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MOSFILM
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THE THIRD CREATIVE ASSOCIATION
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LARISA
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Film director Larisa Shepitko died
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at the 187-kilometer mark of
the Leningrad Highway in a car accident.
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She died together with her colleagues
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Volodya Chukhnov, the cameraman,
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Yuri Fomenko, the production designer,
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and three other members of her crew.
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They had just started shooting a film
based on a story by Valentin Rasputin,
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Farewell to Matyora.
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Larisa had dreamed about this work.
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She had spent her entire life
preparing for it.
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And this movie would have been
the high point of her creative career.
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Larisa Efimovna chose me
to play the role of Darya
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in her last film Matyora.
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Meeting her was a miracle for me.
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And I am happy that I had a chance
to be close to this miracle.
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Action!
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Darya, what is it?
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Pull closer.
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What will it be?
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Where will I go?
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- Why?
- Close your eyes.
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Psych yourself up.
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- The dolly!
- Panorama.
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- The dolly.
- Panorama. Panorama.
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- Stop!
- Action!
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Look at the candle.
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The feeling of guilt without being guilty
is also hard to bear.
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That is why it is so hard for me
to talk about Larisa.
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The work on my novel
Farewell to Matyora
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was, as you know, the last project
for Larisa and her colleagues.
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I remember Larisa calling me
for the first time
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during one of my visits to Moscow
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and saying cautiously
that she wanted to film Matyora.
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I went to our meeting
with two objectives in mind.
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First, I wanted to see the director,
Larisa Shepitko,
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who had literally astonished me
with her film The Ascent.
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And second, I wanted to try
and prevent Matyora from being filmed.
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I wanted to preserve Matyora in its
original genre, as a piece of prose.
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But Larisa managed to persuade me
very quickly.
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She started describing what she imagined
the future film to be like.
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And she was so passionate about it,
so interested in it,
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that I completely forgot my intention
not to let go of Matyora.
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Her zeal, passion and devotion
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already, at the start of film production,
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was what struck me then.
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I was persuaded by our spiritual kinship,
which I no longer doubted.
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I was persuaded by a creative rather than
a formal interpretation of the novel.
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This is how we came to an understanding,
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which led to the start
of the film's production.
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This is how the spirit
of the flooded Matyora was awakened,
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if we speak about it
in this mystical language.
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The spirit of Matyora —
without knowing why
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or for what purpose
it had been disturbed —
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struck back at us and took
this great, terrible toll on us.
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Mitya, antiaircraft guns!
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Mitya.
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Mitya, what's the matter?
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Mitya!
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Mitya!
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Wings is a film about people
scarred by the war,
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about wounds forever burned into memory...
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about the intolerableness
of living without wings.
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I want to make a declaration of love.
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Love is the only thing that never dies.
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There is no death.
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I may have realized for the first time...
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that, when a person is talented...
they are immortal.
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I will be proud for the rest of my life
that I worked with Larisa Shepitko.
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Remember, Nadezhda Stepanovna,
how they danced in The Great Waltz?
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I give you my word that everything,
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every single shot in my films,
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was created from my perspective
as a woman.
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I was never in the business of copying.
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I never tried to take male directors
as a model,
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because I know only too well
that any attempt
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by my female friends, my colleagues —
both junior and senior —
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to imitate male filmmakers
makes no sense
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because it's all derivative.
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But I do differentiate between films
made by women and those made by men,
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because there is no such thing
as a female cinema or a male cinema.
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There is the sentimental and the serious.
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Well, male directors are also known
to produce ladylike, sentimental films.
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A woman, while being an equal half
of what is our human nature,
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is able to share amazing things
with the world.
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Not a single man is able
to grasp certain phenomena
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in the psyche of human beings on such
a deep, intuitive level as a woman.
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Hey, look!
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Following Wings,
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Larisa made a film based on
Gennady Shpalikov's script You and Me.
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Katya!
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In this film, Larisa came close
to the central theme of her work —
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the unsparing judgment of oneself
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and the great responsibility each of us
has for the things we've done in life.
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When I was 16,
we had a family meeting.
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I was finishing school then.
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It turned out that Larisa knew
how to write a little,
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compose verses,
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to paint, to sing —
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a little bit of everything.
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But none of these abilities
were developed enough in me
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to get the nerve to apply to, say,
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an arts institute
or a literature institute.
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But all those little skills,
as one person told me,
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could be very useful
in one specific profession.
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I asked, "What profession?"
And he said, "Film director."
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I was the typical unformed child.
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Apparently, Alexander Dovzhenko,
our professor,
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decided to use me to track the development
of the human species.
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Unfortunately, my time under his guidance
was short-lived.
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He died a year and a half later.
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He was the greatest humanist
we were lucky to meet.
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I think such people
lived in the Renaissance.
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But above all else,
he was an absolute maximalist.
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You know that to live all your 60 years
staying true to your conscience,
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without betraying
any of your moral principles,
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always telling the truth
to people's faces, was very hard.
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Of course, hypocrisy, compromise,
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a wheeler-dealer mentality or crude
workmanship were out of the question.
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I don't know if I could dare
meet his glance now...
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HEAT
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...because when I grew up
to be an independent, adult person,
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I realized how hard it is
to follow these principles.
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Proclaiming them is one thing.
Living them every day is quite another.
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Because every day, every second
of our life prompts us
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to fulfill our everyday needs
by making some kind of compromise,
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maneuvering, keeping silent...
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WINGS
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...knuckling under just for now.
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One might say, well, we must be flexible.
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That's what life demands from us.
Everybody does it after all.
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But it turns out that while everyday life
seems to let us cheat for five seconds...
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YOU AND ME
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...and then make up for it,
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art punishes us for such things
in the most cruel and irreversible way.
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You can't make a film today
just for the money.
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They say to themselves,
"I'll make a second-rate film.
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I'll bend here.
I'll say something they want to hear.
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I'll try to please these people.
I will let it slide.
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I'll tell a half-truth. I won't speak up.
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THE ASCENT
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But, in the next film,
I'll make up for it.
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I'll say anything
and everything I want
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as a creative person, as an artist,
as a citizen."
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It's a lie. It's impossible.
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It's pointless to deceive yourself
with this illusion.
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Once you have stumbled,
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you will not find
the same right road again.
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You'll forget how to get there.
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Because, as it turned out, you can never
step into the same river twice.
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Larisa was born just before the war
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and, together with her family, went
through all the hardships of that time —
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bombings, hunger, hard labor.
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You can't forget such an experience.
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It burns you and stays with you forever.
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I think it was at that time
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that the invisible seeds of a future film
were planted and, many years later,
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grew to be the greatest achievement
of Larisa Shepitko as a director —
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the film The Ascent.
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If you spend your life
taking care of another person,
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then you have justified your existence.
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It's the evidence of your spiritual life.
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This blessing is not limited
to the individual,
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but is a gift to all people —
this devotion to other people.
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Some things are sacred for each of us.
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There is a clear concept
of good and evil,
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of what is right and wrong.
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There are timeless values,
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like love for the motherland.
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What is it?
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Why are we born into this world?
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What can we contribute to this world?
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How will we make life better?
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And ultimately, what am I capable of
as a person?
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What are you capable of?
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This was the last shot taken by Larisa
before her death.
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The eternal tree.
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This is a symbol of invincible character
and dignity,
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a symbol of faith in what we call life...
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that never ends and goes on forever.
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A film by
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E. KLIMOV, Yu. SKHIRTLADZE
A. RODIONOV, V. PETROV
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A. SHNITKE, E. KLAS
B. VENGEROVSKY, N. GNISYUK
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L. LUPPOV V. ZHANOV,
A. RUDACHENKO, G. KLIMOV
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V. KHOVANSKAYA, V. BELOVA
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V. PIGANOV, A. REPINA
G. SOKOLOVA
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These people shared their thoughts
about Larisa Shepitko
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Director - E. KLIMOV
Writer - V. RASPUTIN
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Actresses
S. STANYUTA, M. BULGAKOVA
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THE END