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Vladimir Vysotsky filmography

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During his years in cinematography, Vladimir Vysotsky appeared in more than twenty-five films. He made his film debut in 1958 while studying at the Moscow Art Theater School, when he played an episodic role of a student called Petya in the film "Female Age-Mates". Vladimir Semyonovich's early filmography was dominated by characters in whose images he appeared briefly on the screen, uttering a few lines. In the 60's directors, inviting Vysotsky to the film, sometimes used his singing potential more actively than dramatic possibilities. The first film work, which changed the "episodic" role of Vysotsky, was the role of the tank driver Volodya in the film of the Belarusian director Viktor Turov "I come from childhood". Widespread fame actor brought participation in the movie "Vertical". In both films for the first time sounded from the screen songs Vysotsky; songs from "Vertical", which gave the action dynamics and sharpness, became a kind of mountaineering folklore and were highly appreciated by the public and critics. The presence of Vysotsky in the picture could be the reason why the movie was screened in limited numbers or not at all. This was the case with Kira Muratova's"Brief Encounters" (1966), which the public saw only in 1987.

In 1968, the actor created the images of the White Guard lieutenant Brusentsov ("Two Comrades Were Serving", directed by Yevgeny Karelov) and the revolutionary underground Brodsky ("Intervention", directed by Gennadi Poloka). In an effort to break the stereotype of antihero and hero in these films, Vysotsky showed the figure of the White Guard Brusentsov so vividly that his portrait came to the fore and required cuts, and the role of the revolutionary was resolved "epathetically", which served as one of the reasons for the film's ban at the box office. In Vysotsky's cinematic career, he used to play ambiguous or negative characters; among them - the criminal Ryaboy ("Master of the Taiga"), the occasional policeman at a wedding ( "War Under Roofs"), maximalist Von Koren ("The Bad Good Man"), a man with a "stalled conscience" He in the film "The Fourth", "shabby seducer" Boris Ilyich ( "The One and Only..."). The actor also had positive characters: revolutionary underground Nikolai Kovalenko (Georges Bengalsky) in the adventurous "Dangerous Tour", a prisoner of war Solodov ("The Only Road"), Ibrahim Hannibal ("How Czar Peter the Great Married Off His Moor"). Vysotsky's last acting work was participation in television films: he played the role of Gleb Zheglov in "The Meeting Place Cannot Be Changed" (directed by Stanislav Govorukhin, premiere November 11, 1979) and Don Guan in "Little Tragedies" (directed by Mikhail Schweitzer, premiere February 29, 1980). In 1987, Vysotsky was posthumously awarded the USSR State Prize "for the creation of the image of Zheglov in the "The Meeting Place Cannot Be Changed" and the author's performance of songs".

Vysotsky acted not only in films, but also in television plays and did voice-over work: his voice can be heard in cartoons and in the documentary "Ilf and Petrov". As an author, he wrote more than a hundred and thirty songs for films, including "Brotherly Graves", "Song about a Friend", "Brodsky's Song", "House of Crystal", "Couplets of Bengal", "Ballad of Love", "Interrupted Flight" and others. A considerable part of the works he wrote for the cinema were rejected by the studio's art councils at the stage of preparation or removed from the film during the commissioning or editing.

Vysotsky was not able to realize his plans related to scriptwriting. The scripts he wrote (alone or as a co-author) were not accepted for production. The only exception was a joint script with Igor Shevtsov for the film "Green Van", which was actually accepted (subject to revision) by the Odessa Film Studio in 1980; however, this project remained unrealized. Since the second half of the 1960s, Vysotsky's appearance on the screen was always accompanied by press coverage; in 1975, the "Iskusstvo" Publishing House published the book Actors of the Soviet Cinema with an article by Irina Rubanova entitled Vladimir Vysotsky, which became the most complete lifetime study of the artist's cinematic work.

How many versions, how many disputes?

All over the place!

People know more about the actor

Even more than he knows himself.

Vladimir Vysotsky, from "The Actor's Song"[1]

Vladimir Vysotsky and cinematography

In 1976, Vladimir Vysotsky, in response to a question from a correspondent of the Bulgarian newspaper "Druzhba," talked about how he would set his priorities if he were to go back to the beginning of his creative path.[2] Their order -in terms of importance- was as follows: "Perhaps in this new life I would mainly write. From time to time I would be asked to play on stage. I'd sing a little for friends. Well, and probably I would be filmed, if there were interesting roles". Cinematography at that time (even before the actor's participation in the films "Little Tragedies" by Mikhail Schweitzer and "The Meeting Place Cannot Be Changed" by Stanislav Govorukhin) was not among the main interests of Vysotsky in life; perhaps this is due to the fact that his screen biography was not as impressive as the stage. Nevertheless, Vladimir Semyonovich's desire to work in the film industry remained: it is no coincidence that in the same interview he mentioned several names of world-class directors with whom he would like to work; among them were Fellini and Bergman.[3]

The star of over 25 films, Vysotski never won any state awards or titles during his lifetime (he was awarded the USSR State Prize posthumously in 1987).[Note 1][4] In general, his film career, especially at the beginning, was not easy. The actor did not have the first prominent role, as it was the case with Lyudmila Gurchenko ("Carnival Night") or Vladimir Ivashov ("Ballad of a Soldier"). In the early filmography of Vladimir Semyonovich there were characters in whose pictures he appeared for a few seconds, saying one or two lines. In the second half of the 1960s, the directors of a number of films were more interested in Vysotsky's songwriting than in his acting potential. During this period, the artist's film roles often coincided with the images of heroes from his works. At the same time, Vysotsky's "semi-legal existence" in the culture sometimes forced filmmakers to "entrust" his voice to other performers.[5][6][7]

Vysotsky's film heroes are mostly homeless people, as critic Irina Rubanova wrote. It was almost impossible to see them in a domestic, comfortable environment; their place of residence was a tent (in the films "Vertical" and "The Master of the Taiga"), a rented apartment ("Two Comrades Served"), a hotel ("The Fourth"). Perhaps the reason why his characters were mostly vagabond romantics, not attached to the household, lies in the fact that the energetic time forced and the actor and other "sixties" constantly removed "from the forced places" in search of new experiences, this sign of the era was picked up by cinematographers. However, the best works of the actor, according to the critic Oleg Kovalov, are not associated with modernity, but with participation in historical paintings or screen classics: Don Juan ("Little Tragedies"), Brodsky ("Intervention"), Brusentsov ("Two Comrades Served"), Von Koren ("Bad Good Man"), Zheglov ("Meeting Place..."). Captain Zheglov became the hero whom the audience "'forgave' the absence of songs".[8][7]

In some of his movie roles, strength is clearly distinguished from egocentrism, masculinity from provincial demonism. For him, such concepts as "man's work" and "men's work" were real. This is confirmed by all his performances in film and theater: from Khlopusha to Svidrigailov and Captain Zheglov.[9]

Vladimir Vysotsky's filmography
Year Type Title Note
1959 f Female Age-Mates Student Petya (episodic role)[10]
1961 f Dima Gorin's Career Elevator installer Sofron[11]
1962 f 713 Requests Permission to Land U.S. Marine Soldier[12]
1962 f Shore Leave Sailor Peter, Valezhnikov's friend[13]
1963 f Penalty Strike Gymnast Yuri Nikulin[14]
1963 f The Living and the Dead Cheerful soldier (episodic role)[14]
1965 f On Tomorrow's Street Foreman Pyotr Markin[14]
1965 f Our House Radio technician[14]
1965 f The Cook Andrey Pchyolka[15]
1966 f I Come From Childhood Tank captain Volodya (songwriter and singer)
1966 f Sasha, Little Sasha Singer with a guitar (episodic role)[16]
1967 f Vertical Radio operator Volodya (songwriter and singer)[17]
1967 f Brief Encounters Geologist Maksim (songwriter and singer)[18]
1967 f War Under Roofs Policeman at a wedding (performer of a song in the episode); the movie was released in 1971.[19]
1968 f Intervention Michel Voronov / E. Brodsky (author and singer of the song "Like everyone else, we are cheerful and sullen..."); the film was released in 1987.[20]
1968 f Two Comrades Were Serving White Guards lieutenant Alexander Brusentsov[21]
1969 f Master of Tayga Ivan Ryaboy, rafting foreman (songwriter and singer)[22]
1970 f Dangerous Tour Georges Bengalsky / Nikolay Kovalenko (songwriter and singer)[23]
1970 f White Explosion Captain (episodic role)[24]
1973 f The Fourth He[25]
1973 f The Bad Good Man Zoologist Nikolai von Koren[26]
1975 f The Only Road Driver Solodov (author and singer of "Solodov's Song"); Yugoslav premiere: January 10, 1975 and Moscow premiere: May 3, 1976.[27]
1975 f The Flight of Mr. McKinley Street singer Bill Sigger (ballads' author and singer)[28]
1976 f The One And Only... Boris Ilyich, head of the choir workshop (author and performer of the song "Chase")[29]
1976 f How Czar Peter the Great Married Off His Moor Abram Gannibal[30]
1977 f The Two of Them Episodic role of Maria's colleague[31]
1961 ts Eagle Prairie Directed by Leonid Pchyolkin; episode; performance of a fragment of the song "White Snow..."[32]
1965 ts Room Directed by Leonid Pchyolkin; episode; starring: Lyudmila Komarovskaya, Dalvin Shcherbakov, Veniamin Smekhov, Lyudmila Abramova, Eduard Arutyunyan[33]
1979 s The Meeting Place Cannot Be Changed MUR captain Gleb Zheglov (performing a fragment of A. Vertinsky's song "The Lilac Negro")[34]
1980 s Little Tragedies Don Juan[35]

First roles

Vysotsky's film debut took place in 1958, when he, a third-year student at the Moscow Art Theater School, was invited to play the role of a student Petit in Vasily Ordynsky's melodrama "Female Age-Mates". Subsequently, the actor not without irony told about the beginning of work in the film, mentioning that the only replica of his character ("coffer and trough") he pronounced from excitement "high voice and stuttering". As clarified Vysotskovoved Mark Tsybulsky, in fact, the student Petya exchanged with his interlocutor not one, but two short sentences, but the role was really discreet: in total, Vladimir Semyonovich was present on the screen no more than fifteen seconds.[10]

Much more remarkable was the role of the editor Sofron, played by Vysotsky in the film "Dima Gorin's Carrer" (1961). The filming took place in the Carpathians in bad weather. In the story, the hero of Vladimir Semyonovich had to overcome the cold mountain river and climb the forty-meter electric power transmission, Vysotsky, who was in good physical shape, performed difficult tricks without understudies. The episode in which Sofron was actively courting Galya Beryozka (the heroine of Tatiana Konyukhova) was shot on the first day of shooting. According to the script, in love with Galya Gorin (Aleksander Demyanenko) for too free behavior had to punish the "rival" with a punch in the face. There were many takes, and Vysotsky, according to him, received from Demyanenko nine real blows to the jaw: "This is how my acquaintance with cinema began — with such an unfair fight".[12][36] Despite the fact that the image of Sofron turned out to be very colorful, critics ignored both the movie and Vysotsky's character.[37]

In the first half of the 1960s, Vysotsky often got the opportunity to participate in films thanks to the requests of Levon Kocharyan, who worked as a second director. Thus, on Kocharyan's recommendation, the actor got the role of the sailor Peter in "Shore Leave" (1961). Despite the fact that the hero of Vysotsky appeared in the picture only in a few episodes, the actor recalled the shooting on the cruiser "Mikhail Kutuzov" as a work with full vzhivaniya in the role: "I lived there for a month, slept in the orlop deck. I learned to scrub the deck".[14]

Under Kocharyan's patronage, Vysotsky also took part in the first Soviet disaster film "713 Requests Permission to Land" (1962), where he got the role of an American marine. The picture, shot in the genre of "political detective", Vysotskovedami assigned as a separate milestone in the film biography of the actor, because the image created by him drew the attention of critics for the first time. The reviewer I. Razdorsky in an article devoted to "713..." ("Moscow Film Week", 1962, May 20) called his character a "good little guy" who nevertheless behaves too recklessly in the cabin — "as in an occupied country".[13][38][39] Then followed small roles of the gymnast Yuri Nikulin ("Penalty Strike", 1963), Brigadier Markin ("On Tomorrow's Street", 1965), episodes in the films "The Living and the Dead" (1964) and "Our House" (1965). The work in Fyodor Filippov's film "Sinner",[Note 2][40] where Vysotsky played a certain Pyrtikov, ended with the fact that the cut of his small role was completely cut out, while in the credits of the film the actor's surname remained.[15]

In 1966 Edmond Keosayan's lyrical comedy "The Cook" was released, in which Vysotsky played the role of the Kuban tractor driver Andrei Pchyolka. Vysotsky, who was repeatedly accused by the director of offending the regime during the shooting, regularly sent telegrams from the film expedition to Moscow: "To Bolshoy Karetniy, to grandfather Levon Surenovich. Dear Grandpa, take me away from here. Edik is hurting me. In a letter from Krasnodar to his friend Igor Kokhanovsky, the actor reported that "nothing but drinking, in Krasnodar was not interesting. The result of the joint work was not satisfied with either Vysotsky or Keosayan. The actor was dissatisfied with the fact that his hero, repainted in blond, sings to the harmonica songs of someone else in an unfamiliar high voice. Keosayan did not hide his dissatisfaction with the fact that during the dubbing of the film Vysotsky could not be found in Moscow: "So I had to dub him with another actor".[17][41]

Analyzing the first film roles of Vysotsky, Irina Rubanova noted that each of them could play another actor, they have not yet seen that acting personality, which was later found in his Don Guan or Gleb Zheglov.[42]

Vysotsky, who starred in the films "The Career of Dima Gorin", "Peers", "Dismissal to the Coast", looked back at the cinematic favorites, went not from observation and his own point of view, but from popular models, that is, to independence has not yet sought. To say the opposite now would be an apostasy from the truth. <...> If it is curious today to watch his first films, then perhaps only to see clearly how stubbornly the artist sought his material, how persistently the thought was revealed, with what diligence the technique was honed.[42]

In the second half of the 1960s

"I Come From Childhood"

"Vertical"

External media
Audio
audio icon https://cdn.echo.msk.ru/files/2855276.mp3
audio icon https://cdn.echo.msk.ru/files/2846552.mp3
Video
video icon https://www.youtube.com/watch?v=fpTSvIy49pc
video icon https://www.youtube.com/watch?v=0uEQq48Q0SY







Notes

  1. ^ The director Yuri Lyubimov sent several petitions to the Ministry of Culture to award Vysotsky the title of Honored Artist of the RSFSR, but his proposals were rejected by officials.
  2. ^ "Sinner", 1962, "Mosfilm", directed by Fyodor Filippov, Gavriil Egiazarov, screenplay by Nikolai Yevdokimov (based on the story of the same name by N. Yevdokimov).

References

  1. ^ Кинея, 1992, P. 113—114.
  2. ^ Лачанска П. Владимир Висоцки за себе си и за зрителя // Дружба. — 1976. — № 1.
  3. ^ Рубанова, 1983, P. 6—7.
  4. ^ Перевозчиков, 2003, P. 34.
  5. ^ Цыбульский, 2016, P. 7.
  6. ^ Кузнецова, 2001, P. 428—429.
  7. ^ a b Аркус, 2002, P. 139.
  8. ^ Рубанова, 1983, P. 28—31.
  9. ^ Рубанова, 1983, P. 48—50.
  10. ^ a b Цыбульский, 2016, P. 13.
  11. ^ Цыбульский, 2016, P. 18—23.
  12. ^ a b Цыбульский, 2016, P. 28.
  13. ^ a b Бакин, 2010, P. 64.
  14. ^ a b c d e Цыбульский, 2016, P. 45, 52, 57, 65, 42—44.
  15. ^ a b Цыбульский, 2016, P. 75—76.
  16. ^ Цыбульский, 2016, P. 88—91.
  17. ^ a b Цыбульский, 2016, P. 107—108.
  18. ^ Цыбульский, 2016, P. 117—118.
  19. ^ Цыбульский, 2016, P. 121—123.
  20. ^ Цыбульский, 2013, P. 87, 124.
  21. ^ Цыбульский, 2016, P. 144—154.
  22. ^ Цыбульский, 2016, P. 137, 143.
  23. ^ Цыбульский, 2016, P. 165.
  24. ^ Цыбульский, 2016, P. 158—161.
  25. ^ Цыбульский, 2016, P. 199.
  26. ^ Цыбульский, 2016, P. 211.
  27. ^ Цыбульский, 2016, P. 226—228.
  28. ^ Цыбульский, 2016, P. 246—249.
  29. ^ Цыбульский, 2016, P. 237, 244.
  30. ^ Цыбульский, 2016, P. 264—280.
  31. ^ Цыбульский, 2016, P. 292—296.
  32. ^ Цыбульский, 2017, P. 128—129.
  33. ^ Цыбульский, 2017, P. 129—131.
  34. ^ Цыбульский, 2016, P. 306—307.
  35. ^ Цыбульский, 2016, P. 340—342, 345—346.
  36. ^ Новиков, 2013, P. 37—38.
  37. ^ Кузнецова, 2001, P. 429.
  38. ^ Кузнецова, 2001, P. 429.
  39. ^ Новиков, 2013, P. 40.
  40. ^ Цыбульский М. Владимир Высоцкий в кино. Фильмография. Не прозвучавшие с экрана песни Владимира Высоцкого и не сыгранные им кинороли. «Владимир Высоцкий. Каталоги и статьи» (12 April 2006). Дата обращения: 19 January 2018. Archive: 14 December 2016.
  41. ^ Новиков, 2013, P. 77.
  42. ^ a b Рубанова, 1983, P. 18—19.

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