This story begins in 1969, when the script was approved on television 13-series film "Seventeen Moments of Spring" and picked up the director. The novel by Julian Semyonov was not even published as a separate book.
However, in the midst of the preparatory work, the situation suddenly changed. The fact is that for the right to put such a film, another director - 46-year-old Tatiana Lioznova - started to fight.
She contacted Semyonov and said that it was she who would make the film according to his script. But Semyonov upset her: "I already sold the script to Lenfilm, so alas!" Lioznova was not going to give up, she insisted so persistently that, as a result, Semyonov could not stand it - he withdrew the script from Lenfilm and handed it to Lioznova. Her name was already known to the mass audience by the pictures "Evdokia" and "Three Poplars at Plyushchikha" and she was rightfully one of the highest-grossing directors of Soviet cinema. All these successes played into the hands of Lioznova, but there was one "but": everything she took was related to melodrama, and "Moments" belonged to the genre of military historical cinema. Therefore, many who were involved in the creation of the film, there were just fears: and whether such a director will manage (and even a woman!), With this task? But Lioznova still managed to convince the skeptics that this task is up to her.
Since Tatyana Lioznova was always famous for her meticulousness, she picked up actors for her painting with incredible accuracy - the image should have coincided 100%. For example, Julian Semyonov was sure that Stirlitz can only play Archil Gomiashvili. Assistants of the director insisted on Oleg Strizhenov. Tried for the role and Innokenty Smoktunovsky. However, he then lived in Leningrad, and the shooting had to be conducted for two years. The actor did not like this, and his candidacy fell away. Lioznova, not agreeing with anyone, continued her search. When the dressed-up Vyacheslav Tikhonov appeared in the German tunic with glued mustaches like Budyonny, Lioznova got angry and demanded that Colonel Isaev be corrected. The next time the make-up artists worked on the glory - and Tikhonov, in the director's opinion, finally turned into Stirlitz.
The main competitor of Ekaterina Gradova, who played the Russian radio operator Kat, was Irina Alferova.
For the role of Stirlitz's wife tried and Leningrad singer Maria Pakhomenko, and Svetlana Svetlichnaya, which was later confirmed for the role of Gaby, in love with the main character. Well, the wife of a Soviet intelligence officer was destined to become an actress of Vakhtangov Theater Eleonora Shashkova, who was brought to the site the day before filming.
In the film, the great Faina Ranevskaya could also appear. To somehow humanize the image of the scout, "warm", soften too serious a hero, the director decided to introduce another character, which was not in the book or in the script - Frau Zaurich. Lioznova asked Julian Semenov to write a couple of scenes with the participation of an old German woman, hoping that Faina Georgievna would play it. Semenov reluctantly composed something - it turned out a terrible nonsense. Tatyana Mikhailovna immediately decided that in the process of filming everything will be done in its own way. When Lioznova and Semyonov came to Ranevskaya's home and showed her the script, Faina Georgievna, after reading it, was horrified. "What kind of idiocy is this?" She exclaimed, "can this be played?" And flatly refused. As a result, Frau Zaurich played Emilia Milton
Several candidates were also for the role of Hitler, which two Leonidas were auditioned for: Armineva and Kuravlev. However, the photo test of the Armored Director did not satisfy, but Kuravlev had quite successful photographic tests and he was already rehearsing the role. Here is a photo test
But in the end Kuravlev refused to play the Fuhrer himself: "I did not master this antichrist, my nature leaped and was against," he said. Then Lioznova decided to entrust him with the role of SS Ober-Sturmbannführer Kurt Eismann, closing one eye with a bandage, as Lioznova explained, for "boldness." After all, it was the closed eye that gave the image of Aysman a story: if there is no eye, then he is lost in battle, and if he fought, then the hero already has a fighting character. "You have one eye left, you must play by burning them with your partner," Lioznova repeated.
And Hitler became the German actor Fritz Dietz, who, from the epic "Liberation", was forever registered in this role.
For the role of Mueller, too, there were several candidates, for example, Vsevolod Sanaev. But he categorically refused the role, saying: "I am the secretary of the party organization Mosfilm, so I will not play the fascist." Then Lioznova proposed this role to Leonid Bronev. As Leonid Sergeyevich later recalled, they did not think that such a success would be. "Looking at the film for the last time, I noticed that my role is, in fact, rather small, it's only at the end, thanks to the last monologues it seems like it's big." Talking on the phone, going down the corridor, listening to the radio - a certain image that brought such a completely unexpected for me fame "
The difficulty was that the Armored actor was more theatrical. At that time he had very few roles in the cinema. He did not know how to move in front of the camera, so as not to fall out of the frame, stay in focus, etc. Lioznova later recalled that it was quite difficult with him, the actor did not know where he needed to stop. It came to that the assistants rushed to his feet to stop him in time and leave him in the frame.
By the way, the brilliantly played by him nervous tic Muller - the result of the fact that he was tight either a uniform, or a shirt. Leonid Sergeyevich recalls: "I was sewn a uniform smaller by two sizes, and she was cutting her neck all the time, because of this, I always jerked my head." Lioznova therefore asked me: "What are you doing?" - "Yes, the form cuts me." - "I'm not to the fact that you are cut! Do not make it paint us in the most "nervous" places? " And she found these places ... By the way, Zakharov liked this very much. He then told the actors: "Do you see how you can convey the nervous state of a person without words?"
Tried to abandon the role of Bormann and Yuri Vizbor, but then changed his mind. To create a gloomy face of fascist bonze, the actor was put tampons in the nose, and the uniform was paved with foam rubber to give an impressive volume. Since the voice of Vizbor was soft and gentle, in the film he had to be voiced by another actor - Solovyov from the Theater actor.
Lioznova recalls: "The actors were not surprised by my choice, because they rehearsed for a long time before that. With different partners ... The whole choice is the secret of my inner life. And the endless immersion in the scenes of the future film. Playing in the mind of the whole picture with a different combination of actors. " Initially, the role of the actor for the BDT Yefim Kopelyan was assumed in the film. However, it so happened that he did not have any seats in the cast and Lioznova suggested that he become a "voice-overs". The director recalls: "I called him in Leningrad and asked him to tell me that I kneeled down and asked him to agree. Working with him was a complete pleasure. He came and, although he had just been off the train, always had time to shave and change into a snow-white shirt, never changed himself. We became companions. His voice sounds as if he knows more than he says. "
Music for the film, as is known, was written by Mikael Tariverdiev. However, few people know that initially he refused to work on the film. Before that, he was already writing music for Benjamin Dorman's espionage film Resident's Error, and this work did not satisfy him. Therefore, in 1967, he refused another offer to work in the movies about scouts - to write music for Savva Kulish's painting "The Dead Season" (which he regretted later). The same fate could be grasped and "Seventeen Moments of Spring". When Tariverdiev learned that the film was from the same series as the previous two, he told the director his firm "no". But the script still took, read it and immediately changed his mind. He suddenly realized that the film, although it will tell about the scouts, but quite differently than it was earlier in other pictures.
In the process of working on music Tariverdiev wrote ten songs, but the film included only two of them: "Somewhere far away ..." and "Moments." Eight others had to be thrown out, because they had nowhere to insert. And, it seems, it is correct: due to this, a lot of beautiful instrumental music was inserted into the picture.
The singers tried different songs. First they invited Vadim Mulerman. However, his candidacy was hammered by high-level television authorities. Then Lioznova invited no less popular singer Muslim Magomayev, who recorded all the songs for the film. Lioznova listened to them ... and rejected them. She asked Magomayev to sing songs in a different vein, but the singer refused. He said that he never adjusted to anyone. Then Joseph Kobzon was invited to record the songs, whose performance satisfied all.
When Lioznova read the script, which Yulian Semyonovich returned from Leningrad, she was in shock. The book had a lot of things that impressed her, and in the script everything is completely different - on each page there are five corpses on each page. In general, Semenov unsubscribed and quietly left for Bulgaria to hunt wild boars, so Lioznova had no choice but to sit down for work - writing simultaneously literary and directorial scripts. "I was working 12 hours a day, I do not remember if I slept, but I will not say that I did not get pleasure, because I had my hands untied, besides, I did not go against the book material, but, on the contrary, defended it. "
However, there were no scenes of the celebration of Stirlitz on February 23 in Julian Semenov's book. However, like the meetings of a scout with his wife in the tavern "Elephant". The fact that the scene will be removed was decided when the work on the film was in full swing. The author of the idea was Vyacheslav Tikhonov. A touching story about how scouts are forced to meet their wives secretly, seeing from afar, was told to him by an acquaintance, under one of the versions - the legendary Soviet spy illegally Konon Trofimovich Molodyi. Tikhonov was deeply impressed by the story and suggested that Lioznova show this in the film, with the example of Stirlitz and his wife.
Initially, it was planned that together with his wife in the cafe will be the son of Isaev, whom he never saw. Was even invented a whole story - the boy in his hands will be a chain-trinket, which he will spin, and then leave on a plate. And when the meeting is over, Stirlitz, having improved the moment, will take this trinket in memory of his son. However, in this idea, Lioznova saw one drawback: if there is a child in the frame, the viewer will not "notice" the woman. Emphasis on love between a man and a woman, on feelings that overcome war and distance, this was the idea of Lioznova.
This scene is one of the most difficult in the film: its participants do not talk and practically do not move in the frame: five and a half minutes they are in the same scenery without a single word. The actors are completely devoid of expressive tools, they can not even show in the film's plot that they are familiar. Especially brilliant, Lioznova considers the role of Stirlitz's wife (she was played by Eleonora Shashkova) and the person who leads her in a cafe (in this role Eugene Lazarev). "This is more difficult than playing Shtirlitsa, where everything works for him," Lioznova said. These are the roles played without a single word and gesture, but only through the eyes (in the case of Stirlitz's wife) and back (in the case of the hero Lazarev)
The secret of this scene is not only in the magical musical accompaniment, but also in the "live" acting game: it was originally planned that the shots with Stirlitz's wife would be shot without Tikhonov's participation - besides, that he had the first day off for the whole day. Shashkova did not like this idea at all, she remembered that she could not cope with the role until Tikhonov appeared in the pavilion. Here's how I remembered these shots of Eleanor Shashkov:
"One of the assistants on the actors with whom we worked on the set of" Two Lives "brought me to the set, and it was in that movie that I first saw Vyacheslav Vasilyevich, who played one of the main roles in it, he made me, then a second-year student but I do not perceive the beautiful men, for the role of Isaev's wife, I was younger than the age of my heroine, and I grew up, I'm not surprised that it was the scene of a short meeting between Stirlitz and his wife that was the brightest in the film. Su remember the frame when he looked up, they were filled with soul, and in my eyes it was read: "I suffer in separation, I love you and very much, how do you here live without me?" In the last close-up, my hero's eyes said: Maybe I see you for the last time in my life ... "
But in fact we shot with Tikhonov separately. What you saw in the shot is editing. Previously, they shot only one camera and a film, two scenes a day. Everything was rehearsed, deliberately. This is now a continuous conveyor! That day, Vyacheslav Vasilievich came to the set completely unexpectedly. It was his first day off for six months of work, but he did not sit at home and wanted to look into the eyes of his screen wife, to find out who she was. He came and sat by the camera, at the table level. We played in complete silence ... And everything turned out, in just an hour. With such a great actor as Tikhonov, it could not be otherwise! And the next day there was his shooting without me. But he said to Lioznova: "Let's take these eyes to me, I can not act without them." And I was immediately taken to the shooting and put at the camera. I tried to do everything the same as the day before. Therefore, probably, Vyacheslav Vasilyevich and played so brilliantly, looking into my full eyes "
Filming began in March 1971 with an expedition to the GDR. There were to be filmed all the actual episodes of Stirlitz in Berlin, as well as the murder of the Gestapo provocateur Klaus. However, the last episode will not be removed on German soil, since our authorities categorically refused to release even the actor-friendly actor Lev Durov. The reason: the actor's bad behavior at the visiting commission. What it is? In accordance with the situation that existed then, every citizen of the USSR traveling abroad must first pass through a filter of the visiting commission. It usually included the most zealous servants of the party, who in every departure saw in the worst case a potential traitor to the homeland, at best - a booby. So they met Durov accordingly. For example, on the move asked: "Describe to us what the flag of the Soviet Union looks like." Hearing this question, the actor responded to him according to the situation: "It looks very simple: a black background, it has a white skull and two crossed tibia bones. The flag "cheerful Roger" is called. What started here! The women squealed, the men waved their hands: how dare you! Yes, you are not ashamed! However, the poll continued, but it could not lead to anything good. A certain lady asked: "Name the capitals of the Union republics." Durov, without batting an eyelid, listed: "Kalinin, Tambov, Magnitogorsk, Tula, Malakhovka." More of it about anything they did not ask, and from the lists of the departers they crossed out. Of course, Durov coolly summed up the whole crew, but otherwise he could not do it - he did not want to look even more like an idiot in the eyes of idiots. Fortunately, Lioznova will find a way out of this situation: the murder of Klaus Stirlitz will be removed later in the forest near Moscow. And after Durov, after this incident, the nickname was firmly entrenched, which he was very proud of - "the main bandit of the republic."
In the GDR cinematographers took almost all of their props, which included the car Stirlitz mark "Mercedes" (from the garage studio Gorky). However, German craftsmen who examined this "Mers" during the war, said that he could hardly work: the state was supposedly disgusting. Our people laughed at this statement. But on the first day of shooting, "Mers" actually died out. The group was sounded by the sound engineer Leonard Buchov, who sought out his friend Gunther Klienbenstein, who had also collected old cars. From his collection and rented a car for Stirlitz in a very good condition.
There were other curious cases on German soil. For example, one day Vyacheslav Tikhonov was almost arrested. He decided to travel from the hotel to the set (it was not far off) in the form of Standartenfuhrer SS, for which he was immediately detained by the Berliners. They considered him to be an adherent of fascism and were already going to forward him to the police station. Fortunately, this noise was heard by members of the crew, rushed to the scene of the scandal and beat off the artist from the Berliners.
By the way, all the rest of the nature was filmed in the homeland: in Riga they removed the Flower Street, in Tbilisi and Borjomi - the crossing of the Schlag through the Alps, walks of Stirlitz in the forest - in the Moscow region.
In April, the film crew returned to their homeland and almost immediately proceeded to the pavilion shootings at the Gorky studio. Several decorations were already prepared for their arrival there: Stirlitz's apartment, the corridors of the Reich Chancellery, and Mueller's office. Filming was in a busy schedule, sometimes one and a half shifts - 12 hours. Отмечу такой нюанс: если режиссер художественного кинематографа должен был вырабатывать за смену 45—50 полезных метров, то телевизионного при тех же возможностях и условиях — 90 метров. Поэтому оператору «Мгновений» Петру Катаеву пришлось не слезать с тележки долгими часами. Причем работал он всего лишь одной допотопной камерой, которая вынуждала прибегать к помощи различных ухищрений: например, чтобы камера не тарахтела, ее накрывали телогрейкой, поскольку озвучания потом не было.
Лиознова всегда отличалась особой дотошностью в показе деталей, и «Семнадцать мгновений» не стали исключением. Другое дело, какого адского труда стоило эти детали показать. Взять, к примеру, эпизод встречи Штирлица и -Шлага, где наш разведчик кормит его супом. Как мы помним, Штирлиц открывал супницу, и вверх поднималась струя пара, на которую пастор, долгое время проведший в тюрьме, смотрел с вожделением. Так вот этот пар у киношников никак не получался: то его было мало, то, наоборот, много, что «размывало» картинку. И только после большого количества дублей наконец-то удалось снять пар так, как это задумывала Лиознова.
Не менее курьезно проходили съемки другого эпизода — Штирлиц за рулем мчащегося автомобиля. Последний раскачивали порядка десяти человек, в том числе и сама Лиознова. При этом без шуток-прибауток никак не обходилось, хотя Тихонов умолял этого не делать: ему никак не удавалось сосредоточиться и сделать умное лицо. Поэтому, читатель, пересматривая теперь эти кадры, представь себе, каких трудов стоило актеру изображать в кадре глубокомысленную задумчивость.
Директором фильма был Ефим Лебединский, который на роль статистов — тех же эсэсовцев, охранявших штаб-квартиру РСХА, — пригласил своих знакомых, причем, сплешь одних евреев. Консультант из КГБ, который однажды пришел на съемки и увидел этих статистов, внезапно возмутился: мол, как это так — в роли эсэсовцев снимаются евреи?!
— А вы что, антисемит? — удивилась Лиознова.
— Нет, но вы сами знаете, какие у нас отношения с Израилем. Вот и получится, что мы в своем фильме покажем, что евреев уничтожали такие же евреи, только в гестаповской форме. Лиознова намек поняла. Она вызвали Лебединского и приказала поменять статистов.
— Как поменять?! Я же им уже заплатил! — возмутился директор.
— Ничего, компенсируешь из своего кармана! — отрезала Лиознова.
Директору пришлось подчиниться. В тот же день с помощью все того же консультанта из КГБ он позвонил в Высшую пограншколу и попросил прислать на съемки десяток рослых курсантов, желательно прибалтийцев. Именно их мы теперь и видим на экране.
В фильме были и другие подмены. Так, в кадре, где показывали руки Штирлица (когда он рисует бонз рейха и выкладывает из спичек фигурки зверей), снимали руки... художника фильма Феликса Ростоцкого. Спросите почему? Дело в том, что у Тихонова на правой руке была татуировка, сделанная еще в юности — «Слава». И как ни старались гримеры ее замазать, на крупных планах она все равно проступала. Чтобы не рисковать, решили снимать руки другого человека. Он же, Ростоцкий, писал шифровки за Плейшнера-Евстигнеева. Но там причина была другой: уж больно плохим был почерк у актера, чтобы показывать его крупным планом.
В одном из самых драматичных эпизодов картины — где эсэсовцы мучили ребенка радистки Кэт, вместо младенцев собирались снимать кукол, но от этой идеи отказались, так как их статичность слишком заметна. Поэтому дети в кадре настоящие. И в роли ребенка выступил не один актер, а сразу несколько — около двух десятков. В съемках были использованы новорожденные детишки из ближайшего детского дома. Они постоянно менялись, так как выдержать полный съемочный день им было просто не под силу. Снимать их можно было не больше двух часов в день с интервалами не менее пятнадцати минут для пеленания и кормления.
Зритель наверняка помнит, что эсэсовцы мучали дитя, положив его возле раскрытого окна, а по сюжету действие происходило в начале апреля. Однако на самом деле съемка происходила в студии и даже малейшего сквозняка в ней не было. Более того — там было так жарко от софитов, что дети наотрез отказывались плакать, а сладко потягивались и улыбались в камеру. В конце концов звукооператору пришлось поехать в роддом и там записывать плач на пленку. Эта запись и вошла затем в фильм.
Когда в начале 1973 года фильм был смонтирован, и его показали высокому телевизионному руководству, на голову режиссера посыпались первые упреки. Больше всех возмущались военные, которые заявили, что согласно фильму войну выиграпи одни разведчики. Возразить им Лиознова не посмела, поэтому отправилась исправлять досадную оплошность. Она включила в фильм еще несколько сот метров документальной хроники, и претензии военных были сняты.
Премьера фильма состоялась в конце лета 1973 года: с 11 по 24 августа. Все дни пока он демонстрировался, буквально вся страна прильнула к экранам своих телевизоров. И как гласят тогдашние милицейские сводки, по всей стране резко снизилась преступность. Причем так было не только у нас. Один наш теленачальник посетил как-то Венгрию и в одной из приватных бесед с тамошним пограничником спросил: «Ваши граждане, случайно, не бегут в соседнюю благополучную Австрию?» На что пограничник ответил: «На данный момент нет. Потому что сейчас по нашему ТВ показывают ваши «Семнадцать мгновений весны».
Между тем если первые две серии зрители только присматривались к сериалу, то уже с третьей многих из них стал переполнять такой избыток чувств, что они вооружились пером и бумагой. На Гостелерадио и Киностудию имени Горького посыпались письма, их телефонные провода буквально раскалились от звонков. В один из тех премьерных дней, к примеру, позвонила некая москвичка, которая передала свой огромный привет создателям картины и сердечную благодарность за то что вот уже несколько дней, пока длится картина, ее муж сидит дома и не пьет, поскольку все его собутыльники заняты тем же-просмотром сериала. Кстати, сама Татьяна Лиознова в те дни фильм не смотрела — не было сил. Зато каждый вечер вглядывалась в окна соседних домов и видела, что многие из них гасли сразу, когда кончалась очередная серия.
Согласно легенде, когда фильм посмотрел Леонид Брежнев, он настолько расчувствовался, что приказал своим помощникам немедленно разыскать настоящего Штирлица и достойно наградить его. На что Андропов ответил, что Штирлиц — лицо вымышленное. «Жаль», — покачал головой Брежнев. Однако в тот же день он позвонил домой Екатерине Градовой, чтобы выразить ей свою признательность. Но актриса сочла этот звонок чьей-то дурацкой шуткой и бросила трубку. Когда она это сделала во второй раз, ей уже позвонил помощник Брежнева и попросил не бросать трубку: «С вами действительно будет говорить Леонид Ильич».
Между тем Андропов не забыл своего разговора с Брежневым относительно Штирлица. И когда в 1983 году шеф КГБ сам стал Генеральным секретарем, он распорядился наградить всех участников фильма орденами. В итоге В. Тихонов получил «Звезду», Р. Плятт и Т. Лиознова ордена Октябрьской революции, Л. Броневой, О. Табаков и Е. Евстигнеев — Трудового Красного Знамени, Н. Волков и Е. Градова — Дружбы народов.
Переработанный перепост моей публикации "Как снимали "Семнадцать мгновений весны" от 17 апреля 2015 года по случаю 90-летия со дня рождения Вячеслава Тихонова
Sources ... ] Sources
При подготовке поста использовались материалы из книги Ф. Раззакова "Наше любимое кино. Интриги за кадром." Алгоритм. 2004, статей Ф. Раззакова "А Вас, Штирлиц ...", Владимира Громова "Для съемок «семнадцати мгновений весны» штирлицу пошили 12 костюмов и 100 рубашек", Валентины Оберемко "Как появилась жена Штирлица"
а также с сайтов
www.ru.sputnik-tj.com/culture/20150811/1 016359777.html
www.ria.ru/weekend_cinema/20130811/83708 3277.html
www.kuban.kp.ru/daily/26592.7/3607434/
www.kommersant.ru/gallery/2370630#id=963 618
www.mgnoveniya.ru/leonid-bronevoj/
www.diletant.media/articles/25384393/
www.tvc.ru/news/show/id/65622
www.diletant.media/articles/25384393/
www.tvc.ru/channel/brand/id/2293/show/ne ws/news_id/781
www.ria.ru/weekend_cinema/20130811/83708 3277.html
www.hronika.info/fotoreportazhi/162926-m aloizvestnye-fakty-o-filme-semnadcat-mgn oveniy-vesny-foto.html
www.youtube.com/watch?v=coyoO2A1Kkc
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