's deputy and Novoseltsev's institute friend) decides to promote his comrade at all costs, offering him, shy and indecisive, to hit on the boss ... Snow on trees with green foliage, which is in the film , fell out in Moscow on September 18, 1976. Such a scene was not planned, but Ryazanov decided not to miss the whim of nature and for the sake of it extended the film by three and a half minutes.

"Garage"

The action takes place in the late 70s in a fictitious organization - the Research Institute for the Protection of Animals from the Environment. According to the story, members of the Fauna garage cooperative, organized by the institute's employees, gathered for a meeting to reduce the number of garages - a highway should soon pass through the territory where construction is underway. Participants need to choose four employees who will not receive a garage ... The view of the garages under construction at the beginning of the film was filmed on 2nd Mosfilmovsky Lane (houses 18 and 22), and the exterior of the building of the Research Institute for the Protection of Animals from the Environment - at the address: st. Petrovka, 14. The satirical film was released in 1979.

"Station for two"

In a corrective labor colony in Siberia, an evening verification takes place, at which the musician Platon Ryabinin is informed that his wife has come to him, and is also ordered to go to the local workshop for an accordion. He may not go on a date, but refuse to fulfill the order of his superiors - no ... Ryazanov was the first to shoot the final scene, where the main characters run across the field to the colony. According to Lyudmila Gurchenko, who played the main female role, the shooting took place somewhere in Lyubertsy in 28-degree frost. The role of the colony where Ryabinin is serving his term was played by the Iksha educational colony for minors in the village of Novoe Grishino, Dmitrovsky district, Moscow region. The film entered the official competition program of the 1983 Cannes Film Festival.

"Irony of Fate or Enjoy Your Bath"

The most famous Soviet television film, shot by Ryazanov in 1975, we have been watching this tragicomedy on New Year's Eve for many years. The doctor Zhenya Lukashin, the tradition of drinking vodka in the bathhouse on New Year's Eve, the teacher Nadya Sheveleva, typical panels with the same furniture, women who do not take off their winter hats indoors, the poetry of Bella Akhmadulina and the delightful voice of the young Alla Pugacheva - all this is from here. The role of Zhenya Lukashin in the film could be played by Andrei Mironov, but it was impossible to say that he was not successful with women - no one would have believed it. Eldar Ryazanov played one of the episodic roles in his film - a passenger on an airplane, on which the sleeping Zhenya Lukashin falls.

"Old Robbers"

This comedy was filmed by Ryazanov at Mosfilm in 1971. The elderly investigator Myachikov, together with his best engineer friend Vorobyov, decided to organize a "crime of the century" in order to prove to the authorities their professional suitability and not be sent into retirement ... Most of the film's street scenes were filmed in Lviv. An attentive viewer will see architectural ensembles on Rynok Square, the Royal Arsenal, the Lviv City Hall, the Powder Tower, and the Latin Cathedral. The museum staircase was filmed at the Faculty of Journalism of Moscow State University. Rembrandt's painting "Portrait of a Young Man with a Lace Collar", which is stolen by the heroes of the painting, is kept in the Hermitage.

"Zigzag of Luck"

In a provincial town there is a photo studio "Sovremennik". Photographer Volodya Oreshnikov wins a loan of 10,000 rubles and plans to buy a camera that he has long dreamed of. The catch is that he took 20 rubles to buy the bond from the mutual benefit fund, where all colleagues put money. The latter arrange a trial for Volodya: in their opinion, the winnings should be divided among all those who regularly paid dues ... Critics called the film an incomparable satire about greed, "female envy", "human insignificance", "beauty and ugliness". The comedy was filmed at Mosfilm in 1968.

"Watch out for the car"

The plot was based on a legend about a man who stole cars from bribe-takers, sold them, and transferred money to orphanages. Here is what the director wrote about this film: “We wanted to make a sad comedy about a good person who seems abnormal, but in fact he is more normal than many others. This man is a big, pure-hearted child. His eyes are wide open to the world, his reactions are spontaneous, his words are simple-hearted, the restraining centers do not interfere with his sincere impulses. We gave him the surname Detochkin. The comedy was filmed by Eldar Ryazanov at Mosfilm in 1966.

"The Incredible Adventures of Italians in Russia"

A joint Soviet-Italian adventure comedy was filmed in 1973 by Eldar Ryazanov and Franco Prosperi. In the Union, the film was watched by about 50 million viewers in the first year of distribution. The plot is as follows: in a hospital in Rome, at the age of 93, a Russian emigrant died, who before her death managed to tell her granddaughter Olga about 9 billion Italian liras hidden in Leningrad. The secret was heard by orderlies Antonio and Giuseppe, a doctor, another patient, and mafia Rosario Agro. On the plane, on the way to Russia, they all meet, and the buffoonery begins, the working title of which was “Russian Spaghetti”.

"Hussar ballad"

The action takes place in 1812. Hussar lieutenant Dmitry Rzhevsky comes to retired Major Azarov. He is engaged in absentia to Azarov's niece named Shurochka and a priori is not happy about the future meeting with the bride, believing that she is a cutesy girl. However, Shurochka keeps well in the saddle, knows how to joke like a hussar and handle a sword ... They say that the prototype of Shurochka Azarova is Nadezhda Durova, a cavalry girl of the Patriotic War of 1812. Larisa Golubkina debuted in her role in the film. And Ryazanov filmed the comedy itself at Mosfilm in 1962.

"Carnival Night"

"Carnival Night" became the leader of the Soviet film distribution in 1956. According to the story, the employees of the House of Culture are preparing for a costumed New Year's carnival. Comrade Ogurtsov, acting director of the Palace of Culture, does not approve of the entertainment program of the evening with dances, circus acts and clowns, replacing it with a lecture by an astronomer and classical music. But the workers of the House of Culture do not agree with the dry and serious program. The main role in the film is played by young Lyudmila Gurchenko (her second film role). By a tragic coincidence, the performer of one of the main roles of this New Year's film, Yuri Belov, died on New Year's Eve on December 31, 1991.

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© Inter press service

On November 18, the famous director Eldar Ryazanov would have turned 91 years old. Hundreds of millions of people love him for the films "Beware of the Car", "The Incredible Adventures of the Italians", "Forgotten Melody for Flute", and the screening of "Irony of Fate" on the eve of New Year's Eve has become a tradition for many years. On the eve of the director's birthday, the Inter TV channel will show 4 films made by Ryazanov. On November 17, at 8.45, watch "Hussar Ballad", at 10.45 - the film "Girl of Address Bases", at 12.30 - "Give a Book of Complaints", and at 14.10 - "Beware of the Car".

We have collected the brightest quotes from Eldar Ryazanov and the heroes of his films.

The truth of life of Eldar Ryazanov and his heroes: the best quotes © Inter press service

Eldar Ryazanov's rules of life:

• Where there is humor, there is truth.
• There are no unimportant periods in life.
• Those who constantly scold our generation seem to have forgotten who raised it.
• Children cannot be a bargaining chip for politicians.
• When timid people lose their temper, they should beware.
• To know everything, it is enough to tell someone to one.
• People are divided into those who survive until retirement, and the rest.
• There are things that should not bring monetary profit. Because they bring other profit - not material, but spiritual. It cannot be measured by money.
• I look with despair at how such concepts as the artistic image, idea, sympathy, mercy, spirituality leave our cinema. And having evaporated from the cinema, they also leave the consciousness of people.
• What touched me in the fifties, sixties, seventies and eighties also touched a huge number of people, most of them. Today there are fewer and fewer people like me. Fellini in the eighties said: "My audience is already dead." This is the terrible truth.

The truth of life of Eldar Ryazanov and his heroes: the best quotes © Inter press service

Rules for the life of Ryazanov's heroes:

• I myself don’t like to joke, and I won’t let people.
• We will not take Baba Yaga from outside - we will educate in our team.
• Comrades! Have a fun setting to welcome the new year! We must spend our New Year's Eve in such a way that no one can say anything.
• If a person is morally decomposed, this should be said directly, and not laughed at, you understand. ("Carnival Night")
• What a filthy fish of yours!
• You can't be offended by the truth, even if it's bitter. ("The Irony of Fate")

The truth of life of Eldar Ryazanov and his heroes: the best quotes © Inter press service

• Stop! Don't raise your hands! You won't wash them off for the rest of your life!
• If a woman with such external data is fighting for the truth, she is probably not married. ("Garage")
• One hundred grams is not a stopcran: if you pull, you won't stop! ("Station for two").

The truth of life of Eldar Ryazanov and his heroes: the best quotes © Inter press service

Chest forward!

Breast? You flatter me, Vera.

You are all flattered!

• Quiet around, only the badger does not sleep. He hung his ears on branches and quietly dances around.

But what about the circus?

The circus is enough for me in life.

Not only are you a liar, a coward and impudent, you are also a fighter!

Yes, I'm a tough nut!

("Love affair at work")

The truth of life of Eldar Ryazanov and his heroes: the best quotes © Inter press service

• Marry an orphan.
• You will be served, but you do not steal!
• Man, like no other living being, likes to create additional difficulties for himself.
• Listen, I've done well. I have to put myself in a horizontal position. ("Watch out for the car")

As it should be with a great comedian, Eldar Ryazanov's films are as funny as they are sad. It is no coincidence that the director titled his own books about cinema: "The Sad Face of Comedy" and "Funny Sad Stories." Through humor and lyrics, the director goes to drama and even tragedy. In the images of the eccentric characters of his films, the results of the eternal conflicts of the inner and outer worlds are visible, and the comical plots lead the heroes either to the need to revise values, or to rhetorical questions about life. Curiously, Ryazanov became a comedian almost against his will - Ivan Pyryev, a classic of the humorous genre of the Stalinist model, literally forced (and then only on the fourth attempt) the young director to take on Carnival Night. True, it is unlikely that Pyryev, whose heroes did not know despondency, could have imagined that his “heir” would add notes of intellectual melancholy to the life-affirming genre.

However, Ryazanov's films are not only comedies, but also fairy tales. The director is rightly called the "creator of Soviet folklore." Together with a permanent co-author, screenwriter Emil Braginsky, Ryazanov regularly took stories and images from life, then gave them the form of stable plots and, finally, generously decorated with elements of romance and lyricism (the action space is poeticized, and the characters are sure to have a happy ending). Thanks to this approach, at the intersection of reality and fiction, Ryazanov's cinematography reflected recognizable Soviet and Russian archetypes: intellectuals, petty employees, bureaucrats, homeless people, "new Russians". The everyday reality in the director's films is recognizable and at the same time idealized, and this is probably the reason for the constant demand for his films among the widest audience.

Eccentricity and social satire

The intertwined comedic elements present in all of Ryazanov's films are eccentricity and satire. The director regularly turned to a parody of reality, thus trying to ridicule the existing order. Igor Ilyinsky is eccentric in "Carnival Night", which creates a caricature image of a bureaucrat and thereby ridicules the tendency of petty regulation of public life by the state. Grotesque plot "" - the hero finds himself in the same apartment as his own, only in another city. At the same time, socio-political criticism is also obvious - a satire on the Soviet traditions of urban planning and, in general, a formal, dismissive attitude of the state towards a person. In Garage, a rather conditional vicissitudes serves as a pretext for reconstructing the scheme of totalitarianism, where the comfortable conditions for the existence of some are inseparable from the infringement of others. However, it should be noted that the best works of Ryazanov are those where the eccentricity is not exacerbated to the extreme, and social satire is expressed not in literal, but in Aesopian language. Beginning with Forgotten Melody for Flute, these elements are expressed more vividly. The result is known to all - with the advent of such a roll, the best films of the director were left behind.

Humanization: small people and the identification effect

Eldar Ryazanov managed to humanize Soviet cinema. Going against the pretentious heroic tradition of the revolutionary avant-garde and Stalinist academism, the director returned to the screens the "little man" in the face of romantic poor fellows, modest office workers, unlucky intellectuals and modern Don Quixotes. Turning to the canons that had developed even thanks to Pushkin and Gogol, Ryazanov sculpted from picture to picture a portrait of a man of low social status, not outstanding in any way, but kind, charming in his own way and deserving his own share of happiness. As a result, while one part of the multi-million Ryazanov audience could associate themselves with the heroes, the other could not help but sympathize with them. Interestingly, partly the same applies to conditionally negative characters: all sorts of rogues, careerists, snobs, bureaucrats and other “mymrs”. Even exposing them, the director sought to find in them something human, worthy of understanding and indulgence.

Intimacy and poetry of the city

A kind of conflict of spaces runs like a red thread through all of Ryazanov's work. Most of the action in his paintings takes place in the scenery of the familiar to the viewer of the everyday environment: apartments of a standard layout, premises of institutions and research institutes, restaurants, train stations, and the like. With limited spaces in "The Irony of Fate", "Garage" and "Dear Elena Sergeevna", the director seems to emphasize the state of lack of freedom in which we find the characters. At the same time, it should be noted that these spaces are always carefully thought out and overflowing with metaphorical objects, which not only serve as eloquent signs of their era, but also complement the characteristics of the characters.

Scene from Office Romance (1977)

The claustrophobic spaces are contrasted by rarer outdoor shots. Ryazanov is an urbanist director who managed to create his own lyrical vision of the city on the screen, be it Lvov, Kostroma, Leningrad or Moscow. For example, in "Office Romance", director and cameraman Vladimir Nakhabtsev managed to snatch out a special poetry in the chaotic rhythm of the life of the capital. And the autumn shots of the streets sprinkled with the first snow, perhaps, still continue to work on the romantic image of Moscow.

Aphorisms

Another secret of the popularity of Ryazanov's films is the abundance of replicas that instantly left the screen for the people. “There is a setting to celebrate the New Year cheerfully”; “You need to know the authorities in person”; “They will put you down, but you don’t steal”; “I sold my homeland for a car”; “My salary is good. Small but good ”- dozens of such aphorisms fall on each of the director’s films. They appeared in a variety of ways: some were born at a desk, others were accidentally overheard, others became impromptu actors. One way or another, they concentrated the talent of Ryazanov and his co-authors in capturing and conveying the features of the character's character and the conditions surrounding him. In other words, the director was well aware that one exact line can sometimes be more advantageous and informative than the whole episode.

collective hero

This feature of Ryazanov's films is probably rooted in the work of his master, Sergei Eisenstein. Of course, you won't find a "collective protagonist" in the radical form that is present in "The Battleship Potemkin" in Ryazanov's work, but, nevertheless, the director's penchant for multi-figure compositions is obvious. For example, already in Carnival Night, the question of the protagonist is debatable - although Lena Krylova-Gurchenko seems to most viewers, Ryazanov himself considered Ogurtsov-Ilyinsky to be the leading character. In "The Irony of Fate", "Office Romance" and "Station for Two" the main character can be called a pair - two characters, acting as antagonists at first, gradually reveal more and more similarities, becoming inseparable. In other pictures - in "Garage", "Promised Heaven" and "Old Nags" - the boundaries of a single protagonist are blurred and even into half a dozen characters, together forming a single portrait of a particular social or age group. Ryazanov even called the roles in these films "episodic main" roles.

Working with an actor and a scattering of stars

On the set movie"Garage" (1979)

Like, Ryazanov is an acting director, for whom the performer in the frame is most important. Which is understandable, because the central theme of his work is man and human relationships against the backdrop of historical vicissitudes and specific social circumstances. It is widely known that Ryazanov managed to make friends with most of the actors. As a rule, this was an important step before starting to work together. At the same time, on the set, the director was distinguished by seriousness and increased demands, believing that an actor can evoke a response from the viewer only if he “fully fits into the skin of the character” and at the same time “gives his best to the end, sparing himself in nothing.” However, this did not interfere with spontaneity. “I really love such “gags” when they are really improvisational, not planned,” said Ryazanov. This is how some famous episodes were born - for example, the famous phrase of Yuri Yakovlev in "The Irony of Fate": "Oh, lukewarm gone!".

Considering that Ryazanov's film career lasted more than half a century, it is noteworthy that dozens of the biggest movie stars of several cinematic eras played their best roles in his films. In the 50s - Nikolai Rybnikov and Yuri Belov, in the "thaw" of the 60s - Oleg Borisov and Innokenty Smoktunovsky, in the "stagnant" 70-80s - Andrei Myagkov and Andrei Mironov, Alisa Freindlich and Larisa Guzeeva, Nikita Mikhalkov and Oleg Basilashvili, in perestroika - Leonid Filatov and Marina Neyolova. Ryazanov debuted Sergei Yursky and Anatoly Papanov, Lyudmila Gurchenko and Larisa Golubkina. Screen veterans, stars of the 20-30s Igor Ilyinsky, Erast Garin and Nikolai Kryuchkov, found a second wind from him. He also revealed the dramatic potential of comedians Yuri Nikulin, Evgeny Leonov and Evgeny Evstigneev. Finally, such characteristic performers as Liya Akhedzhakova, Valentin Gaft, Yuri Yakovlev, Georgy Burkov and Svetlana Nemolyaeva became regular participants in his paintings. Isn't it amazing how high the concentration of iconic names fell on just one director's biography.

Cameo

Continuing the acting theme, let's remember Ryazanov. Beginning with "Give me a book of complaints", the director often appeared in the frame of his own paintings in microscopic and, as a rule, wordless roles. Some of these cameos are nothing more than inside jokes. Others are symbolic: for example, in "Dear Elena Sergeevna" Ryazanov appears in the form of a neighbor demanding that teenagers stop the noise - this is how the director directly speaks of his conflict with the younger generation. The third kind of cameo has a significant plot function. So, in the "Garage" Ryazanov's hero, having slept through all the intrigues, turns out to be the same "happy ours", who, by lot, is excluded from the cooperative. But perhaps the director's most famous cameo is in The Irony of Fate, where he appears for a few seconds as Zhenya Lukashin's travel companion.

Songs and music

An integral element of Ryazanov's cinematography is songs. So it happened with "Carnival Night", which was, in fact, a musical that continued the tradition of films by Grigory Alexandrov and Ivan Pyryev - the characters sooner or later begin to sing. The musicality is justified by the plot: the characters turn out to be participants in the stage action or, having found a guitar in the corner, they try to express the innermost through the song. The number of hits that came out of Ryazan's films is in the dozens: the New Year's anthem "Five Minutes" from "Carnival Night", "Detochkin's Waltz" from "Beware of the Car", "This is What's Happening to Me" from "Irony of Fate", "Nature has no bad weather" from "Office romance", "Don't be afraid to change your life" from "Station for two" and many others. Here Ryazanov found famous co-authors: Anatoly Lepin, Andrei Petrov and Mikael Tariverdiev - composers who were inclined specifically towards the song form. Petrov collaborated with Ryazanov for the longest time - almost forty years on fourteen tapes. The secret of such a long-lasting union, presumably, is in a special lyrical intonation and a certain measure of illustrativeness, ideally suited to Ryazanov's cinematography.

workaholism

Eldar Ryazanov is often called a happy director. No wonder, because he practically did not know downtime, having shot twenty-five full-length feature films in half a century (this is in addition to working on television, literary activity and poetry). At the same time, Ryazanov, like all his colleagues, faced the delights of Soviet film production: censorship, state interference in the creative process, and even prohibitions (“The Man from Nowhere” lay on the shelf for a long time). The reason for such an enviable performance, presumably, is simple. And she is not only in stable success at the box office and the status of a master, which to a certain extent facilitated the launch of new projects. Ryazanov himself explained his performance by health and the inability not to create: “When I make films, I simply have no time to get sick. As soon as the film ends, illness and ailments begin to creep out of all the cracks. Therefore, for me - this is a recipe only for me - I have to work all the time.

Despite their age, many films by Eldar Alexandrovich remain, if not relevant, then still loved for their warmth, sincerity and inner mischief.

Shot from the film "Zigzag of Fortune"

Eldar Ryazanov has a special relationship with New Year's miracles, and we will mention this holiday more than once in the context of his films, but we will start with the 1968 comedy Zigzag of Fortune. The protagonist of the picture, the photographer Oreshnikov, performed by the rapidly gaining popularity of Evgeny Leonov, wins a lot of money in the lottery on the eve of the holidays. The trouble is that he took the money for the lucky ticket from the total money accumulated by all the employees of the photo studio. Nowadays, such a plot could be made into an adventurous adventure comedy, but Ryazanov took a more romantic path - in the plot he was more interested not in the external wealth of the heroes, but in their internal state.

Key phrase:“It has long been known that money spoils a person. But the lack of money spoils it even more.”

Cameo Ryazanov: No.

Shot from the film "Promised Heaven"

Ryazanov also had a special reverence for Italy, several of his films at once are somehow connected with this southern European country. For example, "Promised Heaven" is to some extent a paraphrase of the painting "Miracle in Milan" directed by Vittorio de Sica. The latter was a kind of parable-fantasy about ascension, so the decision of the jury of one of the international festivals to award Ryazanov the prize for the best science fiction film caused the director to laugh sarcastically - for him, "Promised Heaven" was almost a documentary about the new Russia, in a cruel transition an economy where there was no place for too many. The tape was supposed to be the next work of Georgy Burkov, who was destined for the role of president, but shortly before filming began, the actor first went to the hospital and then died.

Key phrase:“My native country is wide, There are many forests, fields and rivers in it, I don’t know another such country ... I don’t know another ... country ... I haven’t been anywhere! Never!"

Cameo Ryazanov: The man in the cafe.

Frame from the film "Dear Elena Sergeevna"

The perestroika and new Russian years were generally difficult for Eldar Alexandrovich, from the director he was forced to retrain as a producer, and as an administrator, and as a manager, which could not but have a negative effect on creative impulses. However, there is a plus in the restructuring of the country, it forced Ryazanov himself to reorganize - to film a drama about youth. The idea to film the play by Lyudmila Razumovskaya arose from Ryazanov back in the early 80s, but the then leadership of Mosfilm did not allow the film to be shot so harshly towards schoolchildren. But with the advent of Gorbachev, censorship fell, and Ryazanov issued one of the most striking, but undeservedly overlooked work with the brilliant Marina Neelova in the title role. Valeria Gai Germanika, Ivan Tverdovsky and Andrei Zaitsev have only now managed to approach the same depth of understanding of the inner world of adolescents.

Key phrase: “You are not a woman, you are a squared notebook!”

Cameo Ryazanov: Neighbour.

Shot from the film "Say a word about the poor hussar"

Censorship left its mark on the tragicomedy "Say a word about the poor hussar." Firstly, Mosfilm refused to shoot the tape, and Ryazanov had to work with television people. Secondly, a strict scenario committee made a lot of edits to the script of Grigory Gorin and Eldar Ryazanov, resulting in plot holes that there was no time or money to fill. Finally, the management of the Goskino also “shredded” the finished film, depriving the tape of a tragic deep ending. However, even under these conditions, Ryazanov remained at his best - the brilliant acting work of Valentin Gaft and Stanislav Sadalsky, deep meaning and prominent characters, branded satire and the interweaving of historical facts and personalities into the canvas of the story - all this makes viewers run to the screens at the first sounds of entering the city ​​of the hussar regiment.

Key phrase:“Well, don’t mess with my regiment. My eagles don’t read newspapers, they haven’t seen books in their eyes - they don’t have any ideas!

Cameo Ryazanov: Confectioner.

Shot from the film "The old robbers"

In our fast-paced time, under the pressure of energetic youth, it is not easy for a pensioner to keep his job, not only for a pensioner, but also for someone who is barely over forty. In Soviet times, the danger of losing a job was not so great, but the fear of being thrown out of the cozy world of one's habits, skills and acquaintances was as strong as it is now. In 1971, Eldar Ryazanov, together with his friend Emil Braginsky, wrote the script for the film “The Old Robbers”, which raises the topic of a retired investigator, and by releasing the film, the director earned the popular love of the older generation. The magnificent duet of Yuri Nikulin and Evgeny Evstigneev would have coped with any task alone, but the brilliant background of the actors makes the picture completely unforgettable.

Key phrase:“Actually, it is wrong that a pension is given in old age. Really it should be given from 18 to 35 years. The best age. During these years, it is a sin to work, you have to deal only with your personal life. And then you can go to work. There's no point in life anyway."

Cameo Ryazanov: A passer-by at the windows of the prison.

Shot from the film "Cruel Romance"

Ryazanov's tapes rarely caused controversy among critics or among viewers, but "Cruel Romance", a free interpretation of Ostrovsky's play "Dowry", really stirred up the public and gave rise to full-fledged cultural wars. On the one hand, the picture received several awards, and the readers of the country's main film magazine "Soviet Screen" called "Romance" the film of the year, on the other hand, critics, especially theatrical ones, trampled posters in anger and tore their hair out of anger at Ryazanov, who significantly shifted the focus , arranged by Ostrovsky, and actually changed the interpretation of the plot. All the angry attacks of the "sharks of the pen", however, instantly dissolve in the air with the first gypsy chords of the picture, and the works of Alisa Freindlich, Nikita Mikhalkov and Andrei Myagkov were included in acting textbooks - the movie turned out to be sincere.

Key phrase:“I was looking for love and did not find it ... They looked at me and look at me as if they were fun. So, I will look for gold.

Cameo Ryazanov: No.

Shot from the film "Forgotten Melody for Flute"

It is difficult to imagine, but the play "Immoral History", which formed the basis of the script for the film "Forgotten Melody for Flute", was written by Ryazanov and Braginsky back in 1976. Of course, then there could be no question of staging it, but with the proclamation of the Epoch of Glasnost, the embodiment on the screen of a satirical story about the contradiction between bureaucracy and the common people became a matter of honor for Ryazanov. Alas, the work on the film seriously undermined the director’s health; on the set, Eldar Aleksandrovich suffered a stroke and combined work with rest in a hospital. Surely Ryazanov wanted to change the country with his picture, to make it cleaner, more open and sincere, but the harsh passage of time trampled on these dreams - there was even more bureaucracy, the gap between the leadership and the people only intensified, and current poverty is not even close to the poverty of life of a Soviet person .

Key phrase:“We can’t go to the collective farm — we don’t know how to do anything. We will destroy them completely. They and so on incense breathe. It's a pity collective farms.

Cameo Ryazanov: Astronomer.

Shot from the film "Hussar Ballad"

Today's pathos celebration of anniversaries makes many people think about how deeply and seriously we are immersed in the affairs of the past and how poorly we imagine our future. In the Soviet years, anniversaries were treated more simply (with the exception, perhaps, of the celebration of November 7), and the anniversary could well be celebrated with a light comedy. The musical film by Eldar Ryazanov "The Hussar Ballad", for example, came out on the 150th anniversary of the Battle of Borodino, and it premiered on the day of the battle, September 7, but it will not rise to compare with the current "Vasilisa", "Battalion" or "Battle for Sevastopol" hand is a completely different approach to history. "Ballad" is a playful appeal to the brightest feelings, an elegant stimulation of patriotic sentiments and faith in great love, something that modern films about the military merits of our Motherland often lack.

Key phrase:"Cornet, are you a woman?"

Cameo Ryazanov: No.

Shot from the film "Garage"

Today, offering to watch the film "Garage" to a fourteen-year-old schoolboy is tantamount to showing him a tape about the life of a tropical tribe, moreover, in the original language and without subtitles - nothing is clear! And this is true: well, who now happily recalls the shortage of meat on the market, the business trips of scientists to collective farms, the communist subbotniks and trade union gatherings - times have changed dramatically. But for those who in their lives managed to stand in lines for blue chickens, who found coupons for soap or postcards with a queue number for a Czech headset, Garage remains a real nostalgic encyclopedia of Soviet life, a catalog of what we gladly got rid of, but fondly remember.

Key phrase:“Yes, what are you? How can you kick me out? I sold my homeland for a car!”

Cameo Ryazanov: Head of the Insect Department.

Shot from the film "Station for two"

Enjoying wild popularity at home, Ryazanov rarely had the pleasure of presenting his paintings to foreign audiences, especially from the countries of the so-called capitalist world. And yet, his work in Europe did not go unnoticed - the melodrama "Station for Two" was selected by the prestigious Cannes Film Festival in its competitive program. Our tape did not receive any prizes in France, but it didn’t need it inside the Union, the tape also became the best film according to the readers of the Soviet Screen, and Lyudmila Gurchenko was recognized by the same magazine as the best actress. And everything that happened is absolutely justified. Indeed, the tape is not very clear abroad, there are too many “Soviet nuances” in it, which make it an incomparable spectacle for our compatriots, but you can’t dig into the talented performance of your role by the beloved Ryazan actress Lyudmila Gurchenko at all - that’s really really a symbol of the Soviet woman, lonely, loving, hardworking.

Key phrase:“What did I tell you to do, you goat? I ordered those melons to guard! And what have you done?"

Cameo Ryazanov: Deputy head of the station.

Shot from the film "Carnival Night"

If we talk about Lyudmila Gurchenko, then her brilliant comedy debut, which coincided with the full-fledged debut of Eldar Ryazanov himself, the musical Carnival Night, cannot be ignored. The picture about the clash of two generations, who want to celebrate a common holiday in their own way, has dozens of analogues, from the old "Republic of Shkid" to the recent "Bitter", but even among a dozen colleagues "Night" rises a beautiful tower. A rare director can boast that his first film becomes the leader of the box office, but Ryazanov easily overcame this milestone. Infrequently, deserved masters agree to play in the films of debutants, but Sergey Filippov and Igor Ilyinsky came with pleasure to "Carnival Night". Finally, remember the great song "Five Minutes" from the movie - it still motivates and uplifts. And this is 60 years after the release of the picture on the screens!

Key phrase:“The speaker will make a report, briefly like this, for about forty minutes, more, I think, is not necessary.”

Cameo Ryazanov: No.

Shot from the film "Office Romance"

It's no secret that many scripts for Ryazan's films grew out of his own plays, written in collaboration with Emil Braginsky. Naturally, the plays often hit the stage before becoming the property of the State Film Fund, and among the productions there were very talented ones. But not in the case of "Co-workers", the forerunner of "Office Romance". The play went around many theaters, but none of the director's decisions satisfied Ryazanov, and then the director decided to transfer his story to the big screen himself, since the actors were ready to follow Eldar Alexandrovich through fire and water. The lyrical comedy has become one of the favorite films of Soviet women, the talented couple played by Freindlich and Myagkov, whose energy is largely based on the improvisations of the actors, has become a standard of romantic heroes of the late Soviet period. And how phrases from the film scattered around the world ...

Catchphrase: “We call it “our mymra”. Of course, behind the eyes.

Cameo Ryazanov: Bus passenger.

Shot from the film "Beware of the car"

Eldar Ryazanov and Emil Braginsky (this is their first joint work) sat down for the script of the lyrical comedy "Beware of the Car" back in 1963, but they promoted the story of the modern Robin Hood, stealing a car from crooks and transferring money for them to orphanages, through the casting authorities, turned out to be a difficult task. It wasn't until the script, rewritten as a story, was published in a magazine and received positive reviews from the country's leaders that the film was given the green (actually black and white) light. Ryazanov faced the most difficult choice of whom to give the role of Detochkin - Yuri Nikulin Waterloo by Sergei Bondarchuk auditioned for it. The producer of the European partner Dino De Laurentiis was dissatisfied with the script, but when Ryazanov added several action scenes with an airplane and chases to the script and introduced a live lion into the plot, the parties came to an agreement and the joint work started. The tape is full of celebrities, the shooting took place in the most recognizable places in Leningrad, many of the stunts were performed by the actors themselves - such a film is still breathtaking. The Italians became one of the highest-grossing comedies filmed by the USSR together with film companies from other countries.

Key phrase:“Yes, what do I have to do with it, you look what is happening on your roads!”

Cameo Ryazanov: Doctor on the wing of an airplane.

Shot from the film "The Irony of Fate, or Enjoy Your Bath!"

It’s absolutely impossible to imagine your life without Ryazanov’s film, so it’s without The Irony of Fate. The song "I asked the ash tree", Hippolyte, wet from tears, and 3rd Street of Builders became the same integral attribute of the New Year's festive table as tangerines, champagne and sparklers. No matter how much negativity spills out on the Internet every year about how infantile Lukashin really is and how frivolously Nadya behaves, the pair of heroes of Andrei Myagkov and Barbara Brylsky still remains loved by millions of viewers. From year to year, TV channels fight for the right to broadcast this film by Ryazanov at the very hour when the chimes strike twelve times to once again demonstrate the miracle of unexpected love, the brilliance of sincerity and the nobility of adventurism. We, without a doubt, give the championship in our hit parade to this hymn of healthy self-irony and readiness for New Year's adventures.

Key phrase:“What a disgusting thing, what a disgusting thing this fish of yours is in aspic…”

Cameo Ryazanov: Airplane passenger.

Eldar Ryazanov died in Moscow at the age of 89. The director left behind about 30 films, each of which became a hit in the Soviet and Russian film distribution. Many of Ryazanov's paintings were quoted, his films, shot more than 40 years ago, are still watched in one breath and it can be said with full confidence that there is no viewer in Russia who would not know the name of this director ...

Ryazanov himself spoke modestly about himself: “ I never felt like a classic - neither cinema nor literature", - said the People's Artist of the USSR.

Musical comedy "Carnival Night", released in wide release in 1956, is considered the first feature film by Eldar Ryazanov.

Despite the skepticism of the artistic council, which called the rough material filmed by the director “boring and mediocre”, the picture was an incredible success with the audience at that time: over 48 million tickets were sold for it. The young actress Lyudmila Gurchenko, who played one of the main roles in Carnival Night, became a star overnight, according to critics.

Movie "Hussar ballad", one of the main characters of which was the famous lieutenant Rzhevsky (the role of Yuri Yakovlev), was filmed for the 150th anniversary of the Battle of Borodino, and its premiere took place in Moscow at the Rossiya cinema on September 7, 1962.

Svetlana Nemolyaeva and Alisa Freindlikh also auditioned for the role of Shurochka Azarova, which was brilliantly played by Larisa Golubkina (it was her film debut).

In 1966, the audience was presented with a lyrical comedy by Eldar Ryazanov "Watch out for the car", which he shot based on the story of Emil Braginsky.

According to the director's memoirs, the plot was based on the legend of the "people's Robin Hood", popular in those years, who stole and sold cars of "plunderers of socialist property", and transferred money to orphanages.

As Ryazanov and Braginsky later found out, the story of the noble kidnapper turned out to be completely fictional.

“This guy raised his hand to the most sacred thing we have - the Constitution!” says one of the characters in the film.

In the Italian version of the comedy " Incredible adventures of Italians in Russia“, filmed in 1973 by Eldar Ryazanov and Franco Prosperi, was called “One crazy, crazy, crazy race in Russia” - Una matta, matta, matta corsa in Rusia.

They say that the producer Dino di Laurentiis, having initially read the script written by the Ryazanov-Braginsky duet, declared it complete nonsense that the Italian audience would not watch.

At the request of di Laurentiis, Ryazanov rewrote the script, turning it into a chase film with a variety of stunts and scenes with a live lion.

Ryazanov liked to play episodic roles in his films. In Incredible Adventures, he appeared in the film in the form of a doctor on the wing of an airplane that was breaking ice from an icy mafioso.

Movie dialogue:

- Don't you know that I am Russian by origin - Yes?

- Isn't it noticeable?

- Very noticeable! You have a wonderful Ukrainian accent!

"Irony of Fate or Enjoy Your Bath"(1975) is still considered one of the most popular Soviet films and is traditionally shown on Russian television around the New Year.

The film is based on the play “Enjoy Your Bath! or Once Upon a New Year's Eve ”, which was written in 1969 and by the time the picture was released, it was in various theaters.

The Polish actress Barbara Brylska, who played one of the main roles, was dubbed by Valentina Talyzina, but her name is not in the credits, as well as indications that Alla Pugacheva and Sergey Nikitin performed songs for the heroes of Brylskaya and Myagkov.

Eldar Ryazanov himself played in the film a passenger on an airplane, on whom the sleeping Lukashin constantly falls.

Movie dialogue:

- No, I'm serious. It is especially difficult for us to have our own opinion. What if it's wrong? Doctors' mistakes cost people dearly. - Yes ... Teachers' mistakes are less noticeable, but in the end they cost people no less dearly.

Movie "Love affair at work", released in 1977, was an adaptation of the play Colleagues, written in 1971 by Eldar Ryazanov and Emil Braginsky.

The words to the famous song “Nature has no bad weather” to the music of Andrei Petrov were written by Ryazanov himself.

During the filming of Office Romance, Andrey Myagkov himself performed the songs (Sergey Nikitin sang for him in The Irony of Fate).

“If there were no statistics, we would not even suspect how well we work,” says the main character of the film, Anatoly Efremovich Novoseltsev.

In film "Garage"(1979), based on real events, Ryazanov did not betray himself and again starred in a cameo role. The hero of Ryazanov is the head of the insect department, who overslept the entire meeting of the cooperative, leaning on a stuffed hippopotamus.

"Garage", released in 1979, tells the story of a meeting of a garage cooperative, at which it is necessary to decide which of those present should be deprived of the garage. The action takes place in the USSR at the end of the 1970s in the fictional Research Institute for the Protection of Animals from the Environment.

Movie quotes:

- The crane driver was paid a bonus, which was carried out strictly according to the estimate as the payment of a day watchman. The day watchman was paid on a budget like asphalt laying, and the asphalt work was paid on a budget like landscaping work.

What are you doing, graduate student? You study the silvery crane, and, by the way, it nests abroad ... This crane in the sky is not our bird at all.

– The Silver Crane is a dark bird. She does not read newspapers and therefore has no idea whether she is ours or capitalist.

Lead roles in the film “Station for two” played by Oleg Basilashvili and Lyudmila Gurchenko.

The picture participated in the official competition program of the 1983 Cannes Film Festival.

"Cruel romance" filmed in 1984 based on the play by Alexander Ostrovsky "Dowry". For Larisa Guzeeva, the role of Larisa Ogudalova became a film debut.

“Forgotten melody for flute”, released in 1987, is based on the play "An Immoral Story", which Ryazanov wrote in collaboration with Braginsky. The main roles were played by Leonid Filatov, Tatyana Dogileva and Irina Kupchenko in the lead roles.

Movie dialogue:

– I don’t have any ham, sorry. What else did you deceive me with?

- Oh, there is just caviar! Zucchini!

Ryazanov about himself:

“I believe that a person should always remain himself and do what he sees fit. I have been in and out of fashion many times, but I have never done anything to be fashionable. Sometimes I was fashionable, sometimes I was not fashionable, then I became fashionable again. Every person should express himself if he has something to express“.

“I can say one thing about myself - I have always made films that I myself, as a viewer, would like to see. When I saw such a picture made by another, I always regretted that it was not me who put it on.', Ryazanov said several years ago.

From repression to comedy: Ryazanov's long life

The future director was born on November 19, 1927 in Kuibyshev (now Samara). The parents of Ryazanov's mother, nee Sophia Shusterman, lived there. Alexander Ryazanov and his wife worked at the Soviet trade mission in Tehran. There Ryazanov spent the first years of his life.

However, already in the 1930s, the father of the future director received a distribution in Moscow, where he moved with his family. Shortly after moving to Moscow, the director's father and mother separated. Subsequently, the father started a new family. In 1938, Alexander Ryazanov was repressed; in total, he served more than 17 years in prison.

Eldar was raised by her mother and then by her stepfather.

The teenage years of the director fell on the Great Patriotic War. By the time he started, he was only 14 years old.

In various biographies, Ryazanov's love for reading is noted. For example, in order to go to the library, in the third grade he forged a certificate, posing as a fifth grader.

First works

After school, Ryazanov enters VGIK, and he was able to get into the workshop of the then-famous director Grigory Kozintsev, who made The Overcoat, New Babylon, Hamlet and other films.

Ryazanov also studied with another famous director, Sergei Eisenstein. He talked a lot with him, went to visit him.

In 1950, Ryazanov graduated from VGIK. His graduation work was the documentary "They study in Moscow" in collaboration with classmate Zoya Fomina. She became the first wife of the director, but this marriage broke up. In this marriage, a daughter, Olga, was born.

Immediately after the institute, Ryazanov got a job at the Central Documentary Film Studio. There he filmed stories for the newsreels "Pioneer", "Soviet Sport" and "News of the Day".

Only five years later, Ryazanov left to work for Mosfilm. His first major work at Mosfilm was the wide-screen concert film Spring Voices, which he directed together with Sergei Gurov.

The head of the studio, Ivan Pyryev, closely followed Ryazanov's work. He persuaded his subordinate to make the film "Carnival Night", which became Ryazanov's debut in feature films. The film became the highest-grossing film of 1956. He also made famous the young actress Lyudmila Gurchenko. And Ryazanov himself turned into a star, whose work the entire USSR began to follow.

After Carnival Night, many comedies by Ryazanov followed, which also turned out to be successful. In 1958, The Girl Without an Address was released, in 1961, The Man from Nowhere, and a year later, the famous Hussar Ballad. In the filming of the “Hussar Ballad”, Ryazanov was again helped by Pyriev, who persuaded Yuri Yakovlev to star in the film. The director himself had to convince the film authorities that the film was romanticizing Russian history.

At Mosfilm, Ryazanov also met his second wife, Nina Skuybina, who worked there as an editor. He lived with her until her death in 1994.

Literary creativity

Ryazanov's childhood dream of a writing career also came true. In the 1960s, he began to actively collaborate with screenwriter Emil Braginsky. It was in collaboration with him that the scripts for many of Ryazanov's famous works were written.

The first joint film by Ryazanov and Braginsky was the film “Beware of the car”, which was released in 1966. The film is based on the story of the Soviet "Robin Hood", who stole the cars of the plunderers of state property. In the end, the story turned out to be fictional. But Braginsky and Ryazanov were able to prescribe all the plot twists, dialogues and re-drinking of the characters' characters so that the viewer would believe in them.

Ryazanov and Braginsky built on the success of many other films. They co-authored the scripts for such films as “Zigzag of Fortune”, “Office Romance”, “Old Robbers”, “The Incredible Adventures of Italians in Russia”, “Station for Two”, “Garage” and “Irony of Fate, or Enjoy Your Bath”. !”.

In 1977, Ryazanov's books "The Sad Face of Comedy" and "These Non-Serious, Non-Serious Films" were published. Prior to this, “Zigzag of Fortune” was also published in the form of a book.

mature years

Gradually, a circle of like-minded people begins to form around Ryazanov, which includes famous actors of the Soviet era: Yuri Yakovlev, Andrei Mironov, Evgeny Evstigneev, Valentina Talyzina, Liya Akhedzhakova, Andrei Myagkov, Oleg Basilashvili and others.

In the 1970s and 1980s, Ryazanov worked a lot on television. He led the program "Kinopanorama", and also created author's television programs, among which were, for example, "Parisian secrets of Eldar Ryazanov" and "Conversations in the fresh air."

In addition, he taught at the Higher Courses for Directors and Screenwriters.

In 1991, the tragicomedy "Promised Heaven" was released, and then staged according to his own play "Prediction". In 2000, Ryazanov filmed the tragicomedy "Old Nags".

The last films of the director were the fairy tale “Andersen. Life Without Love” and “Carnival Night – 2”.

Ryazanov was also the president of the Nika Russian Academy of Cinematographic Arts, as well as the founder of the Eldar Ryazanov film club.

Ryazanov made about 30 films and received many prizes and awards.

He was married for the third time to film editor Emma Abaidullina.