Sincerity and nostalgia. . . Here comes the moment of farewell to a retrospective of the films directed by Mikhail Kalik, whose name I learned recently, finding that I hear about him for the first time. Immediately, after reading a little about him, he began a leisurely attentive review of his few paintings, thereby filling the gap. In my opinion, I chose the best of them. It was only five ... out of nine. . .
The last - ' And the wind returns...', entered the number of the chosen, without any options. Kalik remained silent after his departure for more than 20 years (Israeli film ' Three and One' not counting) and finally returned to his own circle. At the very beginning, under the title of paintings, we read - (memoirs). And, indeed, before us will run, with stops, the biography of the director, and with it, the biography of our country from the 30s to the 70s of the last century. I know that the film was criticized and criticized, but I saw in it the sincerity and nostalgia of the man who lived and survived before he left. And the best creative years of Kalik, despite all the difficulties, fell on the Soviet period, however, as well as the young years of his activity.
In the picture, artistic shots, masterfully executed in retro, are combined with documentary ones, which we have already observed in his previous films - ' Goodbye, boys' (1964) and 'Love' (1968). We will see the life of the 30s, and repression, and Molotov with Ribbentrop, and the performance of the Theater of Working Youth during the war for 0.75 pure alcohol, which, if honestly, dilute, you get four liters, which can be exchanged for different meals, and the first exotic sexual experience with a bakery thief who hides dough in her dimensionless breasts. We will be backstage on the set 'Ivan the Terrible' together with Cherkasov, Eisenstein and Seraphim Birman, we will see a colorful scene with the People's Artist of the USSR Turchaninova: 'Foo, forgive God! Sarah-Fima plays a Russian boyar, well, times...'. She replied: 'So, and the director...' And she: ' I know. Although Tsar Ivan, thank God, is not Solomon Mikhoels. Ugh! ...'. We will see Zhukov with Rokossovsky on white horses, GITIS, Eisenstein’s funeral with an impressive playing of a violinist on a snowy roof, in the style of Bach’s solo partites. However, unfortunately, the violinist is not played by a professional, which is quite common in cinema and very annoying. We will see a camp and a camp funeral with a cemetery from unmarked graves. We will see the reaction to Stalin’s death. We will see the liberation from Lubyanka and VGIK with its rector in 1954, communal 50s with the bathing of a baby in an iron trough by happy young parents, Oleg Efremov as Sergei Yutkevich: ' Well, Misha, congratulations. You used to be like everyone else, in the crowd, nobody saw you. Well, now, you got on a bump, and it became very convenient to spit on you, and who catches, he and the stream will get ...' We will see the proceedings led by the 1st Secretary of the Central Committee of Moldova of those years, Baudyul, we will see a picnic of a Jewish company in the 70th year, on the occasion of the 22nd anniversary of Israel's independence and the colorful Lev Perfilov in a dialogue where, in the words: 'In the 47th year, Andrei Gromyko himself, on behalf of the Soviet Union, supported the creation of a Jewish state', he answered: 'Ha... in the 47th... In 47, I was young and handsome... and now only handsome...', and in his anecdote: ', there are a bunch of people on the sidewalk talking about something... A Jew walks past them and says, ' I don't know what you're talking about, but I have to go...' Misha’s mother played Alla Balter in the film. In the episodes, also involved Emmanuel Vitorgan, Bronislav Brondukov, Igor Yasulovich, Stanislav Govorukhin, Alexander Filippenko and others. Throughout the film, we will be concerned about the poetic music of Mikael Tariverdiev. And, of course, we will see fragments from the Soviet paintings of Kalik, and in the end, the unhappy mother running the seeding walk of an elderly woman, exhausted by life, to the knock of the wheels of a departing train, escorting her son ... forever ... ': Goodbye, boys. . . ' And tears in my eyes. . .