在1971年11月1日之前的几天，我们在罗姆的屋子里有过一次对话。
“我们很该喝杜松子酒。美妙的苏格兰杜松子酒。”米哈伊尔·伊里奇从窗边取下一个绿色酒瓶。我表示微弱的反对，因为我事先知道这是个好提议。
“米哈伊尔·伊里奇，我的血压上升了，而且很不稳定，忽高忽低。”
“好吧，但是，老弟，这很糟糕。不稳定的血压通常会带来不幸。去看医生，是的，应该去医院……”
“那么您之后就无法……”
“好吧，什么是可能的、什么是不可能的，首先，这没有人知道。长寿并不是首要目标，这只是一次工作机会。重要的是要保持活力。”他显得有些心不在焉，把酒液倒进了细玻璃杯里。
“契诃夫在阅读完一位平庸作家的手稿后，基于他所有的仁慈和分寸，没能找到恰当的词汇。他建议道：‘知道吗，有时候喝伏特加酒是一件好事情。我在午饭之前都这么做。’”
“难道我们的情况这么不利吗？”我问道。
“相反，保持健康！”
“保持健康”是什么意思？情况要么好，要么就是保持健康……

#格尔曼·拉夫罗夫 #米哈伊尔·罗姆

Another famous name in cinema is cameraman Vladimir Nakhabtsev. We were also introduced by Lyubshin. It seems like it was 1969. Volodya and I are 30. During examination, Nakhabtsev was found to have a duodenal ulcer, and since there were no clinical manifestations of the disease, I, in violation of any medical principles, invited him home, and we drank decently. This is how our friendship began, which lasted for over 30 years.
The best films of Ryazanov and Nakhabtsev I will never forget. Sometimes we rested together, Volodya shared with me the most intimate secrets of life and work. After each new picture, we rejoiced together at his success. Sometimes it seems to me that Nakhabtsev could become an amazing filmmaker and do a lot for Russian cinema. Unfortunately, a serious illness broke him, and the great operator died, barely crossing the 60-year mark. Eternal memory to him. Nakhabtsev had many creative ideas that he did not have time to implement. Now his son, also Vladimir, continues his work.

German Lavrov was Nakhabtsev's cousin, an outstanding cameraman who shot with M.I. Romm "9 days of one year", "Ordinary fascism". Years of kind and tender friendship have connected me with this wonderful family. Gera told me a lot about Mikhail Ilyich Romm, about the intricacies of the cameraman profession. How we worried about him when Lavrov was hospitalized in one of the Italian clinics with an acute myocardial infarction. Then everything worked out. Unfortunately, the illness did not spare German. He died before he was 60 years old. I was also friends with his daughter Natalya, she worked with me in the 7th hospital.

https://www.celt.ru/other/book/part9.phtml

1. 回忆录的序还是奥列格·塔巴科夫写的
2. #斯坦尼斯拉夫·柳布申 到底给这位医生作者介绍了多少电影界人士
3. #马尔连·胡齐耶夫 的最佳朋友是#彼得·托多罗夫斯基 吧！
4. 作者是#瓦西里·奥尔登斯基 的粉丝（即使他没提到《大矿场》）
5. 弗拉基米尔·纳哈布采夫，#埃利达尔·梁赞诺夫《看好你的车》、《命运的讽刺》、《办公室的故事》等电影的摄影师
6. #格尔曼·拉夫罗夫 是纳哈布采夫的表兄（！）
7. 格拉同志当年在意大利罗马犯的是急性心肌梗塞……胡齐耶夫的说法是对的
8. 格拉同志，您女儿也叫娜塔莎，也从事医学吗哈哈哈哈哈

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

Levan Paatashvili: I filmed educational work with my classmate German Lavrov. He was a reliable friend, very discreet, talented and intelligent. We were on a particularly good and warm relationship with him. Subsequently, he became one of our best cameramen, shot "Nine Days of One Year", "July Rain" and other films.

Пааташвили Л. Г. Полвека у стены Леонардо. Из опыта операторской профессии. – М.: "Издательство 625", 2006. – 272 с: ил.
https://photographerslib.ru/books.php?book_id=0021.0005
话虽如此，但列万·帕塔什维利没有和#格尔曼·拉夫罗夫 的私人合照啊 :aru_0170:

... 1953. Stalin dies. It soon became known that Khrushchev was planning to increase production to 120 films a year instead of five films produced under Stalin. And we continued to stage term papers on the stage, we dreamed of filming as something unattainable.
In the neglected hall of the factory club, the next reporting and re-election all-institute Komsomol meeting was going on. The secretary of the Komsomol organization was jabbering over a piece of paper a standard report: on the growth of academic performance in social and political disciplines, on subbotniks at the construction of Moscow State University and other, then customary, events. The sign of the "thaw" was beer in the factory buffet. I was sitting next to Tamaz Meliava, the most talented of the Vgikov Georgian diaspora, a reveler, a glutton, and a legendary wit who had passed away untimely. Irritation was growing in the hall. Tamaz and I looked at each other, I jumped out onto the podium. I was choked with rage.
- What are you talking about?! We have nowhere to shoot! We don't have a training studio! After being defended, at best, they take us as assistants, or even just by death!
Tamaz followed me onto the podium:
- You are adults. Half of you have passed the front! Stop being silent! He snapped. - I propose to write a letter to Khrushchev from the general meeting of VGIK.
“Better a telegram,” I added.
Tamaz immediately drew up the text of the telegram, where, in particular, were the following words: “Dear Nikita Sergeevich! There will not be any 120 films you are planning, because the Institute of Cinematography in its current state cannot prepare a sufficient number of qualified specialists ... "
After deafening furious disputes, a representative delegation was chosen, which included Tamaz and I as initiators, students of the directing department Yura and Renita Grigoriev, Larisa Shepitko, graduate director Yura Kavtaradze, the camera department was represented by Alexander Chechulin and German Lavrov, actors - Rufina Nifontova and Izoldaontova Izvitskaya ...

Poloka G. Telegram to Khrushchev saved VGIK // Izvestia. 2010.15 July.
https://chapaev.media/articles/3388

给赫鲁晓夫发电报的这群青年学生代表里不仅有#拉丽萨·舍皮齐科 ，还有#格尔曼·拉夫罗夫 和伊佐尔达·伊兹维茨卡娅（《第四十一》女主演）……

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

1961
Honored Artist of the RSFSR.
Leonid Kosmatov
“The Birth of an Artist” ...

Soviet long ago conquered respect and recognition in our country and far beyond the borders of our country.
The names of E. Tisse, A. Golovnya, S. Urusevsky, A. Moskvin, B. Volchek and young masters like V. Monakhov, Rudzitis and many others, when analyzing films, are usually not separated from the directors, directors of those films that they have shot.
The continuous growth of film production, in a number of Soviet cinematographers, is nominating ever new talented masters, trained by the cinematography department of the All-Russian State Institute of Cinematography.
More recently, V. Derbenev joined the family of the best cameramen-artists, who from film to film shows (_) creative growth, improves his skills.
But we have witnessed the emergence of a new beginner, but undoubtedly gifted artist - cameraman German Lavrov.
The debut of the cameraman G. Lavrov was the film "10 Steps to the West"(* Ten Steps to the East), which turned out to be a weak film, despite the excellent pictorial side, is the art of German Lavrov.
Indeed, for the cameraman, as an artist, his art in a feature film is not isolated, as is the case in others, for example, the fine arts:

https://goskatalog.ru/portal/#/collections?id=19106258

#格尔曼·拉夫罗夫

- What's going to happen next, anyway? <...> The main thing depends on what kind of people will be in this film. Yes, there was "Ten Steps to the East", but now I want to make an eleventh - to a human being. With "Nine Days of One Year", I just started thinking about it. How to shoot, in which direction to search for the only task: to reveal the deep and complex world of a person's feelings and thoughts - these are the most important things for me, the most interesting.

#格尔曼·拉夫罗夫 #一年中的九天

电影艺术的青春是否存在呢？当然存在，而我在自己的工作中也竭力争取变得年轻。我始终是我自己，有一次别人对我说：在《一年中的九天》中我们毕竟还是认出了罗姆。是啊，这是不可避免的！我喜欢摆脱掉琐琐碎碎的生活细节的干净利落的画面。我找到了一位也喜欢干净利落的画面、喜欢把局部现象仿佛透过放大镜来进行观察的摄影师。我喜欢全神贯注地注视演员。我对过去拍摄的作品中的许多东西进行了重新审查，但这样做不是因为要想模仿年轻人——这是无谓的事情——而是因为我想要在影片中表达的东西要求新的表现手法。要谈论时代精神，就要重新考虑许多东西。
（茹辛译自1962年9月27日苏联《苏维埃文化报》）

《苏联电影文集 第2辑》

#米哈伊尔·罗姆 #一年中的九天 #格尔曼·拉夫罗夫

Например, Герман Лавров, блистательный оператор, после «Девяти дней одного года» имел много заманчивых предложений, но пошел на неблагодарную, с операторской точки зрения, документальную картину, на 90 процентов состоящую из архивного материала. Пошел, потому что это был фильм Ромма! Лавров был человек тонкий, интеллигентный, скромный. Во время съемок «И все-таки я верю», которые возобновились после смерти Ромма, он перенес инфаркт. Последние годы жизни серьезно болел. И о нем все забыли. Как будто его не было. Когда его хоронили, пришли пять человек. Пять человек!

https://old.kinoart.ru/archive/2003/12/n12-article15

#格尔曼·拉夫罗夫 #鲍里斯·文格罗夫斯基

“采访法国学童们”的片段是在巴黎圣丹尼斯区拍摄的。大声喧哗的学童们冲出了学校大门，填满了整个画面。罗姆向他们提出了一些简单的问题并得到了令人惊讶的回答。这原应是电影的开头。我们在大街上、在书市里、在咖啡馆里拍摄……主要是青年们。拍摄非常困难。在1968年的青年运动 之后，学生们不愿意入镜。事实上，通过法国电视台的镜头，许多被辨认出身份的学生受到了迫害。大学行政部门就此向我们发出警告。在我们抵达的一周前，来自南泰尔文学院（索邦大学的分支）砸碎了电视台的设备，并把员工们赶出了大楼。但是罗姆决定拍摄。我们到达了南泰尔。走廊及大厅的墙壁是层层粉刷过的。行政部门解释道，没有必要为装修花费：首先，这毫无意义；其次，这种壁画流派可以启迪后人。在门厅里一堆无用的海报变成了小型火堆，一只狗跑过现场，而男女学生们都靠在墙边坐着（我们拍摄了这部分）。某张巨大而崭新的海报是《罢工》——爱森斯坦的电影。罗姆决定在学生面前发言，用以解释我们是谁，我们正在制作什么样的电影，并回答那些不可避免的问题。米哈伊尔·伊里奇拥有掌控任何听众的个人本领，在南泰尔也同样见效。

#米哈伊尔·罗姆 #我仍然相信 #格尔曼·拉夫罗夫

我们首先挑选М.И.罗姆在一次有关他的最后一部影片（即《我仍然相信》）的讲座中的一段话：“不久前我的同行拉甫罗夫和小兹古里奇让我看到了银幕上一个非常迷人的十八岁左右的姑娘，她的美丽非笔墨所能形容。她在马雅科夫斯基广场的过道上等着一位年青人。她手里拿着一卷纸，什么也不干，什么也不说，就这样等着。我曾想把这个镜头缩短两倍，但最后确信不能这样做，应该保留它原来的长度，因为这是个绝无仅有的镜头，只要能为它找到一个位置。例如，在节日的广场上，密密麻麻的游行人群散去之后，这个镜头可以作为极精彩的停顿，而在另外一些场合则只能造成枯燥感。这样的东西应该爱惜，而且不仅仅在你感觉到恰恰是适合使用长镜头的时候。”

L.科兹洛夫《电影表现力的演变》

#米哈伊尔·罗姆 选集第三卷（1982）
#格尔曼·拉夫罗夫 #我仍然相信

我很幸运，我能够认识米哈伊尔·伊里奇·罗姆。这就是喜悦。幸福不会离开，也终将不会消失。幸福于此时与我同在，并将永远与我同在，更不仅仅是与我同在。罗姆慷慨地把它赠予了很多人，最重要的是，赠予了上百万的观众。这就是他的一生。

#格尔曼·拉夫罗夫 #米哈伊尔·罗姆

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

This work of Marlen Khutsiev with cameraman German Lavrov can be called a happy community of like-minded people.

#马尔连·胡齐耶夫 #格尔曼·拉夫罗夫 是这样吗？

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

It would be difficult to overestimate the importance of the fact that instead of B. Volchek, Romm's permanent cameraman, this time his film was directed by the young G. Lavrov. It is under his hand that the balanced and somewhat closed white Rommov shots have been replaced by unstable, alarming, although still unusually sharp and contrasting compositions. Violated in at least one thing, the complex and orderly director's system began to change rapidly. The changes that began with drama captured absolutely all elements of the picture.

For example, at one of the climaxing dramatic moments of the film, when the already terminally ill Gusev gets out of bed and goes to the laboratory, instead of a face distorted by suffering (which would be easier to assume), a general plan appears on the screen: the figure of a man walking with a firm step by endless white wall.

Neya Zorkaya about the work of Mikhail Romm
https://chapaev.media/articles/5121

#米哈伊尔·罗姆 #格尔曼·拉夫罗夫 #一年中的九天