In Russia in relation to the genius there is a kind of schizophrenia, a split consciousness. On the one hand, his masterpieces are classics of the executable, its name cities and streets, theatres and competitions, restaurants and airplanes. On the other – an unspoken, but categorical rejection of his person as the subject of the “wrong” living not as people. His musical works were made into movies many times – and operas, and ballets; innocent “Swan lake” even managed to make the sign of the big social ills. But the identity of their author’s try not to touch, not to deep, not to remind once again that, thanks to years of efforts of the tabloids so everyone knows. While it would be needless again to refer to the truism: art is always a reflection of the author’s soul with its individual disasters and complexes, victories and defeats, dramas, tragedies.
try to embody the spirit of creativity out of attempts to understand what the powers of the heavens forced the Creator to indulge in the joy immense, the despair at the tragic state of the soul, the hopelessness – it means nothing to say anything about hrestomatija familiar music or its Creator. Will a cardboard cutout with policiesthese soundtrack, but not an artistic study. No one is calling to delve into the underwear of the great (this is just mankind love and know how), but to understand the secret of creativity without an understanding of its personal origins, in principle, impossible. The more secret, largely contributing to fatal and notes in the writings of the misunderstood Russian of genius, and his early death.
the Only big feature film, where Tchaikovsky became the main hero – a drama of Igor Talankin’s “Tchaikovsky” in the story Budimir Metalnikova with Innokenty Smoktunovsky in the title role – after all tried to do without introduction of the personal motives of the composer. Although the plot focuses mainly on Tchaikovsky’s correspondence with Nadezhda Von Meck (Antonina Shuranova), where he was the most outspoken. There is even a suicide attempt without a clear explanation. Talankin was on the razor’s edge, managing to say a lot about the tragedy of the composer’s technically not saying anything about her.
Starred great actors, who played the Tchaikovsky environment: Rubinstein (Vladislav Strzhelchik), servant Alyosha (Yevgeny Leonov), Desiree Artaud (Maya Plisetskaya), Turgenev (Bruno Freindlich), Julius von Meck (Alla Demidova). In recording the numerous fragments from operas “Eugene Onegin” and “Queen of spades”, ballet “the Nutcracker” and “Swan lake”, symphonies and piano concerts attended Irina Arkhipova, Valentina Levko, Galina oleinichenko, Yuri Mazurok, Vladimir Atlantov, artists of the Bolshoi ballet and Theatre of a name of Stanislavsky and Nemirovich-Danchenko, conductors Gennady Rozhdestvensky and mark Ermler, Yuri TemirkanovV. Gentle, but very fine arrangement of music performed the famous Hollywood composer Dimitri tiomkin, the author has a unique energy of the soundtrack to the film “the Great waltz”. Smoktunovsky this role was awarded the prize of the festival in San Sebastian, Dimitri tiomkin was nominated for the award “Oscar”, and the picture appeared in the category “Best foreign language film”.
the Film was very good but left a feeling of reticence over him as it hung the veil of bad rumors and did not receive a clear answer. Yes, it was impossible in the USSR at that time.
In 2004, Russia removed the “Apocrypha. Music for Peter and Paul” written by an experienced Yuri Arabova. The film, which for me was and remains a mystery: how did this happen? Directed by a certain Adel al-Haddad, an Iranian by birth, known for fancy zalipuha “Rusichi”. Perhaps he loves music, but just doesn’t feel: the film about the great composer, she ranks last. Yes, and the script is expected to focus not on Tchaikovsky, the composer, and Tchaikovsky – the crank is not of this world.
the Film can be equated to the act of vandalism: the authors danced on the grave, I’ve pulled the flowers brought there by generations, and loyalty to the painted all around in fashionable color of tar. On the screen uskoglazye, baggy, foolish subject, which is all exasperated by his presence. Such a subject is, by definition, could not write the Sixth Symphony: to create a person should feel anything, and it just does not know how Tchaikovsky performed by Andrey Savostyanov.
All, however, made under the banner of piety. In the author’s annotations said about the splinter of Heaven in our sinful world, which is Tchaikovsky, and the angel, thrown to us by God – something completely inhuman. But the screen moves the figure of the eccentric, tyrannical and ethically deaf. This Tchaikovsky suffers pathological centrobudista. Not having a highly developed intelligence, he explains the signs: if he got bored with the interlocutor, he puts on his hat, and this means that the genius became invisible and went into public alone. From the composer’s life taken a few days of his visit to Kamenka, where in the summer of 1878 he came to distant relatives to rest. There he wanted to introduce the members of the local Church of its “Noble Joseph”, which, however, sing not properly managed. The authors arrange the event as if it was in the theatre, like the pulpit can something “fail”. But cine peasants instantly realized that the chorus entered not for score, and superagradable and Tchaikovsky was ashamed and he ran away somewhere so that it couldn’t find and thought that he was drowned.
is There and his wife Antonina Milyukova. She dolled up, OPEretono sitting on a stump and demand that they immediately love. The whole drama of this marriage in this vaudeville presentation also became easy, almost fun, and in the audience here may knowingly wink at each other. Have a right – such was the playful style of this film.
Not too helped in the knowledge of the secrets of the Russian genius foreign film. The most well-known film “the music Lovers” (1971) Ken Russell, the famous musical excentrically “Tommy”, “Lisztomania”, “Mahler”. This is also a pretty fun movie and, as always with Russell, the talented, though, and unbearably tacky. Tchaikovsky (Richard Chamberlain) is here – reckless reveler that the right and left turns novels with all who will fall under the hot hand. There his unhappy marriage, and the shadow of his patron von Meck, a very well used music. But everything is drowning in the carnival glare of the excesses of Russian hippies, victims of the sexual revolution in the chic St. Petersburg. From the film can be obtained even pleasure, of course, if we abstract from the concrete personality of Tchaikovsky and perceive this movie as unceremoniously musical biographical fantasy on the theme. But the real figure of the composer – a deeply tragic figure that was reflected in the music, the picture has nothing to do. His secret it reduces to the level of anecdote with a meaningful, not related to the art of winking.
a Few years ago, Kirill Serebrennikov has planned another film about Tchaikovsky – judging by piercing the seal information, the closest to his real personality and real problems. Perhaps this was the reason for the refusal of any support for the project, which in our time means its impossibility.
But until we have the courage to look facts in the face without fear to destroy once formed in the mass of prejudice, we will not be a movie that is able to deal with any non-standard human manifestations – and they are always non-standard. And to sum up the poor experience of the cinema to the shape of Tchaikovsky, Pushkin formulated the riddle of genius and admitted to him evil is still relevant.
