There were pebbles, and everyone came out. . . 'It is simply impossible to survive on paper, as it were, in a new way, one's own adversity, mistakes, losses, stupidity, scoundrels, without exposing oneself to very steep psychological overloads.
Yuri Sergeevich Skop as a schoolboy fell in love with literature, wrote poetry himself, spoke at school evenings. Then he entered the Faculty of Journalism of the Ural University, finished his studies and returned to Irkutsk. He worked in the Barguzinsky Reserve as a huntsman, flight attendant, mining worker and wrote a lot. Often changing profession, he proceeded from the fact that life should be studied more deeply, not from the editorial office. In 1968 he entered the Higher Literary Courses of Directors and Screenwriters, where his leader was V.M. Shukshin. Later Skol wrote: 'Tale 'Diamond "Maria" was originally a thesis script at the Higher Scenario Courses, and this is about him my individual master, Shukshin, sitting on a bench in the corridor of the Gorky film studio, wrote me a review in my notebook. One of them I consider to be programmatic: ': Honesty is a beautiful, proud word, but how many of us stumbled, hurt about what is behind this word. It's not easy to be honest! It’s not easy to write about being honest. Of course, you need to write and #39;
The film 'Diamonds for Maria' was released in 1975. Both directors - Oleg Bondarev and Vladimir Chebotarev - had already taken place in the profession by this time, but neither had ever filmed criminal dramas before. This was the main reason for a certain #39; indistinct' paintings. The script was written by the writer himself, so there is no one to blame for the radical alteration of the story. Its finale has changed dramatically, and it completely changes the accents of the whole work. Probably, the directors tried ' smooth' the hard ending of the story, transferring the script to more ' toothless' plane. If so, the film turned out exactly as Bondarev and Chebotarev conceived it. Yuri Sergeevich himself, as an author, gave the main characters a new artistic embodiment, allowing them to decide their fate in the maximum genre proximity to the melodrama. I don't see it as a negative. Rather, on the contrary, because the prevailing storyline is not the peace of mind of Ivan Gushchin. For his crime, he paid off with society in full, but for years a sincere desire has been nurtured & #39; to tie up forever and irrevocably & #39; he was never able to realize it because of a short meeting at the felling ground.
The cold black-and-white footage of the meeting haunts Ivan and does not let him go. The creators of the picture perfectly understand the throwing of their hero. Soothing him, they pour on the screen a wonderful song: ' In my upper room is light. It's from the night star. Mother will take a bucket, silently bring water. . . ' Then every word with a sharp dagger plunges into the soul of Ivan gloomy hopelessness: ' My red flowers in the garden withered all. The boat on the river shall soon rot completely. . . ' Ivan would be happy to get rid of the damned stones & #39; but the greedy devil sitting inside stops every time, quietly whispering: ' Leave! It will be useful!' And it came in handy - I met Ivan a girl, forever sunk in his scarred soul. Happiness can do wonders. Next to a loved one and grief is not grief, and trouble is not trouble. And the sky is bluer! And the sun is brighter! And the songs are very different: ' Ah, I also wish for the vastness of the universe! Oh, I want to go to heaven too!' Such words can only belong to the loving female heart - the heart of Mary.
What attracts people to each other? What drives their emotions when they look at each other and can't look? What is the name of a hypnotic feeling that can transmute the bad into the good and make the good almost enlightened? Those who love do not need an answer. But they need advice. And who can give sincere advice about the betrothed? And again, the viewer plunges into the world of folk songs, into vivid images of villagers, into a unique figurative speech: 'Grown stitches-paths, where cute legs passed, overgrown with moss-grass, where we walked sweet with you. . . ' Quite ambiguously sound the words of the folk song on ' look' young. But it's not an accident. In the film, the plot and songs are interrelated. They complement each other, deepening the visual range. It is the lyrical and melodramatic line that makes the picture understandable to the viewer, and not the criminal component, which is not particularly impressive here, despite all the efforts of Emmanuel Vitorgan and Anatoly Solovyov. By and large, the story 'The Diamond of Mary' and the film 'Diamonds for Mary' are two completely different works. The story tells about the spiritual fortitude, almost diamond strength of Mary, and the film is about the stones & #39; for a girl named Maria. These images are not comparable. The same applies to Ivan: 'cinema' and book Ivan Gushchin antipodes. They have only one thing in common - the author, who, as the creator, the creator, considered it possible to give the heroes another incarnation.