The author himself says the following about the making of the film: "...I thought that the shooting itself would not be difficult: practically nothing has to be shot, and the most complicated things that precede the making of an art film - the long and patient preparation for the shooting and the shooting itself - are not here. On the contrary, it seemed to me that there was an inexhaustible amount of ready-made material here - you just had to sit down to edit. It turned out that the task that arose before me was incredibly difficult. All through 1964 I worked on the film and have only now finished it, on the eve of the 4th Moscow International Film Festival."

用保加利亚语搜索，第一次看到#普通法西斯 制作时间持续到了第四届莫斯科电影节（1965年7月5日）前夕……
#米哈伊尔·罗姆 是1964年7月邀请谢尔盖·林科夫进入剧组的，8月份他和格尔曼·拉夫罗夫、林科夫、齐津等人一起去了波兰。
团队从华沙转移到柏林的时候，米哈伊尔·伊里奇（从奥斯维辛）飞回过莫斯科，确认萨瓦·库利什的情况。此时已近深秋。

- How was the day-to-day work on the set of "Ordinary Fascism"?
- In July 1964 Mikhail Ilyich invited me to work as an assistant on "Ordinary Fascism". After reading the script, I had a feeling of something unusual, some kind of unformulated excitement ... Everything was still ahead, everything was unclear. But the feeling of an interesting road was there. The scenario was somewhat descriptive. But at the same time extraordinary and promising. I was selecting newsreels, preparing shooting, looking for photos and materials. In August we left for Poland and the GDR. Part of the group left a few days earlier, while Mikhail Ilyich and I left later. Apparently, they did not want MI to go alone. It was just the two of us in the compartment. Late at night MI (he was lying on the bottom shelf, and his voice could be heard in the darkness) was telling about his recent trip to the USA, where he had flown with A. Tarkovsky to a festival. The country amazed him. He was overwhelmed with impressions. On the morning in Brest, while walking along the platform waiting for the train, we were talking, and MI suddenly asked me what I thought the picture would turn out or not. In this case, it wasn't so much that I answered, but that he, concerned and very interested, asked. MI was a man with whom all guile, vulgar optimism, and generalities were excluded. What I thought, how I felt, is how I answered. Talking to MI, you suddenly felt that you were talented, intelligent, strong, that you were a person. I think this is one of the reasons why everyone worked with him so easily and with dedication, why his students were so successful and numerous.

- How did you come out of that shooting?
- In the evenings we would gather in Mikhail Ilyich's room. We wanted to be together. We brought something, MI took out the cognac he had brought. We had a drink or two, we talked, MI told stories, it was always interesting to listen to him, and then we went away from what we had seen.

- What were you guided by when selecting newsreels and photographs?
- First of all, was there a sense of authenticity, of truth. How new and emotionality of the material, how expressive. How it can be used. Making a film about a particular phenomenon. Nobody ever said anything about parallels or allusions or anything like that. It just sort of happened. The picture was born in discussions, debates, arguments, i.e. in the process of MI's live communication with the group, the writers, the guests - I remember Ernst Henry, Yevgeny Yevtushenko. MI did not get out of the editing room, assembling episodes, attractions, parts. The group - brought the shells. The picture acquired clarity and definition of outlines literally before my eyes. On the table were laid out photographs of the pogrom in Lviv. Around the table stood Hari Stoychev, Savva Kulish, German Lavrov, Viktor Zhdanov - the cameraman of the combined shooting - and, of course, MI. How to shoot, how to edit later? Options are suggested. Discussed. Rejected. And if so!!! MI edited pieces, parts, are also watched. There are big screenings with invitees, with those whose opinions are important, needed. Everyone speaks up. A picture is born. There are already hands, eyes... Why are the eyes blue? They should be green. Of course they should be green. Yes, that's right. The remounting begins. Another step forward, and it seems to be a good one.

http://www.gazettco.com/obyknovennye-80-sergeya-linkova/

#米哈伊尔·罗姆 #普通法西斯

"When we went to the House of Creative Filmmakers in Bolshevo, in a small green house, to write a joint version of the literary script, my son is barely a year old, and entering the cottage room with a narrow maiden bunk, I thought with longing: finally sleep for months of motherly oversleep. But it wasn't. The first evening Mikhail Ilyich showed up in our tiny "hall" with a big thermos of coffee (strangely enough, Romm was more jealous of his culinary and especially his coffee talents than his directing ones); after listening to an extensive lecture on brewing methods, we got our first cup according to the recipe of the World Hague Congress of Coffee Makers. The coffee was really good - strong, fragrant, hot - and the first night of Scheherazade had begun.

https://rg.ru/2007/02/16/obiknovenniifashizm.html

#米哈伊尔·罗姆 #普通法西斯

But it is not only the experience of the montage film that M. Romm uses, the techniques of Vertov are evident in his film. The two million meters of Nazi newsreels, which were the source material, were very much and at the same time very little for the picture. The man as a private person was of no interest at all to the Hitler chroniclers. In general, the people in the Nazi chronicle are divided into a crowd and a leader. A crowd of ten thousand people is a subject to be filmed. Especially if it shouts and waves its arms in greeting. An individual person is not a subject to be filmed - that law has been observed with an ironclad precision.

But it's precisely because of this that they were able to find a method for constructing the picture.

German Lavrov, the cameraman of "Ordinary Fascism", shot the auxiliary material using the Vertov method. He had to shoot what was before fascism, what was afterwards, and what was during fascism, but did not belong to it.

What was filmed? Ordinary people, children, women, men. A street crowd was filmed in which the cameraman was interested in the individual person. Scenes were filmed in Moscow, Warsaw, Berlin, Paris. It is even more important to emphasise how these scenes were filmed. Lavrov filmed them with a hidden camera. There were no pre-arranged points in the frame, tested, regulated, approved. Life in them is shown unrehearsed. This is where Vertov's method of filming life unawares came into force. In this historical film which recounted the deaths of millions of people, it is the seemingly insignificant, private aspects of human life that are important to him. The filming method employed by the director and cameraman is in contrast to that of the Nazi chroniclers.

“Ordinary Fascism" is divided into chapters. Each chapter tells a story with a beginning and an end. The chapter is an independent episode that does not formally depend on the previous one and does not subordinate the one that follows it.

The division of a work into independent episodes is a principle of the epic genre.

Фрейлих С.И. - Теория кино: От Эйзенштейна до Тарковского: Учебник для вузов
http://litresp.ru/chitat/ru/%D0%A4/frejlih-s-i/teoriya-kino-ot-ejzenshtejna-do-tarkovskogo

#米哈伊尔·罗姆 #格尔曼·拉夫罗夫 #普通法西斯 #维尔托夫