The film has features characteristic of the direction of the 70s. This is a bright, free reflection on a life colored by an obvious and vibrant originality. This is a simple picture, designed for a wide audience, but it is complicated because it has many layers. Here main question- "what?", not "how?". It can be seen that the director feels free in the choice of material, means, and editing.
Some critics saw the socio-psychological conflict of the criminal with his environment, others - "crime and punishment", others - moral sense guilt towards an abandoned mother (He is a lonely outcast who becomes a criminal to fill his soul). Some wrote that this film is a song, others accused it of an anti-song composition. And all these estimates directly characterize the picture.
The structure of the film is a trom (literal and figurative meaning of the image). There is a plot, and there are many more layers (just what critics see).
"Kalina Krasnaya" is a tragedy of guilt and retribution. The integrity of the narrative, from the point of view of Shukshin, is given not by the plot, but by the humanity embodied in it. Some of the highlights in this film. For example, the image of a "birch forest" is a bright, clean world, including human purity. Or the image of the "white church" - several times passes through the film, which appears several times. We can say that the picture is very metaphorical, everything in it is soldered to nature. The landscape in it is a poetic leitmotif.
mutilated like Prokudin's life itself
after meeting mother
after his death. A direct metaphor is his life as a desecrated church.
Catharsis occurs in Egor's awareness of his guilt, the desire for purification and love of Lyuba for Egor.
The image of Yegor Prokudin is very controversial. He is looking for a holiday and wants it right now, at the same time he strives for harmony. In this regard, the picture consists of contrasting episodes - gradually increasing contrast.
The inevitability of the denouement (the death of Prokudin) is shown in detail. The episode when Prokudin greets the birches and collides with a crow, then a montage with a flooded church.
USSR, MOSFILM, 1973, color, 108 min.
Tragic melodrama.
This painting by Vasily Shukshin is an extremely rare genre exception in Soviet art, where all tragedies were bound to be "optimistic". This is a story about human soul, about "how she is not arranged in life, how she toils and looks for her place."
In "Kalina Krasnaya" Kolokolnikov's jokes turn into foolish provocation by a former criminal, a dissolute peasant son Egor Prokudin of the environment of his wanderings - whether it be "thieves' raspberries", the dull space of a regional town or even the house of the Baikalov peasant family, genetically close to him. Such is the genre range of the wanderings of the hero Shukshin: from light jokes, carnival comedy through foolish provocations, which are also visible in the ingenuous performances of the hero of his eccentric work. For in “Kalina Krasnaya” a cross-cutting, although most often hidden motif of Soviet cinema is guessed - “one of us among strangers, a stranger among our own”, which was decided mainly in the social plane, when almost the entire nation belonged, if not to the past camps or to relatives those who were imprisoned, so necessarily to a variety of "displaced persons", recruits, migrants and "limiters". Almost everyone moved by force or at the call of the heart from place to place across a large, vast country, found themselves in the position of tumbleweeds, trying to adapt, take root in a foreign environment. Before "Kalina Krasnaya", Shukshin's work in literature and cinema was often understood from the point of view of the obsessive opposition of the city and the countryside, urban facelessness, lack of spirituality, isolation from the roots - and rural naturalness, human individuality, deep connection with native land.
And only in "Kalina Krasnaya" this conflict is understood on a tragic national, "all-Union level" - the point is not at all that the failed peasant became a recidivist thief, leaving his house, betraying his mother, existing without a family, all alone, naked as falcon. It was as if the whole country, which then made up one sixth of the Earth, found itself in the situation of an “eternal restless wanderer”, not knowing where to settle down, with whom to intermarry, how to find peace for its restless soul, which hardly wants only a spree, a “run in width”, but to a greater extent it suffers to fall to the lost foundations of being.
"Kalina Krasnaya", staged by the director at the age of 44, is Shukshin's most confessional and artistically autobiographical film, which does not fit into the suffocating stagnation.
It is no coincidence that the picture begins with a scene of a performance by prison amateur performances - the choir of prisoners thoughtfully and concentratedly displays a song about how “many thoughts suggest” the evening ringing. The easiest way is to calculate that the former criminal Yegor Prokudin, after leaving prison, wants to atone for his previous sins and start a new life in his “native land”, having become attached to the good woman Lyuba Baikalova, whom he met through correspondence, but his former friends stubbornly do not let him go and out of spite arrange a bandit stabbing. But this is not a "crime drama" and not even a melodrama, flavored with unexpectedly comic scenes.
Cast: Vasily Shukshin, Lidia Fedoseeva-Shukshina, Alexei Vanin, Ivan Ryzhov, Maria Skvortsova, Maria Vinogradova, Ofimiya Bystrova, Zhanna Prokhorenko, Lev Durov, Nikolai Pogodin, Georgy Burkov, Tatyana Gavrilova, Artur Makarov, Oleg Korchikov. Director: Vasily Shukshin. Script writer: Vasily Shukshin. Cameraman: Anatoly Zabolotsky. Production designer: Ippolit Novoderezhkin. Composer: Pavel Chekalov. Sound engineer: Viktor Belyarov.
62. Analysis of the film "There once was a song thrush"“LID ON A SINGING THRUSH”, USSR, GEORGIA-FILM, 1971, b/w, 83 min.
Film novella.
The name of the film comes from the words of the folk song "There was a song thrush". And there is sadness, tenderness, light irony in it, addressed by the author - Otar Ioseliani - to the hero and, for some reason, it seems to himself and, of course, to the leading role of the opera theater orchestra timpani player, documentary filmmaker Gela Kandelaki. His face of a true Tbilisian now dissolves in the luxurious street crowd of this city, then comes to the fore. His impulsive, at first glance, devoid of meaning and goal-setting, actions either drown in the stream of life, or, as if struggling with it, break out to the surface.
Here he is at the last moment, under the director's annihilating gaze, in time for his drums in the theater orchestra in order to fit his drums into the overall music of the finale. Here he lies alone in the grass near the waterfall, as if in paradise, listening to the melody born in him, to his music. The director generously and slyly gave his hero a few bars from Bach's Matthew Passion. "Whom I love - I give" ...
The music, the noises, the sounds orchestrated by the director into a complete symphony, this is a film within a film to watch and listen to. There is a prediction in it - in the squeal of car brakes. There is a warning - in the inexorable tick of the clock, these messengers of eternity in our everyday life. And in the pictorial series, festive and undisturbed, there are meetings, feasts, fleeting street contacts, a short stay in father's house- turmoil, as it will become clear in the finale, the last in the life of the hero of the morning, afternoon, evening. Black and white chronicle or life?!
Did the hero gift himself to others or wasted himself? Have you poured the wine of your talent, your very life, or quenched someone's thirst for communication of human participation? Is he kind, generous, loving or irresponsible, scattered, lazy? . So then, after the release of the film in 1971, critics and the audience argued about the hero, about the meaning of the film. And they did not find answers from the author, not because he knew, but hid them. But because he was talented, free, lived in a different system of values. Not in the one where there is “up” and “down”, “better” and “worse”, but in the one where instead of hierarchy there is rank, just choose where the selection process itself is personal and endless, equal to the life path.
Otar Ioseliani also suggested to us, deaf people of the 70s, suppressed, standardized, hierarchized, choose ... if you can.
The film was released in limited release (320 copies).
Cast: Gela Kandelaki, Gogi Chkheidze, Jansug Kakhidze, Irina Jandieri, Marina Kartsivadze, I. Mdivani, Nugzar Erkomaishvili, Deya Ivanidze, Tamara Gedevanishvili, Maka Makharadze, Revaz Baramidze, Giorgi Margvelashvili, T. Mtatsmindeli, Vakhtang Eramashvili, O. Tsomaya , Kakhi Kavsadze.
Director: Otar Ioseliani.
Cinematographer: Abesalom Maisuradze.
Production Designer: Dmitry Eristavi.
Composer: Teimuraz Bakuradze
Sound engineers: Tengiz Nanobashvili, Mikhail Nizharadze, Otar Gegechkori.
Mounting: no.
Best Foreign Film of 1972 at the Italian box office.
Ministry of Education and Science of the Udmurt Republic
GOU SPO "Debessky Polytechnic School"
ABSTRACT
On the topic of: " Red viburnum"
Completed by: 2nd year student of group "B"
Voblov Anton Igorevich
Teacher: Ivshina Natalya Vladimirovna
S. Debesy, 2009
Introduction
1. Main body
1.1 Biography of the writer: Vasily Makarovich Shukshin (25.07.29 - 2.10.74)
1.4 Analysis of the selected work. (The story "Kalina red")
Conclusion
Bibliography
Application
Introduction
The creative star of Vasily Makarovich Shukshin appeared on the horizon of the current Russian culture rapidly and, as it were, quite unexpectedly. It burns even now, striking with its brightness and variety of color overflows. However, Vasily Makarovich himself is no longer there ... Smiling mischievously in the direction of the creators of culture in the direction of the creators of culture, he disappeared from Moscow with the same strange surprise with which he appeared in it.
He lived only forty-five years. Moreover, his life was so difficult and unfavorable (early orphanhood, homeless youth, illness, late studies, mature years without his own roof over his head, etc.), which is only ten - twelve years, and from this small number of lived by him on earth - that's all! - we can refer to the actual creative years. But even this turns out to be enough for him to write more than one hundred and twenty stories, two novels, several short stories, screenplays and plays, stage five feature films according to their own scenarios ("Such a guy lives", "Your son and brother", " Strange people"," Stoves-benches", "Kalina Krasnaya"), play more than twenty roles. This would be enough for several long and full-blooded creative lives, but he himself, on the eve of his untimely death, believed that he was just beginning to create for real, according to by and large…
Born in a Siberian, that is, Russian, village, he did not at all need to study or comprehend national character. Behind him was a centuries-old, largely tragic story splashed the richest culture folk art.
"Here you are!" - as if his deaf man sounds, full of bitterness and inner strength voice. - So we have to work. "And numerous "middle peasants" from cinema and literature, puzzled by the "Shukshin phenomenon", either continue to be perplexed, or rush into imitation, or pretend that nothing happened ...
Shukshin's works are a bright kaleidoscope of literature. Each of them has its own "zest", originality, dissimilarity to others. One of his brightest works was the story "Kalina Krasnaya", which became one of his brightest directorial works.
1. Main body
1.1 Biography of the writer: Vasily Makarovich Shukshin (07/25/29 - 10/2/74)
V.M. Shukshin was born on July 25, 1929 in the village of Srostki Altai Territory. After eight classes, he entered the Biysk Autotechnical College, but soon left it. He worked at construction sites, on the collective farm. tenth grade high school graduated externally. He worked as a scaffolder in Kaluga, Vladimir. He served in the Navy (1949-1952), having returned to his native village, he was the secretary of the rural district committee of the Komsomol, worked as a director at the evening school in the village of Srostki. In 1954 he entered the directing department of the All-Union state institution cinematography. He first appeared in print in 1959 in the magazine "Change".
Shukshin for a long time considered cinema as his main vocation and worked as a director and actor. Films with his participation as a director, screenwriter, actor - "Such a guy lives", "Strange people", "Stove benches", "Kalina red", "They fought for the Motherland" - became a significant event in Soviet cinema recent decades. In 1964 the film "Such a guy lives" received the award of the Venice international festival"The Golden Lion of St. Mark".
Shukshin - the author of the novels "Lubavin" and "I came to give you freedom" - about Stepan Razin. He wrote the stories "There, in the distance", "Kalina red", "Until the third roosters", the play "Energetic people", many stories that compiled collections - "Villagers", "Countrymen", "Characters", "Conversations under a clear moon ". Shukshin's talent as a writer was most clearly revealed in his short, extremely capacious stories, imbued with love for a working man and contempt and hatred for parasites, philistines, and grabbers.
The great merits of V. Shukshin - a writer, film director and actor - were awarded the title of Honored Art Worker of the RSFSR, laureate State Prizes USSR and RSFSR. He was posthumously awarded the title of laureate of the Lenin Prize (1976).
1.2 Review of the writer's work, main themes of creativity, main works
The writer took his material for his works wherever people live. What material is it, what characters? That material and those characters that rarely fell into the realm of art before. Apparently, it was necessary so that he appeared from the depths of the people great talent to tell the simple, strict truth about his countrymen with love and respect. And this truth became a fact of art, aroused love and respect for the author himself.
Lovers of "distilled" prose demanded " handsome hero", demanded that the writer invent and not disturb them with his profound knowledge real life. The heroes of Shukshin turned out to be not only unfamiliar, but also incomprehensible. The polarity of opinions, the sharpness of assessments arose, oddly enough, precisely because the characters were not invented. When a hero is invented, and often for the sake of someone, this is where complete immorality manifests itself. And when the hero is real person, it cannot be only moral or only immoral. Isn't it from here, from a misunderstanding of Shukshin's creative position, that creative errors in the perception of his heroes come from. Indeed, in his heroes, the immediacy of the action, the logical unpredictability of the act are striking: either he suddenly accomplishes a feat, then he suddenly runs away from the camp three months before the end of his term. The writer's characters are really impulsive and extremely natural. And they do this by virtue of internal moral concepts, perhaps they themselves are not yet aware of. They have a heightened reaction to the humiliation of a person by a person. This reaction becomes the most various forms. Leads sometimes to the most unexpected results. Shukshin himself admitted: "It is most interesting for me to explore the character of a non-dogmatic person, a person who is not planted in the science of behavior. Such a person is impulsive, gives in to impulses, and, therefore, is extremely natural. But he always has a reasonable soul."
Shukshin never specifically looked for material for creativity, he lived, like we all live, saw and heard the same thing that we see and hear. The most that neither is the fluidity of life, which depresses and seizes us so much, it was she who gave him both “plots” and “characters”.
In Shukshin, the whole story is important, all his heroes and characters.
The theme of a village man, torn from his usual environment and not found new support in life, became one of the main themes of Shukshin's stories.
Shukshin's stories, relating "to village prose", differed from its main stream in that the author's attention was focused not so much on the basics folk morality, how much on the difficult psychological situations in which the heroes found themselves. The city attracted Shukshin's hero as the center cultural life, and repelled with his indifference to fate individual person. Shukshin felt this situation as a personal drama. “That’s how it turned out for me by the age of forty. Not completely urban, and not rural already. Terribly uncomfortable position. It’s not even between two chairs, but rather like this - one foot to the shore, the other in the boat. And you can’t help but swim, and it’s kind of scary not to swim ... "
This difficult psychological situation determined the unusual behavior of Shukshin's heroes, whom he called "strange, bad people". In the minds of readers and critics, the name "crank" has taken root. It is "cranks" that are the main characters of the stories united by Shukshin into one of best compilations"Characters".
"Human sorrows and sorrows are living and quivering threads ..." These are lines from Shukshin's story "I Believe" - lines that are the most exact definition many artistic research Shukshin, a long path stretching from the first collection to the story "Friends of games and fun" (from the last lifetime publication).
The folk art of this writer contains explanations for the phenomenal nature of his talent, his naturalness, high simplicity, and artistry.
1.3 The place of the chosen work in the writer's work
The delivery of the film "Kalina Krasnaya" caused a number of complications. The general creative and human overstrain of Vasily Makarovich that arose at the same time affected his state of health, and at the beginning of 1974 he again found himself in the hospital.
Each hospital is, among other things, also a warning, advice that you need to be careful, change the rhythm of life in some way. However, Shukshin could not sit idle.
Everyone who wrote and spoke about the work of Vasily Shukshin could not, without surprise and some feeling of confusion, not say about his almost incredible versatility.
After all, Shukshin the cinematographer organically penetrates Shukshin the writer, his prose is visible, his film is literary in best sense words, it cannot be perceived “by sections”, and so, reading his books, we see the author on the screen, and looking at the screen, we remember his prose.
This fusion of the most diverse qualities and talents, not only into a whole, but also into a very definite, completely finished one, still and again delights and surprises us today, will delight and surprise us forever.
Shukshin belonged to Russian art in that tradition, by virtue of which the artist not only humiliated himself, but did not notice himself in the face of the problem that he raised in his work, in the face of the subject that became for him the subject of art.
Shukshin was not only uncharacteristic, but also contraindicated in any demonstration of oneself, any indication of oneself, although to someone, but he had something to demonstrate. It was because of this shyness towards himself that he became unforgettable to others.
1.4 Analysis of the selected work (the story "Kalina Krasnaya")
One can say about Shukshin's work - to live among people, incidents, impressions, each of which requires its own, moreover, its rightful place in art, each, pushing everything else, rushes through you onto paper, onto the stage, onto the screen, urgently demanding and grumbling, - It is very difficult.
Here we recall the film story by V. Shukshin “Kalina Krasnaya”, written in 1973. The main character is Yegor Prokudin. Yegor is inconsistent: sometimes he is touchingly lyrical and hugs birch trees one after another, sometimes he is rude, then he is a ruff and a boozer, a lover of drinking parties, then he is a good-natured man, then a bandit. And now some critics were very embarrassed by this inconsistency, and they took it for a lack of character and “truth of life”.
Criticism did not immediately notice that no one has been able to create such a lifestyle so far, perhaps - not a single writer, not a single director, not a single actor, and Shukshin succeeded because he is Shukshin, who piercingly saw people around him, their destinies, their life ups and downs, because he is a writer, a director, and an actor all rolled into one.
Prokudin's inconsistency is by no means so simple, spontaneous and not conditioned by anything, it is by no means empty place and not a lack of character.
Prokudin is consistently inconsistent, and that's something else. This is already logic. His logic is not our logic, it cannot, and probably should not be accepted and shared by us, but this does not mean at all that it does not exist, that it is not able to open up to us and be understood by us.
Not quickly and not quietly, but with an even step, Yegor moves along the arable land he has just plowed towards his death.
He goes, knowing where he is going.
He goes, first sending away his henchman on plowing, so that he would not be a witness to what will inevitably happen now, so that a person who had nothing to do with Prokudin's fate would not be threatened by some kind of danger, some kind of trouble for the witness.
The blows of Prokudin's tarpaulin boots on the wooden walkways are heard loudly and continuously when he leaves prison for freedom, but here he is almost inaudibly, but in the same rhythm, steps along the arable land from freedom into his death, and the circle closes, and everything becomes clear to us.
But then we understand that this person should have done just that - all his previous inconsistency spoke about this.
Prokudin neither pity, nor love, nor patronage, nor help - he would not accept anything from us, but he needs our understanding. It is necessary in its own way - after all, he resists this understanding all the time, it was not for nothing that he was so inconsistent and threw out his knees, but all this because our understanding was necessary for him.
And then you involuntarily begin to think that Prokudin gives us an understanding not only of himself, but also of his artist - Vasily Shukshin.
Time is running. Those born in the year of Shukshin's death are becoming his readers today. For them, he unwittingly is the name of a classic series. But the years that passed after his death did not lose their desired meaning of the words that he wrote with capital letter. people, truth living life. Every word is a reflection of Shukshin's soul, his life position- never give up, never bend under the weight of life, but, on the contrary, fight for your place under the sun.
Conclusion
Last years Shukshin's life was such a period when everything that surrounded him - all people and facts - became an object of art for him, whether it was a quarrel with a janitor in a hospital or studying the biography and deeds of Stepan Razin.
In modern Russian literature, Shukshin's works have remained a unique artistic phenomenon. Reading his stories, you need to think about their essence, delve into every word, feel and hear what his characters feel. The main characters of most of his stories are rural and urban common people. The writer in them admires their dissimilarity, originality, ruffiness, feeling dignity. It is these qualities that make his heroes close, dear to us.
In his story "Kalina Krasnaya" Shukshin showed another life. The life of a "small", but at the same time big man. Big ... who experienced the hardships of life, but managed to get on the right path, who did not go along the "uneven path".
For me, Shukshin's works are vivid life examples ... examples that teach you to understand life. His stories are like instructions to readers. All his characters make mistakes, but in the end, these mistakes lead to the right path, to a new life. On the example of Yegor Prokudin, I discovered a new quality of a person - inconsistency leading to the truth. It turns out that not always the right path can be found with the help of rules and life examples. There are also those - special, unlike anyone else, but achieving success in life.
Bibliography
1. Shukshin V.M. Stories. - L.: Lenizdat, 1983. - 477 p.
2. Shukshin V.M. Stories. - M.: Det. Lit., 1990. - 254 p.
Application
Dark pages of biography
The old school is now a museum. Once he studied here, and later taught Vasily Makarovich. Everything here breathes the atmosphere in which Shukshin grew up. Old desk, cards, pens, pointers, textbooks. Here he met his first wife, who also taught at this school. Met, dated, married. And when he left to study in Moscow, he did not return to his wife. Didn't even come back to get a divorce. There is still no explanation for this behavior. Shukshin married for the second time already in Moscow. His second wife was a daughter famous writer Soviet era Anatoly Sofronov, who at that time headed the Ogonyok magazine. Vasily Shukshin entered simply - he told the police that he had lost his passport. And they gave him a new passport, without marriage-divorce stamps. So undivorced and lived, although for his short life got married three times. The first wife waited a long time for her husband. Now she has new family, but when she remembers Shukshin, no, no, and she will cry. Apparently, she has many memories associated with Vasily Makarovich.
These words interested us, and we asked if it was possible to go to her and talk about Shukshin. But the guide shook her head and explained that such conversations were extremely difficult for her, and her second husband gets angry when someone starts talking about Shukshin. He is still jealous of him, although Shukshin has long been dead. Maybe because in fact the wife is still Shukshin's wife.
From the school, we leisurely walked through the village streets past former home Shukshin, past the place where Vasily Shukshin spent his childhood, straight to Mount Piket. Here on the mountain, from time to time, Shukshin readings are held, where guests from different cities of Russia come and local poets and prose writers often perform. Bards also come here, form a tent city and sing songs about Shukshin, about their native lands, about Russia. This is a good place, free. And the mountain Katun flows nearby. Here, Vasily Makarovich bought a house for his mother when he received a fee for the Lyubavins. Wives changed, but only the mother remained beloved for life. Shukshin treated her touchingly, gently, respectfully. Although both were stingy with feelings, they did not hug, did not kiss in front of everyone, they talked about the main and serious in private. For all vital important issues Shukshin consulted only with her. And when he entered the institute, and when he was going to get married, and maybe even when he was going to start another new job. He took it off in "Kalina Krasnaya", immortalized his beloved mother forever. The monument to Shukshin stands next to the house, in a small garden, next to the viburnum, which is actually red. The mother survived her son, who lived only 45 years. If you calculate how many years his life took him to create, then there will be nothing at all - 15 years. In fifteen years to write so much, shoot so much, go down in the history of cinema as a wonderful actor and director, in literature folk writer, you probably needed a lot of strength, both moral and physical. We can say that Shukshin burned in creativity and burned out untimely, not appreciated during his lifetime as he should have been appreciated, including in his own homeland.
Loyalty to a great man is a difficult thing. His mother was faithful to him. Mother could not go to the funeral, did not come to Moscow. She could not believe that her son was no longer there, and she did not have the strength to go to the grave. But one of Vasily Makarovich's admirers began to write to her, and described in detail what flowers she plants, how the viburnum leans towards the monument, as red as in the novel, as in the mother's garden.
Vasily Makarovich Shukshin is buried on Novodevichy cemetery in Moscow. His grave is neat and well-groomed, apparently, there are still people who revere his work, who come to bow to the grave of the writer and director. Everything is as it should be, only my heart aches from how quickly his widow came to her senses from the loss. She married one, then another, all in plain sight, in front of the people. It is difficult to understand how the head of a fashionable pop group can replace a great person in the heart. Although everyone has their own truth. The widow herself says that life was not easy for her with the writer, that he drank and scolded, and when he was jealous, he could hit. It's hard to live next to a very talented person. In life, they are not so good and unambiguous, however, like their heroes.
Ministry of Education and Science of the Udmurt Republic
GOU SPO "Debessky Polytechnic School"
ABSTRACT
On the topic of: " Red viburnum"
Completed by: 2nd year student of group "B"
Voblov Anton Igorevich
Teacher: Ivshina Natalya Vladimirovna
S. Debesy, 2009
Introduction
1. Main body
1.1 Biography of the writer: Vasily Makarovich Shukshin (25.07.29 - 2.10.74)
1.3 The place of the chosen work in the writer's work
1.4 Analysis of the selected work. (The story "Kalina red")
Conclusion
Bibliography
Application
Introduction
The creative star of Vasily Makarovich Shukshin appeared on the horizon of the current Russian culture rapidly and, as it were, quite unexpectedly. It burns even now, striking with its brightness and variety of color overflows. However, Vasily Makarovich himself is no longer there ... Smiling mischievously in the direction of the creators of culture in the direction of the creators of culture, he disappeared from Moscow with the same strange surprise with which he appeared in it.
He lived only forty-five years. Moreover, his life was so difficult and unfavorable (early orphanhood, homeless youth, illness, late studies, mature years without his own roof over his head, etc.) that only ten to twelve years and out of this small number he lived on earth, - that's all! - we can refer to the actual creative years. But even this turns out to be enough for him to write more than one hundred and twenty stories, two novels, several short stories, screenplays and plays, to stage five full-length films according to his own scripts (“Such a guy lives”, “Your son and brother”, “Strange people” , "Stove-shops", "Kalina red"), play more than twenty roles. This would be enough for several long and full-blooded creative lives, but on the eve of his untimely death, he himself believed that he was just beginning to create for real, by and large ...
Born in a Siberian, that is, Russian, village, he did not at all need to study or comprehend the national character. Behind him, a centuries-old, largely tragic history was piled up, the richest culture of folk art splashed.
"Here you are!" - as if his voice sounds muffled, full of bitterness and inner strength. - So you have to work." And numerous "middle peasants" from cinema and literature, puzzled by the "Shukshin phenomenon", either continue to be perplexed, or rush into imitation, or pretend that nothing happened ...
Shukshin's works are a bright kaleidoscope of literature. Each of them has its own "zest", originality, dissimilarity to others. One of his brightest works was the story "Kalina Krasnaya", which became one of his brightest directorial works.
1. Main body
1.1 Biography of the writer: Vasily Makarovich Shukshin (07/25/29 - 10/2/74)
V.M. Shukshin was born on July 25, 1929 in the village of Srostki, Altai Territory. After eight classes, he entered the Biysk Autotechnical College, but soon left it. He worked at construction sites, on the collective farm. He graduated from the tenth grade of high school as an external student. He worked as a scaffolder in Kaluga, Vladimir. He served in the Navy (1949-1952), having returned to his native village, he was the secretary of the rural district committee of the Komsomol, worked as a director at the evening school in the village of Srostki. In 1954 he entered the directing department of the All-Union State Institute of Cinematography. He first appeared in print in 1959 in the magazine "Change".
For a long time, Shukshin considered cinema to be his main vocation and worked as a director and actor. Films with his participation as a director, screenwriter, actor - "Such a Guy Lives", "Strange People", "Stoves and Benches", "Kalina Krasnaya", "They Fought for the Motherland" - have become a significant event in Soviet cinema in recent decades. In 1964 the film "Such a guy lives" received the award of the Venice International Festival "Golden Lion of St. Mark".
Shukshin - the author of the novels "Lubavin" and "I came to give you freedom" - about Stepan Razin. He wrote the stories "There, in the distance", "Kalina red", "Until the third roosters", the play "Energetic people", many stories that compiled collections - "Villagers", "Countrymen", "Characters", "Conversations under a clear moon ". Shukshin's talent as a writer was most clearly revealed in his short, extremely capacious stories, imbued with love for a working man and contempt and hatred for parasites, philistines, and grabbers.
The great merits of V. Shukshin - a writer, film director and actor - were awarded the title of Honored Artist of the RSFSR, laureate of the State Prizes of the USSR and the RSFSR. He was posthumously awarded the title of laureate of the Lenin Prize (1976).
1.2 Review of the writer's work, main themes of creativity, main works
The writer took his material for his works wherever people live. What material is it, what characters? That material and those characters that rarely fell into the realm of art before. Apparently, it was so necessary for a great talent to emerge from the depths of the people, to tell the simple, strict truth about their fellow countrymen with love and respect. And this truth became a fact of art, aroused love and respect for the author himself.
Lovers of "distilled" prose demanded a "beautiful hero", demanded that the writer invent and not disturb them with his deep knowledge of real life. The heroes of Shukshin turned out to be not only unfamiliar, but also incomprehensible. The polarity of opinions, the sharpness of assessments arose, oddly enough, precisely because the characters were not invented. When a hero is invented, and often for the sake of someone, this is where complete immorality manifests itself. And when the hero is a real person, he cannot be only moral or only immoral. Isn't it from here, from a misunderstanding of Shukshin's creative position, that creative errors in the perception of his heroes come from. Indeed, in his heroes, the immediacy of the action, the logical unpredictability of the act are striking: either he suddenly accomplishes a feat, then he suddenly runs away from the camp three months before the end of his term. The writer's characters are really impulsive and extremely natural. And they do this by virtue of internal moral concepts, perhaps they themselves are not yet aware of. They have a heightened reaction to the humiliation of a person by a person. This reaction takes on a variety of forms. Leads sometimes to the most unexpected results. Shukshin himself admitted: "It is most interesting for me to explore the character of a non-dogmatic person, a person who is not planted in the science of behavior. Such a person is impulsive, gives in to impulses, and, therefore, is extremely natural. But he always has a reasonable soul."
Shukshin never specifically looked for material for creativity, he lived, like we all live, saw and heard the same thing that we see and hear. The most that neither is the fluidity of life, which depresses and seizes us so much, it was she who gave him both “plots” and “characters”.
In Shukshin, the whole story is important, all his heroes and characters.
The theme of a village man, torn from his usual environment and not finding a new support in life, has become one of the main themes of Shukshin's stories.
Shukshin's stories, referring to "village prose", differed from its main stream in that the author's attention was focused not so much on the foundations of folk morality as on the difficult psychological situations in which the characters found themselves. The city attracted the Shukshin hero as the center of cultural life, and repelled him with its indifference to the fate of an individual. Shukshin felt this situation as a personal drama. “That’s how it turned out for me by the age of forty. Not completely urban, and not rural already. Terribly uncomfortable position. It’s not even between two chairs, but rather like this - one foot to the shore, the other in the boat. And you can’t help but swim, and it’s kind of scary not to swim ... "
This difficult psychological situation determined the unusual behavior of Shukshin's heroes, whom he called "strange, unlucky people." In the minds of readers and critics, the name "freak" has taken root. It is the "freaks" who are the main characters of the stories united by Shukshin in one of the best collections "Characters".
One can say about Shukshin's work - to live among people, incidents, impressions, each of which requires its own, moreover, its rightful place in art, each, pushing everything else, rushes through you onto paper, onto the stage, onto the screen, urgently demanding and grumbling, - It is very difficult.
Here we recall the film story by V. Shukshin “Kalina Krasnaya”, written in 1973. The main character is Yegor Prokudin. he is a good-natured man, sometimes a bandit, and already some critics were very embarrassed by this inconsistency, and they mistook it for a lack of character and "the truth of life."
Criticism did not immediately notice that no one has been able to create such a lifestyle so far, perhaps - not a single writer, not a single director, not a single actor, and Shukshin succeeded because he is Shukshin, who piercingly saw people around him, their destinies, their life ups and downs, because he is a writer, a director, and an actor all rolled into one.
Prokudin's inconsistency is by no means so simple, spontaneous and not conditioned by anything, it is by no means an empty place and not a lack of character.
Prokudin is consistently inconsistent, and that's something else. This is already logic. His logic is not our logic, it cannot, and probably should not be accepted and shared by us, but this does not mean at all that it does not exist, that it is not able to open up to us and be understood by us.
Not quickly and not quietly, but with an even step, Yegor moves along the arable land he has just plowed towards his death.
He goes, knowing where he is going.
He goes, first sending away his henchman on plowing, so that he would not be a witness to what will inevitably happen now, so that a person who had nothing to do with Prokudin's fate would not be threatened by some kind of danger, some kind of trouble for the witness.
The blows of Prokudin's tarpaulin boots on the wooden walkways are heard loudly and continuously when he leaves prison for freedom, but here he is almost inaudibly, but in the same rhythm, steps along the arable land from freedom into his death, and the circle closes, and everything becomes clear to us.
But then we understand that this person should have done just that - all his previous inconsistency spoke about this.
Prokudin neither pity, nor love, nor patronage, nor help - he would not accept anything from us, but he needs our understanding. It is necessary in its own way - after all, he resists this understanding all the time, it was not for nothing that he was so inconsistent and threw out his knees, but all this because our understanding was necessary for him.
And then you involuntarily begin to think that Prokudin gives us an understanding not only of himself, but also of his artist - Vasily Shukshin.
Time is running. Those born in the year of Shukshin's death are becoming his readers today. For them, he unwittingly is the name of a classic series. But the years that passed after his death did not lose their desired meaning of the word, which he wrote with a capital letter. People, Truth, Living Life. Each word is a reflection of Shukshin's soul, his life position - never give up, never bend under the weight of life, but, on the contrary, fight for your place in the sun.
The story of V.M. Shukshina "Kalina Krasnaya" Shikhranova Svetlana Nikolaevna, teacher of Russian language and literature, GAPOU "Cheboksary Technical School TransStroyTech" The history of the creation of the story The story of V. Shukshin "Kalina Krasnaya" was written in 1972 in Moscow, in a hospital. The name "Kalina Krasnaya" was invented by Lydia Fedoseeva Shukshina. The name is taken from the song of the same name, which she sang to V. Shukshin during the first meeting. The meaning of the title of the story "Kalina Krasnaya" Rural residents often compare their fate with viburnum - a berry with a bitter taste. It has taken root among the people that viburnum symbolizes unhappy love or sudden death. Bright red color is associated with a wound, blood. Therefore, the title of the story can be considered as an anticipatory finale: immediately after meeting Yegor Prokudin, the reader understands that the hero is doomed. The theme and idea of the work Vasily Shukshin decided to talk about the fate of an ordinary peasant. After all, it is no secret that half of the male population of Russia recognizes themselves in Yegor, nicknamed "Geor" - lonely, rushing about, restless, thirsty for love, conscientious and a little pathetic. What is better - "easy" money or coins earned by one's own labor? Is it possible to hide from the shameful past? Will you have enough strength to look your relatives in the eye after you have gone the “criminal path”? “The Russian people in their history selected, preserved, elevated to a degree of respect such human qualities that are not subject to revision: honesty, diligence, conscientiousness, kindness. Remember this. Be human". V.M. Shukshin “We shouldn’t forget about the soul… We should be a little kinder… We once, as it happened, live on the earth… But just be more attentive to each other, kinder…” V.M. Shukshin The protagonist of the story Egor Prokudin is a proud and strong character, outstanding, talented person. He was given a lot from birth, he could be famous for good deeds. But the circumstances were different, he became a criminal. Egor was born with that wonderful spiritual reserve that peasant labor gives a person. After leaving prison, he tries to correct his mistakes and choose the right path in life. Falls in love with the blue-eyed beauty Lyuba, finds real friends and interesting work... But the past does not want to recede, and the friends of the former convict cannot forgive Yegor that he has moved away from thieves' affairs. Hungry, having suffered in childhood, he thought that money is the holiday of the soul, but he realized that this was not so. When he saw his mother, at that moment he understood: he could not find this holiday, peace in his life, he could not now pray for sin before his mother - his conscience would forever kill. In the scene of Yegor's meeting with his mother, a merciless trial is being carried out on him, who has violated all the norms of human morality. It is no coincidence that the culmination of the story is the scene of a meeting with his mother, Yegor's repentance. Female images in the story And the ruddy beauty Lyuba? Yes, this is a portrait of all Russian women who are all-forgiving, hard-working, gentle, naive and ready to sacrifice everything for the happiness of a loved one! There is the sun - Pushkin and his Prophet, Yeseninsky cherished cornflower, And bitter Shukshin viburnum ... Gennady Panov The story "Kalina Krasnaya" - touching work rich in emotions and feelings. The book about ordinary people, their feelings and souls, troubles and joys. I was touched by the fate of Egor and made me think how hard (sometimes impossible) it is for a person who has turned off the right path to change his life, to return his good name. Reading the pages describing the meeting with my mother, I could not hold back my tears. It becomes so bitter and painful in the soul, it is a pity for the mother who gave birth to a son and hoped for his support in old age, and Yegor, who realized all his guilt before his mother and worries that he did not justify his hopes. The book is very instructive, makes you think about your actions, the meaning of life. LITERATURE http://www.portal-slovo.ru/art/35944.php http://www.shukshin.ru
