Viburnum red problem. The place of the chosen work in the writer’s work

Analysis of Vasily Shukshin's story "Kalina Krasnaya"

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 demands its own, and rightful place in art, each, pushing away everything else, rushes through you onto paper, onto the stage, onto the screen, urgently demanding and grumbling, - It is very difficult.

Here we remember V. Shukshin’s film story “Kalina Krasnaya,” written in 1973. The main character is Yegor Prokudin. Yegor is inconsistent: sometimes he is touchingly lyrical and hugs one birch tree after another, sometimes he is rude, sometimes he is a ruffian and a drunkard, a lover of drinking, sometimes he is a good-natured person, sometimes he is a bandit. And now some critics were very confused by this inconsistency, and they took it for a lack of character and “truth of life.”

Criticism did not immediately notice that, perhaps, no one had been able to create such a way of life until now - not a single writer, not a single director, not a single actor, but Shukshin succeeded because he, Shukshin, piercingly saw the people around him, their destinies, their life's ups and downs, because he is a writer, a director, and an actor all rolled into one.

Prokudin’s inconsistency is not at all so simple, spontaneous and unconditioned; it is by no means empty place and not a lack of character.

Prokudin is consistently inconsistent, and this is 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 across the arable land he has just plowed towards his death.

He goes, knowing where he is going.

He goes, first sending his henchman away to plow, so that he would not be a witness to what is now inevitably going to happen, so that the person who had nothing to do with Prokudin’s fate would not face any danger, some kind of trouble as a witness.

The blows of Prokudin’s tarpaulin boots on the wooden walkways are loudly and continuously heard when he leaves prison to freedom, but now he almost inaudibly, but in the same rhythm, walks across the arable land from freedom to his death, and the circle closes, and everything becomes clear to us.

But then we understand that this is the only way this person should have acted - all his previous inconsistency spoke about this.

Prokudin would not accept pity, love, patronage, or help from us, but he needs our understanding. It is necessary in its own way - after all, he resists this understanding all the time, it is not for nothing that he was so inconsistent and threw out his knees, but all this is because he needed our understanding.

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 involuntarily is the name of the classical series. But the years that passed after his death did not lose at all their sought-after meaning, the words that he wrote with capital letters. 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 in the sun.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Have you noticed that some authors write their works so figuratively, but at the same time uncomplicatedly, that even after many years, memories of their creations pop up in your head like entire films. You imagine the hero of the story so vividly while reading that later, when you come across the film adaptation, you literally cry out: “Exactly, that’s exactly what he looks like!” This is exactly what happens while watching the film “Kalina Krasnaya” (Shukshin). Summary This story may take a few minutes, but the experiences remain with us forever.

Vasily Shukshin - great tragedian

Literary critics unanimously argue that such a merger into a single whole different talents and qualities will surprise and make you admire more than one generation of readers. Even though the work of Vasily Makarovich belongs to Soviet era. “Red Viburnum” (we’ll look at the chapter-by-chapter summary a little later) - the clearest example how the author dissolves, does not notice himself in the face of the problems that he raises for readers. Shukshin literally belonged to art.

Sometimes critics argue that Vasily Makarovich “demonstrated” himself, flaunted himself in order to gain even greater recognition. But his friends and relatives, as well as many literary critics, say the opposite: any indication of himself, any demonstration of his “I” was completely alien to him. That's why it became unforgettable.

Film story

Let's take, for example, almost his most famous work - “Kalina Krasnaya”. Shukshin (the summary will not convey the emotional intensity, but at least it will remind storyline) wrote this film story in 1973. Dynamic plot, lots of dialogue and third-person narration - these are the main literary characteristics works.

Critics immediately noticed that such an image of the main character - Yegor Prokudin - had never been seen in art before. It is he who distinguishes from general series film "Kalina Krasnaya" Short description his nature is as follows: he is either gentle and sentimental, hugging almost every birch tree he meets, or he is rude and “gets into trouble”; One minute Yegor is cheerful and kind, and the next he is already a bandit and a lover of drinking. It seemed to some literary scholars that such inconsistency indicates a lack of character, and therefore does not convey the whole truth of life in “Kalina Krasnaya”.

Consistent inconsistency

The apparent inconsistency of Prokudin’s actions is in fact not simple, not spontaneous. Shukshin managed to convey the alien to an ordinary person logic. We cannot understand, and, most likely, we should not understand and accept the actions of this person. But this does not mean that such life has no right to exist in principle.

So, “Kalina Krasnaya”, Shukshin. Let's start the summary with the fact that Yegor, a repeat offender, receives a farewell message from the head of the zone where Prokudin was serving his sentence. In the morning he must go free, and we become aware of some of this man’s dreams: to have a cow and get married. Yegor had never seen his chosen one in his life. They met by correspondence.

Once free, Prokudin goes to his friends (as you understand, also “unclean”). The company gathered there is waiting for news of how the next robbery went. Everyone is trying to ask Gore (that’s what Yegor’s friends call him) about prison, but he doesn’t want to talk about it at all. It's spring outside, and Prokudin is enjoying life.

resounding phone call interrupts the gathering: the accomplices are surrounded by the police, and everyone needs to run away. Realizing that he is in no danger, Prokudin also runs. Such is the power of habit...

The road to normal life

How do the events unfold in the story “Kalina Krasnaya”? Shukshin (the summary does not convey all the nuances of Prokudin’s attitude to life) sends his hero to meet his future wife - Lyuba. She meets him at the bus stop and takes him to meet his parents.

In order not to frighten older people, Lyuba says that her chosen one is a former accountant. But, left alone with his parents and answering questions, Yegor says: “He killed seven, but didn’t have time for the eighth...”. He is sure that a person has the right to rehabilitation, and, having received punishment, one cannot return. And you can’t judge him either. He criticizes the “backward” old people and their worldview, trying on the role of a public figure.

Prejudice

Public morality is quite clearly spelled out in the story “Kalina Krasnaya”. The content (Shukshin repeatedly shows the influence of society on the individual) of the conversations between Lyuba, her mother and daughter-in-law about a new acquaintance comes down to dissatisfaction for only one reason: Yegor has just been released from prison. Women convey the opinions of their fellow villagers.

And Yegor himself spends time in the bathhouse with Lyuba’s brother, Peter. This taciturn person is absolutely indifferent to what is happening. He is too lazy to get to know Yegor and have intimate conversations with him. The scenes with Yegor's resentment towards Peter, with the subsequent understanding that it is not pride and prejudice that motivates him, but ordinary reticence, were very vividly described by Vasily Shukshin. “Kalina Krasnaya” (we are trying to remember the summary) continues with Peter’s cry from the bathhouse, everyone grabs something “heavy” and runs to the rescue. But in fact, Yegor accidentally splashed boiling water on Peter. The incident is turned into a joke, and the rest of the evening passes in a “warm, friendly atmosphere.”

Details

Lyuba's friend Varya offers to break up with Yegor and take back her ex-husband, Kolka. It's just a little thing that he's a drunk. Varya laughs as she talks about her happy life with an alcoholic husband. Her story that beating a drunkard with a rolling pin is the norm somewhat offends Lyuba. Lyuba does not want to be “like everyone else,” and this greatly irritates her fellow villagers.

Meanwhile, Prokudin is thinking about his comrades whom he managed to see after leaving prison. He even sends money to one of them (Guboshlep). Why is Shukshin showing all this? "Kalina Krasnaya", a brief summary of which is of our interest today, conveys the mood of society towards repeat offenders, towards those who go against accepted standards. Shukshin could not help but raise this topic in his work.

reveler

Egor is having fun in a restaurant with unknown men. He showers money and “debauches” in every possible way (as Shukshin himself called it): he sings, dances, drinks and makes pretentious speeches. But closer to night, he remembers Lyuba, calls her and says that business has detained him in the city. The mother does not believe such a “legend,” but Lyuba’s father helps her out and helps her explain herself to her mother. It is his father’s support that Shukshin persistently emphasizes.

“Kalina Krasnaya” - the summary again does not contain all the events and dialogues - continues with Prokudin taking a taxi and returning to Lyuba. But he goes to her brother, and they continue drinking in the bathhouse (in a dark, cramped world, as Shukshin called this place).

New job

Accompanying Lyuba to the farm where she works in the morning, Yegor recalls his childhood - his mother, the cow Manka and boyish carefreeness. Lyuba casually mentions her drunkard ex-husband. So, while chatting casually, they reach a farm, where Yegor meets the director and immediately gets a job as a driver. Having completed the first task, Prokudin refuses to work and says that it’s easier for him on a tractor.

In the evening, Gore takes Lyuba to a neighboring village in a borrowed dump truck. He asks her to introduce herself as a social worker and talk to old lady Kudelikha. He himself looks very serious during this visit and does not take off his dark glasses. On the way home, it turns out that they visited Yegor's mother.

Even a brief summary of the story “Kalina Krasnaya” by Shukshin cannot be conveyed without describing the moment when, having first sat behind the wheel of a tractor, Prokudin makes the first furrow. He is overwhelmed with joy and pride, he cannot breathe in the smell of plowed earth.

Not without bitches

When Lyuba’s ex-husband and friends show up at Lyuba’s house and try to get his license, Yegor pushes the whole company out of the gate with his fists. The summary of the story “Kalina Krasnaya” by Shukshin cannot convey the fullness of the cinematic scene of this fight. After all, it ended when, under Yegor’s heavy gaze, Kolka, coming at him with a stake, stopped.

Another trouble happened in Prokudin’s life. A former friend of Shura came to see him from the city. He brought money from Guboshlep, which was supposed to help Yegor return to old life. But Prokudin refuses such an offer, throwing money in the visitor’s face. Yegor manages to calm down the agitated Lyuba, but it is clear that he himself is quite on edge.

Tragic death

While working in the field, Yegor notices a Volga with his former friends at the edge of the forest. He goes to them, and in the meantime we learn that Guboshlep decided to get even with Gor for the fact that he moved away from the life of a thief.

By the time the worried Lyuba figured out what was happening and drove up with her brother to the forest edge, the city visitors were already leaving for their home. Lyuba found the seriously wounded Yegor, and she and Peter tried to help Prokudin. But at some point he felt his death approaching and asked to be put on the ground to listen... From last bit of strength Yegor Prokudin asks to give his money to his mother.

“And he lay, a Russian peasant, in his native steppe, close to home...”

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

Some critics saw a socio-psychological conflict between the criminal and his environment, others - “crime and punishment”, others - moral meaning guilt towards his abandoned mother (He is a lonely outcast who becomes a criminal to fill his soul). Some wrote that this film is a song, others accused it of an anti-song composition. And all these assessments directly characterize the picture.

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

“Kalina Krasnaya” is a tragedy of guilt and retribution. From Shukshin’s point of view, the integrity of the narrative is given not by the plot, but by the humanity embodied in it. There are some striking images in this film. For example, the image of a “birch forest” is a bright, clean world, including human purity. Or the image " White church- goes through the film several times, which appears several times. We can say that the picture is very metaphorical, everything in it is fused with nature. The landscape in it is a poetic leitmotif.

disfigured like Prokudin’s life itself

after meeting his mother

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

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

The image of Yegor Prokudin is very contradictory. He is looking for a holiday and wants it right now, at the same time he strives for harmony. In this regard, the picture consists of contrasting episodes - gradually increasing contrast.

The inevitability of the outcome (Prokudin's death) is shown in detail. The episode when Prokudin greets the birch trees and encounters a crow, then a montage with a flooded church.

USSR, MOSFILM, 1973, color, 108 min.

Tragic melodrama.

This painting by Vasily Shukshin is an extremely rare genre exception in Soviet art, where all tragedies had to be “optimistic”. This is a story about human soul, about “how unsettled she is in life, how she struggles and searches for her place.”

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

And only in “Kalina Krasnaya” is this conflict understood on a tragic national, “all-Union level” - the point is not at all that a failed peasant became a repeat offender, leaving his home, betraying his mother, existing without a family, alone, alone, falcon. It was as if the entire country, which then made up a sixth of the Earth, found itself in the situation of an “eternal restless wanderer”, not knowing where to settle down, with whom to become related, how to find peace for its restless soul, which hardly wants only a spree, a “race in the widest”, but in to a greater extent suffers from falling back to the lost foundations of existence.

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

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

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

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

Movie novella.

The title of the film comes from the words of the folk song “Once upon a time there was a song thrush.” And it contains sadness, tenderness, slight irony, addressed by the author - Otar Ioseliani - to the hero and, for some reason, it seems, to himself and, of course, to the leading role of the timpanist of the opera theater orchestra, documentary director Gele Kandelaki. His face of a true Tbilisi resident either dissolves in the luxurious street crowd of this city, or comes to the fore. His impulsive, at first glance, devoid of meaning and goal-setting actions, either drown in the stream of life, or, as if fighting against it, break out to the surface.

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

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

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

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

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

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

Director: Otar Ioseliani.

Cinematographer: Abesalom Maisuradze.

Production designer: Dmitry Eristavi.

Composer: Teimuraz Bakuradze.

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

Installation: no.

Best foreign film of 1972 at the Italian box office.

Egor Prokudin(thief's nickname - Woe) - main character story, a “forty-year-old, short-haired” criminal, having served another (five years) sentence, is released from prison and, by coincidence, is forced to go to the village to visit the girl Lyuba, whom he met through correspondence. He is traveling with the intention of taking a break after imprisonment. Seriously about my trip and about what I said when parting with the head of the colony (“ Agriculture I’ll get busy, get married”), E. does not apply. “I can’t be anyone else on this earth - only a thief,” he says about himself almost proudly. About Lyuba, to whom he is going, he thinks like this: “Oh, you, my darling!.. I’ll at least eat around you... You’re my rich darling!.. I’ll strangle you in my arms!.. I’ll tear you apart and shave you! And I'll drink it with moonshine. All!" But, finding myself in a childhood friend village life, among people who were strangers before, but who turned out to be unexpectedly family (Lyuba, her parents, Peter), having discovered the unexpected power over himself of the very way of village life and relationships, E. suddenly felt unbearable pain because his life did not go as it should. He makes a desperate attempt to change his fate - he becomes a tractor driver, lives in Lyuba’s house as her husband; But his former thieves friends appear, who have not forgiven him for his betrayal of the thieves, and kill E.

Associated with the image of E. main topic not only this story, but, perhaps, the entire work of Shukshin - the drama of human destinies in a country devastated by war and social experiments; homelessness of a person who has lost his natural way of life and habitat. Emotional background development of this topic: “resentment” for the Russian peasant, and more broadly - “resentment for a person in general,” for a person broken by circumstances. (“Shukshin of the 60s was rooting for the peasant. Shukshin of the 70s was rooting for the man” - L. Anninsky.)

E. grew up in a village without a father, with his mother and five brothers and sisters. At a time of famine for the family, E., as a teenager, leaves for the city. He leaves with a terrible resentment towards people, their senseless cruelty. One day their only cow, nurse Manka, came home with a pitchfork in her side. Someone just like that, out of malice, deprived six orphans of their wet nurse. The first person E. met in the city and from whom he learned to make his way to the real one, beautiful life, there was a thief, Guboslap. And it seems like E made his way. “Sometimes I am fantastically rich,” he tells Lyuba. The soul of E., will and beauty, wants a holiday. “He couldn’t stand sadness and creeping lethargy in people. That’s why, perhaps, his life’s path led him so far astray, that from a young age he always gravitated towards people who were outlined sharply, at least sometimes with a crooked line, but sharply, definitely.”

Gradually E. finds out that this is not what his soul asked for. “I stink this money... I completely despise it.” The fee for free thieves turned out to be exorbitant for E. the feeling of being an outcast among normal people, the need to lie. "I wouldn't want to lie<...>All my life I hate lying<...>I'm lying, of course, but that doesn't<...>It's just harder to live. I lie and despise myself. And I really want to finish off my life completely, to smithereens, if only it would be more fun and preferably with vodka.” The most difficult test was the meeting with his abandoned mother, the blind old woman Kudelikha. E. did not say a word, he only attended the conversation between Lyuba and his mother. From all his bright, risky, at times rich and free life, nothing remained in his soul except melancholy. E.’s appearance constantly emphasizes his “fiery passion” for life: “you are like a horse uphill<...>Just don't fall through on the sides yet. Yes, I'm foaming at the mouth. You'll fall. You’ll get fired up and fall,” Lyuba tells him. The fun that E. indulges in on the thief's raspberry is hysterical and hysterical. An attempt to organize a loud drunken spree in the town with his own money ends with his nightly flight to the village, to Lyuba and her brother Peter - the sight of people gathered “for debauchery” is very wretched and disgusting for E. In E., his peasant spirit and his nature, twisted by the life of a thief, are fighting. The most difficult thing for him is to find peace of mind: “My soul... is kind of tarnished.” According to Shukshin, Yegor died because he realized: neither from people nor from himself would he receive forgiveness. The story was supposed to end with E.'s suicide, but the author did not have enough determination for such an ending.