Presentation of 3 volumes of the People's Artist, Nikolai Burlyaev. Part 1

Uploaded by VestnikKavkaza on 24.09.2012

Nicholai Burlyaev, Soviet and Russian theater and film director, People's Artist of Russia
I did not know that it is so nice to present books.
It is much more enjoyable than saying something before a film, because, as it turned out,
the three volumes are one of the most important creations of my life.
I had not thought to be an actor, because I stuttered my whole life since childhood
and I thought that it was impossible to be an actor and a stutterer, although genetics were at work,
my grandparents were actors, my older brother became an actor,
but it was far away from me because I was always very critical of the acting profession, now even more so.
In 1959 I fell into the hands of Konchalovsky, he determined my path.
He was supposed to appear, the man on my path as I walked home from school on Gorky Street, Building 6, where I lived.
It was Andron.
He beckoned, but apparently, God's providence was working through him.
One way or another I would have come to the cinema,
and since even before that I had auditioned for Mosfilm twice, twice I was not accepted for different reasons.
And he took me, and then handed me to Andrei Tarkovsky for "Ivan's Childhood", because at that time they were friends.
When I saw Andron working in '59, I became very enthusiastic, I wanted to become a film director,
and moved towards this objective, unconsciously at first, and then consciously. 18 00:01:43,200 --> 00:01:49,400 When people whom I knew as not being singers started to sing, they were my friends
- Vladimir Vysotsky and Gena Shpalikov, they suddenly began to sing, Okudzhava sang, but he was not my friend then.
Suddenly everyone started singing, all took up guitars and began to sing.
And I thought, am I worse? Go ahead, try it. Before that, I had not written any poetry,
nothing, no music, but since I became enthusiastic about this idea, I needed to try.
I started writing, I began with this poem:
My great-great-great-great fathers
Were drowned in blood and killed,
They were crushed in loops and crucified
They were put on stakes, covered with earth,
Quartered, lopped,
Wheeled, murred
Their eyes were pricked, bones crushed,
They were frozen, trampled in the mud,
Trees ripped them in half,
They were tied behind horses.
What fate awaits me?
I started with that, then I took the guitar, Eugene Zharikov taught me the first chords,
I started to pick out the music, began to sing, made my three songs, all with three chords,
which is why it was soon all over, this longing to be a bard.
But, nevertheless, I sang these songs with a band, the band of the father of Malikov, "Samotsvety",
there was a band and we even went on tours, I was there singing my own songs.
But once my friend Maxim Shostakovich came to visit me and I played him a song, with piano accompaniment.
He told me: "Kolya, well, only three chords, let us enrich it somehow, if we do it like this and like that..."
We did it and everything became better, but once I sang it to my father,
and he is a son of actors, an intellectual, he is a musician himself,
each time he played music at home after he returned from the hated work, he was an engineer-economist,
but his soul sought to be creative.
But we were four children, and he had to feed us something.
He did not become a pianist, but he played all the time at home.
So I played to him, I dared, and he spoke to me with one sentence that cut any desire to further pursue the case.
He said: "Kolya, it is shameful, three chords. What kind of hedge-born level is that?"
And, with that I finished, but, however, I began to write.
And when I started writing, before there was only poetry, I thought about becoming a writer.
But it was such a secret thought, since well, what kind of a writer can you be,
there is Tolstoy, Pushkin, Lermontov and what are you trying to do?
But time passed, and so it happened that I acted in "The Childhood of Bambi."
Natalya Bondarchuk asked me to create a song of his mother: "Could you do a song in the name of the mother?"
I wrote to her this song:
Oh, my dear, close your eyes, lean on my chest,
You will be strong and big, but it's ahead.
Dear baby prince, you do not know that you will be the King
You'll do much good, it awaits you.
You will overcome any evil with your smile of love
And the land of freedom of beauty - it's all there, far ahead.
Oh my dear, close your eyes, go to sleep on my chest,
The courage and the righteous fight - it is all ahead.
And that is how it started.
Then I made one in the name of the oak, then something else, and just when we finished the film, after some time,
I read and I realized that it was an already finished play in verse.
And I made a play, a fairy tale "Bambi," it appears in the second volume.
But first about the first volume.
Its title is "My Lermontov".
Everyone has their own Lermontov, I have my Lermontov and, fortunately, I made a film about him.
By the way I became a stutterer in the house of the killer of Lermontov, Martynov.
It so happened that at the age of five, and I was born and grew up in the house of the murderer of Lermontov,
not knowing that I will have a very close and lifelong contact with Lermontov.
At the age of five I was frightened, I began to stutter.
Now I interpret it in a way that an evil power wanted to block my mouth
so that I would not be able to say about Lermontov what I had to say.
But I got out of it.
And I made the movie "Lermontov".
Because our time is very short, I will briefly run through my whole life,
and I gave it a title "A Life in Three Volumes."
Here indeed is the whole of life in these three volumes.
When I started to browse through them, when I was preparing myself for all this,
I saw that it practically talks about 50 years of Soviet and Russian culture, and I was a witness of these fifty years.
It talks about people who, apparently, did not realize that they were great,
that they were part of history, and they became history, they were great.
It talks about Vysotsky, Tarkovsky, Mordvinov, Orlova, Maretskaya, Ranevskaya,
Birman, Plyat, Viktor Nekrasov, Bella Ahmadullina, Nikita Mikhalkov, there is just everyone.
They are all my friends, all those to whom I was attached,
who were attached to me and to whom I can leave these volumes.
The first volume, "Lermontov" is a cinematic narrative illustrated with frames from the movie "Lermontov"
- almost a movie in photographs.
The second part of the book is the "Diary of a Director" with black-and-white illustrations.
When I was making a film about Lermontov, I knew it would be interesting for our descendants to know how we,
the film directors of the twentieth century worked, that is, how it was to create and make a movie happen.
In order for the film to appear, it took four years to write the script and push it across institutions.
I run, as expected, with the scenario in a file, with reviews of all the specialitsts on Lermontov.
There were only positive reviews from the IMLI, the Literary Institute, because reviews were required before the launch.
Everyone gave great reviews, but the movie was still not launched.
And I wanted to play Lermontov myself, and I was 36, not 26, like Lermontov,
and I had to learn everything he mastered, to be a horseman.
Of course, at the age of 20 I rode a horse, but this was not enough, I had to perform stunts myself.
For this I went to the circus to Alibek Kantemirov.
Three months under the whip, he gave me a wet shirt.
I had to learn everything that Lermontov knew, to learn sabers.
There was no one equal to him in sabers, I took myself the best teacher in sabers, in melee weapons, an Ossetian.
By the way, note that two Ossetians taught me - Alibek Kantimerov and Bimbalat Kumalagov taught me the saber.
They are both now gone.
I am very grateful to them.
No one raised a question which is simple nowadays: "What will we get from this?"
They did not get anything, they just said: "Lermontov needs help."
I studied Lermontov a lot, a whole lot.
I am sure it was murder, not a duel, and it is very easy to prove.
Colonel Kouzenyev, a candidate of ballistic science that deals with the last days of the life of Lermontov and his death,
told me that he went with ballistic equipment to the place of the duel, measured the angle.
The largest angle is 3 degrees.
That is, there is almost flat ground.
If there was a duel, a shooting, the bullet would have hit the body of Lermontov straight.
What is 3 degrees? No alternations.
According to the testimony of a doctor who inspected the corpse,
the bullet entered the body of Lermontov at an angle of 40 degrees.
How is this possible?
They started to justify that by saying that he took some English pose or something.
But what kind of nonsense is it? It was a murder also because he was left to die by his friends.
By all his friends, including Martynov.
And there was no reason for the duel.
The phrase "You are a mountaineer with a large knife" is not a reason for a duel,
because they made fun of each other in a much more "cruel" way at the cadet school.