那个时代的另一重要话题是：“解冻”解放了电影的视觉潜力。《雁南飞》的摄影师乌鲁谢夫斯基是第一个, 但后来的一代人贡献也不小, 如像尤索夫、伊利延科、克尼亚任斯基、捷尔别涅夫、帕塔什维利、克里缅科, 那几位跟随导演卡利克、阿布拉泽、帕拉让诺夫一起开始摄影创作的人 ……他们解放了 、改变了电影的世界。没有他们, 也就不会有塔尔科夫斯基 。
我刚才说过, 在俄国, 文学占据着最重要的地位。但文学也受着最大的控制。于是, 仿佛经由一种升华作用的方式, 凡是用语言不能直说的东西, 都借音乐和视觉形象表达出来。这是一种潜台词, 早在爱森斯坦拍摄《伊凡雷帝》的时候就曾使用过这个手法:片中的对白是些豪言壮语, 但在视觉影像和音乐中却隐含着深意 。为什么在苏联影片中“光的语言”那么重要 ? 要知道苏联电影实际上是很接近于表现主义的。所以这种倾向在 60 年代表现出来, 这绝不是偶然的 。它战胜了亚历山大洛夫所坚持的、好莱坞式的 、“明朗的”均匀布光的传统做法。摄影师参与构成影片的观念, 带进自己特有的气息 。我们知道, 胡齐耶夫的成就多么受益于玛格丽特·皮利欣娜( 《伊里奇的岗哨》的摄影师) , 或格尔曼·拉夫洛夫( 《七月的雨》[ 1967] 的摄影师) :在他们之前, 与胡齐耶夫合作的摄影师是托多洛夫斯基, 而这时的胡齐耶夫完全是另外一个人。皮利欣娜给《伊里奇的岗哨》带来了某种轻快感 、某种诗意与纪实的混合感觉……而曾经为罗姆的《一年中的九天》担任摄影的格尔曼·拉夫洛夫则使《七月的雨》具有了明晰的视觉形式。

#纳乌姆·克莱依曼 《苏联电影史再读解（下）》
#马尔连·胡齐耶夫 #那年我二十岁 #丽塔·皮利欣娜 #七月雨 #格尔曼·拉夫罗夫

Vadim Abdrashitov noted that it was not by chance that Federico Fellini admired the films of Marlen Martynovich Khutsiev:

"The film" I am twenty years old "by the script of the greatest playwright Gennady Shpalikov belongs to the heights of poetic cinema. And Khutsiev conveyed the "poetry" of Shpalikov's script in his film language. For example, the scene of a trolleybus passing is the atmosphere, the "breathing" of the picture, the most important component. It is impossible to translate it into the language of literature, the film "I am twenty years old" cannot be retellable, there is something elusive in it.
#那年我二十岁

And on the set of the episode "picnic" in the film "July Rain" there was an interesting incident. The whole group left Mosfilm by bus for location, and Marlen Khutsiev and German Lavrov followed them in the Chaika operator's room. The group arrived, but the director and the cameraman are still not there. And they "rode" around Moscow for an unusual car in which horses were traveling. The shot with these horses in the car entered the film, and this is important for creating the conventionality of this picture. The cameraman German Lavrov was a friend of Marlen Khutsiev, he didn’t need to explain anything, he understood the director perfectly ”.
#七月雨 #格尔曼·拉夫罗夫

https://www.mosfilm.ru/news/?ELEMENT_ID=43290&sphrase_id=926600

#瓦吉姆·阿布德拉什托夫 #马尔连·胡齐耶夫

Another story is connected with the filming of "July Rain" - due to poor color rendering of the film, the white shirts worn by most of the characters had to be painted yellow to make them appear white in the frame. One can only imagine how funny the actors walking around the set looked.

#七月雨

«Июльский дождь. Путеводитель»
"July Rain. A guidebook".

Content
Anton Dolin. "Let this air be a witness" 3
"Summer rain" 8
"From Love to Non-Love" 12
"Well, now it's a long time coming" 16
"We're in the midst of the woodworms" 19
"Run along, I've got some more work to do here" 24
"We're not accusing the intelligentsia, we're talking about intellectual bourgeoisie" 28
"The picnic has a social message, but the party doesn't have that" 32
"Galich, who saw our picture, didn't get the hint" 36
"The best Mironov, but they botched the scene with him" 39
"I am Volodya. I am Volodya" 42
"Zoya Georgievna doesn't like that she has ugly hands" 44
"I wanted to see something different" 50
"This script is like a river, where the main current is hidden" 54
"The crew was unprepared for the shooting" 56
"One instrument without the support of the others would impoverish the melody" 63
"It's like a crystallisation process" 66
"We poured this vodka, drank it and worked heart to heart" 68
"From the first category of stage directors to the highest" 73

"More good for me than I bring to the picture" 76
"Too much, too many trolleybuses" 83
"Can I not go tomorrow? I have things to do there" 91
"Watermelon on the neckline" 99
"A Soviet picture of Soviet reality" 104
"July Rain" was not allowed on the big screen by the bosses" 118
"Aha! Uncommunicative!" 127
"Their desperate ranting is lost in the general homonium" 137
"This confusion is a notable trend in the Art of Cinema magazine" 143
"...praising all films which paint Soviet life in a black light" 148
"Sasha Aronov has already become bored" 150
Elena Stishova. Something's over... 163
Zara Abdullaeva. The distant plan becomes the first 166
Nina Tsyrkun. "Ours are leaving!" 168
Anna Zakrevskaya. Inaudible, unspoken, inexplicable 170
Alexei Filippov. Leaf, gripped by the epoch's bad weather 172
Stanislav Dedinsky. "Don't be afraid, it's his sometimes..." 174
Natalia Ryabchikova. Thaw Cinema as a weather forecast 176

#马尔连·胡齐耶夫 #七月雨

But what about the ending with the meeting of the front-line soldiers near the Bolshoi Theater - there you obviously use documentary filming?

Marlen Khutsiev: You are right - the ending is documentary. And we took it off quite by accident. It was May 9, I was filming near the Metropol for the film I am 20 years old. And while we were preparing the shooting, I suddenly saw that some movement began near the Bolshoi. Let me, I think I'll take a look. And I saw that war veterans were gathering there - then still very young. The most interesting thing is that Victory Day was not officially celebrated at that time - they came there on their own initiative.

That is, there is still a place for spontaneity in "July Rain"?

Marlen Khutsiev: It turns out that it all started with her - the shooting of the picture actually started from this scene, which continued several years later.

https://rg.ru/2015/08/05/khuciev.html

#马尔连·胡齐耶夫 #七月雨

Our actors, he and she, from the very beginning, for some reason, let's face it, they didn't like each other. And in the film there is this coldness towards each other, there is no passion and sensuality of lovers, and here it is by the way, here is its own, maybe, additional meaning. In the scene of the last explanation they both stand in white, frontally, motionless, crossed arms across their chests, against a white wall and window with white mist, and this cold sterile whiteness and frozenness, happily guessed by the director, and with him and cameraman German Lavrov, gives the scene some over-the-top meaning. Originally this was filmed on an autumn beach in Tuapse, and we actually traveled for it on purpose, living in an expedition. But already in Moscow, as always, at the last minute Khutsiev decided to re-shoot the scene in a pavilion, leaving only bits and pieces from our expedition, almost without words - and he was right, his intuition does not fail.

From "Notes of the Last Scriptwriter" by Anatoly Grebnev

#马尔连·胡齐耶夫 #格尔曼·拉夫罗夫 #七月雨 #阿纳托利·格列别涅夫

Гребнев А.
Записки последнего сценариста
http://litresp.ru/chitat/ru/%D0%93/grebnev-anatolij/zapiski-poslednego-scenarista

Q: How did you come up with the idea for the script for July Rain?

A: It happened by chance: in the summer of 1956* I was on the set of another film in Odessa, at the Odessa film studio（即1956年的《滨河街之春》）. Once, when I was returning to the hotel, a heavy downpour struck: I did not have an umbrella with me, and I hid in a telephone booth. And then I imagined: what would have happened if at the same moment a girl decided to hide from the rain here? The rain would probably keep pouring and pouring, she would probably be in a hurry to work or on some business of her own, and then I would definitely lend her my jacket. This is how the plot of the film developed.

We filmed the first documentary footage like this: a truck was driving along Gorky Street, a special platform was installed on it, with a camera on it; a film crew is on the platform - me, cameraman German Lavrov and our assistants. Before the command “Shooting!” Lavrov shouted from the platform to people: "Citizens, we are passing through, we do not pay any attention to the shooting!" As you can imagine, all this had the exact opposite effect: people looked back at us in surprise, and the camera recorded all this. This is the effect of the invasion of reality into the space of the film. At the time, this was a very common artistic expression. I decided to enhance this “presence” effect and asked the main character, who was also in the crowd, to throw short glances at the camera, and then turn away and run about her business. And so we did.

http://asphodel-lee.blogspot.com/2014/06/blog-post_2.html

#马尔连·胡齐耶夫 #格尔曼·拉夫罗夫 #七月雨

在高尔基街拍摄《七月雨》的时候，格尔曼·尼古拉耶维奇忽然大喊一句“公民们，我们驶过路面，没有留意拍摄内容！”

新旧街道对比见 https://progulkino.livejournal.com/20535.html