The story of the movie "The meeting place can not be changed" begins, as you all know, from the book of the Weiner brothers "The era of mercy." Arkady Vayner said that one of the copies of the book they gave Vladimir Vysotsky. And the very next morning he came to them with the idea of shooting a multi-series film based on a book in which he would play Zheglov.
Weyners liked this idea, in spite of the fact that Vysotsky did not fit in any way to the young, tall, broad-shouldered handsome character described in this book.
According to Stanislav Govorukhin, it was he who caught fire with the idea of screen version of the book and called Vysotsky, who on the eve of Vainer gave the book, with the words that there is a character in it, just under him.
Who of them is right, we are unlikely to find out. Yes, this is actually not so important. The main thing is that Vysotsky still introduced Weiner to Govorukhin and he himself actively joined the work on the film. Starting with the process of working on the script. He came to Peredelkino and actively helped Weiner and Govorukhin, offered ideas, moments. In particular, it was he who came up with a story with a picture of Vary, glued to the door among other photographs, when in the basement in the cellar it was necessary to give Sharapov some sign - to indicate the door leading to salvation
Thanks to Vysotsky, Vsevolod Abdulov, Ivan Bortnik, Viktor Pavlov, Alexander Belyavsky
Vysotsky himself was approved for the main role practically without trial. To convince the art council, Govorukhin initially invited to these samples obviously losing players.
But with Sharapov came another story. Everyone saw it in their own way. Vainers really wanted to give this role to Yevgeny Gerasimov, Govorukhin to Sergei Ivanov. But both of these actors were already engaged in other projects.
Vysotsky was sure that Ivan Bortnik must necessarily become Sharapov.
In general, this role has been tried very many age-appropriate actors. Here are a few names from the list: A. Abdulov, S. Nikonenko, E. Leonov-Gladyshev, J. Shlykov, A. Kurepov, A. Yaroslavtsev, L. Fomin, V. Fokin, S. Sadalsky
But there was one thing but. The television authorities (in the person of Lapin) insisted on the candidacy of V. Konkin. Actually Govorukhin was faced with the fact - you want to shoot Vysotsky-Zheglov, agree to Konkin-Sharapov. Vainers were in shock. Well, neither as an image of a front-line scout who walked forty-two times through the front line and returned with a "tongue" on his shoulder, did not knit with Konkin for them - he was too young, intelligent. "You do not have to be a front-line soldier, do not be a veteran and have seven brains on your forehead to imagine that a scout who captures a fascist on his territory and drags him on his shoulders across the front line must be a convincingly strong man. Volodya Konkin could not look like such a man, he was not born to them, "Arkady Vainer later told. Govorukhin also told that only when half of the film was already filmed, I understood who Sharapov should have been - Leonid Filatov. He could have played exactly that Sharapov, not inferior to Zheglov in strength, not passing in front of him.
For the role of Vary Sinichkina, Sharapova's bride, 12 actresses were auditioned. She could become, for example, Irina Azer from the Theater actor and Olga Naumenko (the bride of Lukashin from "The Irony of Fate"). Vysotsky also persuaded the director Govorukhin to approve for the role of Vary his wife, actress Marina Vlady. But the hudsovet objected categorically against the Frenchwoman. Sergeant Sinichkina was supposed to show in the movies a real wife and a friend of a fighter with bandits. I would like the actress, who plays the beloved Sharapova, to have an impeccable reputation. And Vlad did not pull on the "Soviet citizen". Khudsovet reconciled with Vysotsky in the role of Zheglov, paying tribute to his talent, but rejected Vlad.
Govorukhin himself very much wanted Varya to play Larisa Udovichenko. But she, having read the script, asked to try her in the role of the Manka-Bond. Govorukhin rebelled: "What kind of man are you?" This is a prostitute. And you are such a sweet, naive girl. " As a result, they broke up without making any samples - Varya Udovichenko was refused completely. She was eventually played by Natalya Danilova
But in search of an actress for the role of Manka Govorukhin began to try other actresses. But it was not all that.
And already when the shooting began, he remembered Udovichenko and asked her to come. It was too late to make any attempt, it was the work on the film. And, practically from the very first takes, Govorukhin realized that he was mistaken - Manka from Udovichenko came out magnificent.
In general, very much had to be changed already in the process of filming. For example, the role of Fox was approved by actor Boris Khimichev from the Theater. Mayakovsky. With him, the shooting began.
But it did not work. Himichev played great. But he seemed from a different time. Govorukhin - that he is too modern, to others - that in his tunic and breeches like a white officer. In general, before Himichov apologized and began to look for another Fox. And then Vysotsky proposed to try Alexander Belyavsky. A telegram sent to Moscow from Odessa "We hope for your sympathy, we propose the role of Fox in the film" The era of mercy. "We believe that you will not refuse." But in Moscow, Alexander Borisovich was not. He just received six hundred square meters in the village of Ershovo and was going to arrange them. But when he found out that Yursky, Konkin, Vysotsky and Dzhigarkhanyan were shooting in the film, he dropped the spade and sat on the plane.
Work for him began with an episode where Fox gets to Sharapova for questioning. It was completely removed by Vladimir Semenovich - Govorukhin lingered on some trip. "I panicked terribly - I still could not find the picture of the role, to figure out the character of Fox," Alexander Borisovich recalled. "And then Volodya told me a very precise phrase without fucking and edifying: you play not a bandit, but a man who very much respects himself. suddenly it became so easy! "
This is by the way not the only fragment of the film, where Vysotsky acted as a director. The thing is that in the midst of filming Govorukhin had to go to the film festival with his previous film. And in order not to stop the process, he left Vysotsky in his place. When he returned, the group met the director with the words: "He tortured us!"
Accustomed to the long swing of the workers of the group, at first, it shocked his unheard-of demand. Usually, after all, how? "Why do not we take pictures?" - "Ts-s, let me tune in." The director needs to think. " Vysotsky's camera began to spin a few minutes after he entered the pavilion. What was planned for the week of filming was filmed in four days. "He would have removed the whole picture in my absence if he had been allowed," joked Govorukhin
What else was removed Vysotsky? Scenes from Gruzdev, for example. Here is how Sergei Yursky recalled: "In most of my scenes, Volodya was the director, he was working very well with him, he was in good shape, Vysotsky was very trusted by people - both actors and technicians. it was possible to argue, negotiate, offer ... It was a professional work of quality.It was nothing for me from what is now being pressed in every possible way: an idle idler Mozart who composes songs all the time, a little distracted from them , carelessly does some work, and she's all I did not find anything of this in communication with Volodya, I found a sober person who knows how to plan and implement plans that can really be a leader without changing himself for everyone else, the contact leader and contact partner with whom it is important to have I personally was unusually pleased "(in more detail in the material How Vladimir Vysotsky in" The meeting place can not be changed "filmed the scene with Gruzdev)
Not without the help of Vysotsky, V. Pavlov, who played the role of Levchenko, also appeared in the film.
"Vladimir Vysotsky suggested me to be photographed. The role of the former front-line soldier, now a lost man, was not very large, but extremely important for understanding the general structure of the picture. Volodya Vysotsky told me then: "Agree, - the director does not know you, you will do the role as you see it." And it happened. I have experienced great creative satisfaction from participating in the filming of the movie "The meeting place can not be changed"
Thanks Vysotsky got into the picture and V. Abdulov, the performer of the role of Solovyov.
"In the beginning of the fall of 1977 I crashed to death in a car. Three weeks without consciousness - a complete nightmare. Then - one hospital, the second, the third, the fourth. At first, doctors generally did not suit me - they knew that the case was fatal and no chance. But I ... somehow did not want to die! I did not understand anything, but tried to explain to them that I would still live! And when in the spring I was lying in another hospital after a heavy operation, Volodya came with Slava Govorukhin. They brought me 5 volumes of the script "Places of Meeting ..." And, realizing that I will not remember, left on the leaflet a list of roles - any one to choose from. I chose Solovyov. The scary were the shooting. I could not remember the text. I could not remember that Volodya was called Gleb. But for me the question was simply solved: either I will continue to live and work, or - all ... terrible time. And on stage I had moments of complete "cutting down" - not that I forgot the text, I just could not understand where I was! .. "
Rolan Bykov was called for the role of Gorbaty, but he refused: "I'm already a little tall, they make fun of me because of this ... I have just broken up with my wife and that's why I suffer immensely. And you suggest that I go to the screen in the image dwarf, yes, hunchbacked! Fear God! " Then he was offered to play Ruchechnik, persuaded to make photographic tests. But when it came to shooting, the actor had a heart attack. As a result, Gorbaty was played by Armen Djigarkhanyan, and Ruchechnik Yevgeny Evstigneev
Grisha Ushivin, photographer "6 for 9" played Lev Perfilov. Here's how he recalled it: "... And I got to the govorukhin group simply. Once I was in the same frame with Govorukhin: he played the white general Dutov, and I - the chief of staff of the White Army. I do not remember the title of the film, he was in Odessa. Some other film about the revolution, they differed little from each other. And before that I read the book "The era of mercy" and heard that Slava would shoot. And I asked him for the role of one of the bandits of the "Black Cat", because before that the gangsters had played enough already! .. And here I say to Slava: "I will not do anything in the picture. I will only walk among the gang and that's it. And it will be all clear: if this type is in the gang, then this is another gang! "And Govorukhin, you know him, somehow so tiredly waved his hand:" Come on, you stand different. You will play with me Grisha Six-On-Nine. " And left".
The role of Kolya Taraschini went to Andrei Gradov: "I was very happy when I found out who would play: Vysotsky, Evstigneev, Dzhigarkhanyan, Belyavsky, Jurassic, Gerdt. Since for me this was only the third picture (little experience), I watched closely how they played, studied ... At first I was offered the role of Vasi Vekshin, who, if you remember, almost immediately on the bench is killed. I was upset: "What is it? I'll appear for a few moments and I'll be immediately pinned. " And for my happiness Govorukhin changed his mind. Vekshina eventually played Zhenya Leonov-Gladyshev, and I was given the role of Taraskin. Its vigorous character was clearly spelled out in the script, and I did not have to invent anything. "
And Vasya Vekshin became one of the contenders for Sharapov's role - Evgeny Leonov-Gladyshev: "Well, how did the actors get involved in the film at that time? I then acted in the Odessa film studio in one of the main roles in the adventure film of Samvel Gasparov "Forget the word" death ". I was offered to read the script "The meeting place can not be changed", this name did not tell me anything then, but after reading it, I saw that there is the most beautiful drama. At first I was offered the role of the main character - Volodya Sharapov, but then the screen council approved Vladimir Konkin, who played this role .... With this picture I have two strong impressions, despite my modest participation in it: both pleasant and not pleasant. Not pleasant - this is what I was auditioning for the role of Sharapov and was not approved; worried also because I liked the script and the "Era of Mercy", a novel of the Weiner brothers, by which it was made. I really wanted and was ready to play. It's nice that I got the part and that I knew that Vladimir Vysotsky, the man on the work, who I was brought up and was a fan of his talents, will be shooting in the film "
The role of Saprykin's pickpocket Govorukhin immediately suggested to Stanislav Sadalsky. But he, at first, refused. He really wanted to play the main role - Sharapova. But Govorukhin said that he certainly can participate in the samples, but he has no chance. That for the role of Sharapov need an actor with "the face of a member of the Komsomol who is printed in newspapers"
Filming began in Odessa on May 10, 1978. We shot an episode in a billiard room. But as it turned out neither Vysotsky nor Kuravlev, did not know how to "roll balls" at all. As a result, for them cue in hands was held by Odessa Ivan Vladimir Ivanov, the master of sports of the USSR, already then one of the best billiard players of Odessa. On the balls beat Vysotsky and Kuravlev, and then made a mounting junction - the balls drove into the pocket of the master
Kuravleva was as always charming. But the director wanted him to play not just a charming thief, but a "thief in law", with criminal habits and the appropriate gossip. Kuravlyov, rehearsing, unusually moved, unusually spoke, changed his gait, "got excited" ... It was both funny and sad, it seems and is not like it.
And then Vysotsky unexpectedly improvised all. He spoke to such precise criminal intonations, moved emphatically ... He did not pretend, did not play. Everyone laughed, L.Kuravlev loudest. - You can shoot! He said, "I'm ready." And the scene was shot in one breath, immediately, businesslike and fun. Two talented people met in the work and were satisfied with each other
And here is how Lev Perfilov remembered this day: "The first time the director's team" Motor! "On the set of the series" The meeting place can not be changed "was heard in the glorious city of Odessa, in the Park of Culture and Rest ... Because of the lack of ventilation in the billiard room it was impossible to smoke , and we were periodically given a fifteen-minute break.
Going out into the air in one of these breaks, I saw Marina Vlady standing nearby with some woman.
We politely greeted each other, smiled at each other, and naturally, I decided to return to call Vysotsky. But he appeared at the door himself, saw Marina and, instead of rushing to her, to leave together from prying eyes ... danced on the porch of a billiard room. It was some kind of incomprehensible, chaotic, joyful dance, similar to the "Gypsy girl", and the "bull's-eye," tapping, screaming with some enthusiastic exclamations.
Marina Vlady smiled. And I waited with curiosity - what next? And Vysotsky effectively finished the dance, spread his hands wide, laughed and ... went into the billiard room. Marina Vlady and her companion went to the nearest bench, sat down, spoke quietly about something ... "
That evening, Marina Vlady and Vladimir Vysotsky shocked Govorukhin: "Marina takes me to another room, locks the door, asks:" Let Volodya, shoot another artist. "And Volodya:" Understand, I have so little left, I can not spend the year of life for this role! "Obviously, he saw the amount of work and realized that he had to work hard, and a year has passed since we decided to make a film." During this time, much has changed - Vysotsky has the opportunity to travel abroad more often. Previously, with a creak, he was released into France for two days, and now he I knew that the picture would still have been, even with another actor, but still convinced Vysotsky to stay, promising to let him go more often during the filming. "How much would the audience lose if I surrendered to this evening"
Part of the film was shot in Odessa, and Vysotsky had to fly two or three times a day to Moscow for the play and back. Vysotsky did not quit the theater. The militia drove him in the Volga with a siren, and the makeup artist on the road turned Zheglov into Hamlet. And after the performance, and sometimes by postal aircraft, next to a pile of newspapers, the artist flew to Odessa for the morning shooting
There were a lot of difficulties on the set. When filmed a night police chase, part of the territory near the Bolshoi Theater was cordoned off, and yet sometimes the fans broke through the fence. Somehow during a break the crew heard Volodya shout. They rushed to the darkness and saw Vysotsky, who was trying to tear off a young woman from herself: she clutched her teeth in his leather coat (apparently from an overabundance of feelings). It's good that the coat was made of durable domestic leather
According to the scenario it was assumed that Vysotsky in each series would sing. Among the songs offered were "For those who are in the MUR," and "The Song of the End of the War," and "The Ballad of Childhood"
"He really wanted to sing a few of his songs," the director said, "but I thought it would destroy the image and in the picture there will no longer be Captain Zheglov, but Vysotsky as Captain Zheglov." Volodya took offense, we quarreled. to sing a Vertinsky song in the frame, he replied, "if you do not want me to sing my own, I will not sing Vertinsky either"
But Govorukhin persuaded him. Правда это было не совсем пение - Жеглов мерил свой парадный мундир и, напевая, общался с Шараповым. А с мундиром тоже была своя история. Консультантом на фильме был заместитель министра МВД СССР генерал-лейтенант К. И. Никитин. Он просил, чтобы Жеглов хотя бы раз показался на экране в милицейской форме. Ёту просьбу мне необходимо было выполнить, потому что за это я рассчитывал получить возможность оставить, к примеру, сцену, где Жеглов подбрасывает в карман Кирпичу кошелек, да и вообще предполагал, с какими огромными трудностями мы столкнемся при сдаче картины. Но Высоцкий был неумолим: — Нет, форму я не надену ни за что! Для него милиционер сталинских времен ассоциировался с теми людьми, которые творили то страшное беззаконие. Он столько был наслышан об этом и так больно это переживал, что все, что было связано с милицией, не переносил на дух. И тогда мне пришлось придумать ему сцену, где он стоит у зеркала в кителе и произносит примерно такой текст:
- Вот, Шарапов, моя домашняя одежда, вроде пижамы.
- Why? — спрашивает Шарапов.
- Да потому что никогда не носил, да, наверное и носить не придется
Одежду для своего героя выбирал на костюмерном складе Одесской киностудии сам Высоцкий вместе с художником по костюмам Акимовой. Вещи подыскивали долго и очень тщательно. Неизбежные для середины 1940-х элементы военной формы: галифе, сапоги. А еще — пиджак, рубашка-апаш, джемпер в полоску...
Создавая Жеглова, Высоцкий чуть ли не впервые, что называется, вырвался на волю. А вырвавшись, проявил невиданную на съемочной площадке волю творческого порядка. Он подсказывал другим исполнителям «характерность», он диктовал своим поведением в кадре ритм всего эпизода. А однажды, как рассказывают, в отсутствие режиссера, сам снял подряд кадры с «жестом» — тем жестом Жеглова, который, кажется, все помнят: большой палец, даже в воздухе — как на плоскости. Со стороны могло показаться — трюкач. Но монтажное распределение этих кадров дало определенный смысловой и пластический стержень не только роли, но и фильму в целом. Высоцкий ни разу не сделал этого жеста зря. Он точно определил моменты, когда именно этим жестом Жеглов коротко заявляет свою правоту и начало действий
Когда снимали сцену погони за Фоксом, Высоцкого на съемочной площадке не было. Зритель слышит только закадровый голос Жеглова, а он был записан уже в студии. В фильме сцены «автомобильных догонялок» занимают несколько минут. Как пояснил Станислав Говорухин. — Еще в самом начале съемок фильма мы договорились с Володей Высоцким, что дадим ему возможность отдохнуть. Те несколько недель, пока снимались кадры погони, Володя провел в зарубежных поездках. Он появился лишь в самом конце и работал в течение буквально двух часов. Помните кадры: Жеглов разбивает стекло «Фердинанда» и, высунувшись, стреляет по уходящему «студебеккеру» с бандитами?.. — С этим моментом такая оплошность получилась, — вспомнил главный оператор сериала Леонид Бурлака. — Никто заранее проверить не догадался, а стекло-то в окне автобуса оказалось чуть ли не 5-миллиметровой толщины. Когда начали съемки эпизода, Володя раз по нему ударил, другой — без толку. Наконец с третьей попытки высадил. И тут же закричал сердито: «Ну все, ...!». Смотрим, у него рука в крови: на пальце очень глубокий порез от осколка. А ведь вечером того дня Высоцкий должен был выступать с очередным концертом, его уже и машина ждала. Но в итоге пришлось выступление отменить, поскольку Володя не мог играть на гитаре
А ещё, во время съёмок погони за Фоксом, чуть не погибли каскодёры. Помните момент, когда грузовик падает в реку? Так вот, машина неожиданно перевернулась вверх колёсами и ушла не только под воду, а погрузилась в метровый ил Яузы. Каскадёры остались живы только чудом (подробно об этом читайте в материале Самый сложный трюк фильма "Место встречи изменить нельзя")
Изначально фильм Станислава Говорухина «Место встречи изменить нельзя» планировался как семисерийный. Но по требованию Гостелерадио ее сократили с помощью перемонтажа. Вырезали как маленькие фрагменты, так и целые сцены. Ухитрились сократить кинофильм на два часа экранного времени. Много интересного пришлось вырезать. После монтажа все вырезанные кадры режиссёр сдал в архив Одесской киностудии, где они, к величайшему нашему сожалению, благополучно потерялись
В итоге в фильм не попали:
Фронтовое прошлое Шарапова и Левченко
Фильм должен был начинаться с военного пролога, где Левченко и Шарапов пробираются через линию фронта и выносят из боя раненого языка
Постельная сцена Шарапова и Вари
Зрители должны были увидеть сцену после эпизода, в котором Шарапов и Варя танцуют. Но из цензурных соображений от единственных на весь сценарий эротических кадров отказались
Многие сцены с Промокашкой
В сцене с воровской «малиной», после того как участники «Черной кошки» уходят спать, был задуман эпизод: пьяный Промокашка пристает к подруге Горбатого, главаря банды. Но, как вспоминает Иван Бортник, сыгравший Промокашку, актриса во время съемок каждый раз начинала смеяться, и из эпизода ничего не получилось
Плевок в лицо Жеглова
В эпизоде, когда во время взятия «Черной кошки» Промокашку выводят из подвала, Бортник, импровизируя, плюнул Жеглову в лицо
Отповедь Шарапова
После того как Жеглов застрелил Левченко, Шарапов не выдерживает и высказывает Глебу все, что о нем думает
Гибель Вари
В первоначальном варианте фильма (как и в романе) Варя погибала от руки бандита, и первое, что видел в вестибюле управления вернувшийся с задания Шарапов, – ее портрет с траурной лентой. Но в Гостелерадио решили, что финал слишком уж трагический. В итоге Варя остается жива и забирает из детдома подкидыша. Сцену, когда Шарапов приходит к Варе и видит ее с ребенком на руках, доснимали в авральном порядке. У Натальи Даниловой (исполнительница роли Вари) была уже другая прическа – для новой роли она отрезала челку
"Говорухин поступал по-режиссерски мудро, – говорит Владимир Конкин. – Он заранее снимал некоторые сцены, понимая, что они не пройдут цензуру, но ему проще было отдать их, чем лишиться важных драматургических частей фильма". (Более подробно о вырезанных сценах из фильма читайте в материале Вырезанные сцены из «Место встречи изменить нельзя»)
Фильм был завершен в 1979 году и впервые показан на День милиции, собрав миллионные аудитории. А на следующее утро после окончания съемок «Места встречи» в квартире братьев Вайнеров появился Высоцкий:
– Знаете, братцы, о чем я подумал сегодня утром: вы не имеете никакого римского права бросать Жеглова.
– А ты не мог подумать об этом днем, и дать нам поспать?
– Не мог. Надо спешить.
Авторы поняли это так: Высоцкий имеет в виду, что продолжение следует снимать по горячим следам. Но, похоже, Высоцкий чувствовал совсем другое, ведь он пришел не с отвлеченным предложением, а с хорошо разработанной сюжетной линией второго шестисерийного фильма «Место встречи». Он спешил. Через некоторое время на столе авторов сценария появилась папка, на которой значилось — «Эра милосердия. Продолжение». Увы, продолжение следует не всегда. В самый разгар работы, когда уже была написана где-то половина сценария, пришла горестная весть: Владимира Семёновича Высоцкого не стало. Никакого другого Жеглова быть не могло. Эта папка больше никогда не открывалась, несмотря на многочисленные слухи о съёмках продолжения картины. Недавно Говорухин жестко обрубил разговоры на эту тему: «Жеглов умер, Шарапов стар, с кем и зачем продолжать?»
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При подготовке публикации использовались материалы сайтов
www.vysotsky.ws,
www.ussr-kruto.ru,
www.1001material.ru,
www.wday.ru/
www.v-vysotsky.com/Vysotsky_v_Odesse/tex t06.html
www.spb.kp.ru/daily/24401.3/576608/
www.dnevniki.ykt.ru/roman/715200
www.stereo.ru/before/play_person.php?art icle_id=275.html
www.vokrug.tv/person/show/Larisa_Udovich enko/
www.odesskiy.com/u/udovichenko-larisa-iv anovna.html
www.fakty.ua/40429-narodnaya-artistka-ro ssii-larisa-udovichenko-quot-menya-do-si h-por-draznyat-mankoj-obligaciej-quot
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