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

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。

- Next. The film "Lady with the Little Dog" is 45 years old. In my opinion, it's the most successful film adaptation of Chekhov in world cinema.
- After that, it was very difficult for me to work with anyone else. Heifetz spoiled me a lot. For two years I sat next to him day and night, read all Chekhov's notes, knew, it seems, everything. Told Heifetz how I see the picture, Gurov. He was interested, he listened. If he didn't agree, he let himself be persuaded. As a result, we began to understand everything in exactly the same way, and that was a tremendous blessing. He believed me when I brought him Iya Savvina, non-professional actress, a student of journalism at Moscow State University. I saw her in amateur theater, no one known, and convinced Heifetz that this is the same heroine. I was lucky to work with wonderful people. Mikhail Romm was an amazing man!

- They say he didn't want you for the role of physicist Gusev in "Nine Days of One Year".
- I didn't know that. I was in hospital then. But then I got a letter from Romm, and I came for an audition. Romm promised the doctors that he wouldn't make me work more than a few hours a day. He said that he would take long breaks. And, by the way, he kept his promise. When we were shooting, Romm kept scolding me for not being interested in nuclear physics. It annoyed him a lot. He knew it himself, that's why all the physicists and academicians adored him. By the way, he was also a sculptor and drew well.
https://www.ng.ru/culture/2009-08-25/6_batalov.html

#阿列克谢·巴塔洛夫 #米哈伊尔·罗姆 #一年中的九天
巴塔洛夫那时候还患有眼疾，因此剧组特意订购了一种特殊胶片。

不过，米哈伊尔·伊里奇越没有迁怒巴塔洛夫，我就越希望饰演古谢夫的演员是原定的瓦连京·祖布科夫……
这怪不了达尼尔·赫拉布罗维茨基（充其量那封信是达尼亚以米哈伊尔·伊里奇的名义写的），毕竟最终拍板做出更换演员决定的人是罗大米。

ВНОВЬ ВЫХОДИТ НА ЭКРАНЫ
ТРИНАДЦАТЬ
снова на экране «Тринадцать» - одна из из самых любимых картин тридцатых годов. Она и сейчас звучит молодо и интересно. Это - драматическая поэма о мужестве и героизме горстки советских людей, вступивших в неравный бой в кара- кумских песках с многочисленной бандой басмачей и ценою жизней товарищей победивших врага.
- Я хотел, -- писал в то время постановщик фильма Михаил Ромм, - создать образ коллектива и связать людей в картине единой по своему стилю трактовкой - выразить их суровую красоту.
Четверть века назад казалось, что фильм «Тринадцать» говорит о прошлом. Но говорил он о будущем, о том, что случилось несколько лет спустя. Мы видим на экране подвиг тринадцати и думаем о героях Бреста, гвардейцах-панфиловцах, защитниках Севастополя и Одессы. Великая правда фильма - правда советского патриотизма. И в ней секрет его долголетия.

#苏联笑话 #米哈伊尔·罗姆

Советский экран - 1964-02 04

III ТВОРЧЕСКОЕ ОБЪЕДИНЕНИЕ
М. Ромм, художественный руководитель

В 1964 году в нашем объединении должно быть много интересного: начато и задумано несколько очень значительных работ.
Уверен, что своеобразней- шим талантом режиссера M. Калатозова и оператора C. Урусевского будет отмечен фильм «Я - Куба!» (по сценарию Е. Евтушенко и Э. Барнета). Съемки его скоро закончатся.
Прекрасный, умный сценарий, полный юмора написали Ю. Дунский и В. Фрид. Фильм «Жили-были старик со старухой…», который поставит по этому сценарию Г. Чухрай, мне кажется, займет достойное место в ряду лучших его картин.
B 1964 году закончат свои фильмы режиссеры нашего объединения - В. Ордынский, Де Сантис, приступят к съемкам Ю. Райзман, М. Швейцер. Начну новую картину и я. Она будет посвящена борьбе фашизмом.
Несколько слов об историко- революционной теме в нашем объединении, Одной из значительных работ обещает стать «Сын коммуниста» Ю. Райзмана. Уже само название картины говорит о преемственной связи поколений: герой фильма - руководитель одной из строек семилетки, сын великолепного человека, о котором рассказал режиссер в «Коммунисте».
50-летию советской власти мы думаем также поставить фильм по сценарию К. Симонова и С. Самсонова «Поэма Енисее». Эпический размах, героические образы этого произведения воплотят черты нашего замечательного времени.
(окончание см. стр. 20)

#苏联银幕 #米哈伊尔·罗姆

克:坦白地说, 我们这一代电影学院毕业生对《一年中的九天》持相当批判的态度。起初, 在开拍之前很久, 罗姆就给我们朗读了剧本, 他坐在台上从头到尾读完。他希望知道我们的反应 。我们却很胆怯, 不敢发表意见 。我当时坐在第三排或是第四排, 清楚地看见罗姆的眼神:他望着我们, 期待着……有一个人说 :“或许, 在表现物理学家的那段戏里, 应该表现一点农村的故事 。”又有一个人提到斯莫克图诺夫斯基后来扮演的那个角色, 说:“这人看起来有点玩世不恭 。”罗姆说 :“不, 不是玩世不恭 。我是按照爱森斯坦的某些说话习惯来创造这个角色的。他说话时做出一副像是在开玩笑的样子, 但其实是很认真的。”事情就此结束, 真正的讨论根本没有展开 。他希望听到我们的意见, 我们却到底也没明白他这个剧本究竟要表现什么。
后来他拍完了片子, 放给我们看 。看完影片一片沉默 。最后终于有人说 :“有几场戏很有意思, 斯莫克图诺夫斯基的表演也很出色 ……成功的地方也不少……但整部影片却很生硬、牵强 。”这就是电影学院的反应。尽管对于罗姆来说, 这确实是前进了一步 。而在我们看来, 却是很不够的。

#纳乌姆·克莱依曼 《苏联电影史再读解（下）》
#米哈伊尔·罗姆 #一年中的九天

#谢尔盖·林科夫 关于#米哈伊尔·罗姆 ：
He never complained, never allowed himself to be inactive. But occasionally something unusual began to appear in his ovation. Mikhail Ilyich is frozen at the window of the assembly room. Behind the glass - cold autumn rain. Without turning around, calmly: "There are only old people and cats in the street.

Мой режиссер Ромм [Сборник] 1993 - Линков, Сергей Яковлевич. Предчувствие удачи

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

- 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

- Andrei Tarkovsky's name just came up in our conversation. How did you feel about everything that happened to him? No offense, but I'm asking this of an artist who was raised by a certain system, a Soviet one, as it were...
- I probably won't be able to answer that question for you. What does Soviet, not Soviet, mean? When I hear things like this, I'm not offended: there are generic stains, where can you get rid of them? But all these conversations in kitchens, sharp, critical ones, were not coincidental. Or my arguments, say, with my father about the system. In fact, this is a family matter, you can argue, quarrel in the family, but when an outsider allows something - all unite. It's no accident that I remembered VGIK with its relative freedom. After all, when you hear some sharp words for the first time, it's like losing your virginity. I once witnessed a student-director argument, and how old was I? I was only 16, a dark man in that sense. The argument was fierce, and all of a sudden I heard: you're not a Soviet man! And suddenly in response: yes, I am not a Soviet person. Imagine what it was like for the year 58. There were rumors back then that one of the students had fled to America almost through Alaska, such rumors were circulating... Besides, of course Mikhail Romm was a Soviet man, but he was a Soviet man who wanted to be like him. I do not know what his life was like, what compromises he had to make. I saw him in the last years of his life. And he was the highest example of morality, which, by the way, everyone felt later on. I remember what grief there was at the news of his death, what words people spoke then.

http://viperson.ru/articles/byl-arlekinom-segodnya-piero

#米哈伊尔·罗姆 #伊戈尔·亚苏洛维奇

“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

终于找到了一张米哈伊尔·伊里奇和科沙的合照，乌拉！

#因诺肯季·斯莫克图诺夫斯基
#米哈伊尔·罗姆
#一年中的九天

Понимаете? Когда встречаешь на жизненном пути такого человека, как Ромм, то думаешь, что надо становиться человеком и тебе. После встречи с Роммом я многое пересмотрел в жизни. И я благодарен ему, что он потом пригласил меня в свой фильм «Девять дней одного года» и мы стали дружны.

#因诺肯季·斯莫克图诺夫斯基 谈及#米哈伊尔·罗姆

http://www.kinozapiski.ru/ru/article/sendvalues/404/

The law of cinematic responsibility states: no matter what happens in the picture, the director is always to blame. All the thorns are his fault. True, he also gets the laurels - even a whole broom of laurels - but that's only for later.

Закон кинематографической ответственности гласит: что бы ни случилось в картине, виноват всегда режиссер. Ему все тернии. Правда, ему же и лавры, — хоть целый веник лавров, — но это уже потом.

#米哈伊尔·罗姆 选集二“普通法西斯”

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

Shchedrin's Misters from Tashkent has a saying that is of direct relevance to our profession as film directors. He writes: "Very often we pass, hear, look, and do not think much about what we pass by, what we hear, what we look at. Most of the time, concreteness strikes our senses more automatically than consciously, and therefore phenomena, questionable to say the least, seem unusual...".

This reasoning of Shchedrin seems to me to be worthy of attention.

#米哈伊尔·罗姆 的第一册选集在“导演技能问题”（Вопросы режиссерского мастерства）的章节中引用了#萨尔蒂科夫_谢德林 的《塔什干的老爷们》，不过恐怕没有中译。

1962年10月 #米哈伊尔·罗姆 在罗马 https://www.italynews.ru/material_342.html

米哈伊尔·伊里奇仍然很平静。他用一个手势比划着，叫我耐心等待：我们没办法说出来，但他们总是要有停顿和休息的……他们会疲惫的……他朝那些制造巨大音量的工匠们点了点头……然后我们再谈。
看到我们之间的联系建立起来了，而且没有损失或者失真，他轻松地、同样也是无声地补充道：
不要郁闷。他们不会持续很久。
然后我安顿下来，开始等待。我看了看乐队的成员们。
难以置信！我们被“偷听”到了——一个年轻英俊的捷克人，是准备上场的长号手，笑着朝我们摇了摇头，表示否定：“不要等了，他们说，这不会发生的！”他用和罗姆一样的哑剧方式道歉之后，还肆无忌惮地舔了舔嘴唇，把乐器的嘴巴对准了我们这一桌，灌了一大串刺耳的颤音。我们缩在椅子里，大笑起来。

#因诺肯季·斯莫克图诺夫斯基 #米哈伊尔·罗姆

这是可爱三次方吧！真想请画手绘制这幅搞笑场面> <

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