Viburnum red characterization of heroes. Red viburnum. The blows of Prokudin’s tarpaulin boots on the wooden walkways are loudly and continuously heard when he leaves prison to freedom, but here he is, almost inaudibly, but in the same rhythm, walking across the arable land from freedom to his own.

The film story “Kalina Krasnaya” was written in 1973 and published in the magazine “Our Contemporary” No. 4. The work was conceived immediately for filming, the film was released in April 1974. Shukshin wrote the story in the hospital. According to his wife, Lydia Fedoseeva-Shukshina, Shukshin cried over the ending of the story.

Fedoseeva-Shukshina played the role of Lyuba in the film, and Shukshin played the role of Yegor. Shukshina recalled that she herself sang the song “Kalina Krasnaya,” which became the title of the story, to her future husband on the day they met.

Filming took place in Altai, Shukshin’s homeland. The hero's mother was played by peasant woman Efimiya Bystrova, who did not even know that she was being filmed, but simply told Fedoseeva-Shukshina about her sons, whose fate was similar to that described in the story.

Genre features

“Kalina Krasnaya” is a film story, that is, a story intended for cinema, but which has not yet become a script.

Issues

The secret of the film’s extraordinary popularity is that Shukshin was able to show the essence of the Russian character. The laws of life are similar to those of thieves: mistakes are sometimes impossible to correct, they affect your whole life. Thus, the main question of the story is whether it is possible to change the past, free oneself from its influence, make amends and correct mistakes.

Other problems and questions: does money make you happy; is it worth risking life, freedom, honor for the sake of money; importance family relations; life changing love; a person's duty to his mother and relatives. Also affected current problems drunkenness and the return of a former criminal to society.

Plot and composition

The story begins with the last evening in the colony of the main character, Yegor Prokudin. The entire action of the story takes place in the spring (according to the hero, in the spring you need to sit down in order to go out in the spring).

At first, Yegor does not know where to go. But he “needs some way out,” so in the regional center he goes “to his hut,” to “his people.”

When the bandits learned that the thieving comrades had “burned out” and fled, Yegor became confident in his desire to engage in agriculture and went home, to Altai, to see a “correspondence student” - a woman with whom he had been corresponding for a year, Lyuba. From Lyuba he goes to the city, goes to a restaurant and asks the waiter to organize a “little mess” for him, to gather people “for debauchery.” After “debauchery” with strange people (elderly, ugly, unhappy), Yegor realized that he wanted to return to Lyuba.

The most powerful part of the story is Yegor’s visit to his own mother. This is a culmination, a technique of misrecognition. Egor explains to Lyuba that it is “not the time” to open up; we must at least wait for the hair to grow back.

The ending of the story is open. Petro, who intercepted the Volga with the bandits, becomes the cause of their death. Will he repeat the fate of Yegor?

Heroes of the story

Egor Prokudin, nicknamed Grief– 40-year-old repeat offender. Coming out of prison, he promises the boss to live honestly, in his understanding - to take up farming, buy a cow, because he is from the peasants.

Egor is not a primitive person at all, what one would expect from a criminal. He knows how to rise to such a height “where beautiful and empty words live.” Upon leaving prison, he quotes two poems by Yesenin at once, one of which is long, almost completely with small omissions.

Egor is not at all cowardly and is prone to adventurism. These qualities are manifested when Yegor leads the police away, thereby rescuing Guboshlep, deals with ex-husband Luby.

Yegor completely despises “stinking money” and proves this by deed, giving a chervonets to the people collected by the waiter Mikhalych for the “holiday”.

The hero constantly repeats that words are worthless. He proves everything with action: he cannot work at the beck and call of the collective farm chairman (as a driver), but he enjoys working on a tractor; he drives her drunken ex-husband away from Lyuba’s house.

Yegor has two passions: birch trees, which he admires and talks to, and a cow, which he dreams of. From childhood, Yegor remembers how cruel neighbors pierced the stomach of their cow with a pitchfork, which was walking under the neighbor’s fence.

By the end of the story, Yegor changes dramatically. The bandits note that even his gait has become labor-like, proletarian, peasant-like. His death is the death of a peasant lying “in his native steppe, close to home.”

Lyuba (Baikalova Lyubov Fedorovna)- “correspondence student” with whom Egor corresponded. Yegor shows Lyuba’s photograph to the prison warden. She has a trusting, “sweet, simple Russian face.” Yegor calls her a Siberian pancake, a rich darling. At first, he does not feel tenderness for her, but shows hidden aggression, intending to eat her, “tear her and gobble her up.” When Yegor saw her, arriving in the village of Yasnoye, he realized that she was a beauty. Folklore associations come to Egor’s mind: clear dawn, Kolobok, Little Red Riding Hood.

Lyuba kicked out her husband because he was a drunkard. Having learned that Yegor called himself an accountant, Lyuba directly says that she does not believe him. She wrote to his boss and knows that Yegor is a thief.

When Yegor goes to the city, Lyuba does not stop him, she only says that she will be sorry if Yegor does not return. Lyuba teaches Yegor to listen to his soul. She is surprised that she has become attached to him in a day, and her soul hurts as if she had known him for a century. She talks about Yegor and his mother, whom she just recognized, pressing Yegor’s head to her chest: “Why are you so dear?”

Old Baikalovs

Lyuba’s parents are ready to do anything for their daughter’s happiness. They agree among themselves that they will greet Yegor “like a human being,” even if they have to lay down their lives. Grandfather immediately puts Yegor in his place and, like Lyuba, says that he does not believe in Yegor’s accounting story. He immediately guesses that Yegor was imprisoned for theft or fighting.

Grandfather is an “eternal Stakhanovite” with 18 certificates of commendation. In the future, the old man takes Yegor’s side and claims that now we just have to wait to see what kind of person he will turn out to be. At night, the old mother jealously makes sure that Yegor does not approach Lyuba or steal anything.

Lyuba's brother Petro- “a healthy man, gloomy, all in his own thoughts.” He's the same open man, like all of Lyuba’s relatives: he quickly forgives Yegor, who accidentally doused him with boiling water.

Egor's bandit company

Lucien is opposed to Lyuba. She is artificiality and bravado, Lyuba is naturalness and harmony. Distinctive feature leader Guboshlep - anger. Shukshin compares him to a knife, he is “strange in his youthful uselessness”, he was all lost in his eyes burning with anger.

Stylistic features

Songs and poetry are very important in the story. Shukshin counted on the fact that readers (viewers) were educated enough to find out poetic texts and remember them entirely. For example, a line from Yesenin’s poem “My blue May! June is blue!”, which Yegor reads to a random old woman, is a quote from the poem “They drink here again, fight and cry.”

It is dedicated to the “lost spree” of those who took a dubious path, such as Yegor.

And the poem that Yegor reads to the Volga driver almost in its entirety is Yesenin’s poem “The Mysterious World, My Ancient World,” which is dedicated to the dying of a village, constrained by civilization, along with all its spiritual sources. This poem prophesies the death of Yegor.

The song “Kalina Krasnaya” is heard for the first time among thieves. This is a song of expectation and hope. Viburnum is a symbol of bitter love and prematurely shed blood.

The second time the red viburnum motif and the song appear at the moment when Yegor is in danger: one of the bandits, introducing himself as Shura, comes to return him to his “family.” For Yegor, this is a song of expectation, anticipation and victory. He sings it together with Lyuba.

The colors of the story are symbolic. These are white birches, black earth and red viburnum, which in the end turns into blood from Yegor’s wound, staining the trunks of white birches.

The work is one of the most colorful in the writer’s work and tells about the life of ordinary village people with their original and incredibly complex destinies.

The main character of the story is Yegor Prokudin, presented by the writer in the image of a repeat offender thief released from prison, characteristic features which depicts his inner mental strength, love for native land And honest attitude to a woman.

The storyline of the work tells about the decision made by the main character to start new life, not related to his criminal past. Egor comes to a small village to visit Lyuba Baikalova, a woman whom he meets through correspondence while in the colony.

Lyuba is a bright, kind, conscientious person who wholeheartedly accepts the former criminal and sincerely hopes for his further correction. The writer portrays the heroine as a typical representative of Russian women, distinctive national trait which are feelings of compassion and pity.

The woman accepts Yegor into her family, consisting of elderly parents and brother Peter and his family living in a neighboring hut, and also helps in finding employment on a rural collective farm. The image of Peter in the story is presented as a real Russian peasant, taciturn, thorough in business, and fair.

However, the beginning of a correct, full and calm life is disrupted by the arrival of Yegor’s former accomplices in thieves’ cases, which ended in the tragic death of the main character, since the criminals do not forgive Prokudin’s decision to leave the gangster life.

A distinctive feature of the story is the image of nature, which is presented as an integral element of the narrative, confirmed by the title of the work, symbolizing the bright red color of the viburnum as a premonition of a close and inevitable ending. Revealing the image of Yegor Prokudin, the writer throughout the narrative uses a description of nature in the form of spring air on the day of his liberation, which turned his head, young birch trees personifying his homeland, the juicy aroma of the earth at the moment of plowing it, which makes Yegor indulge in childhood memories.

Despite the drama of the story, which consists in tragic fate main character, the work, having a sad, lyrical tone, is filled with the author’s faith in a Russian person who is distinguished true patriotism, love for native places, an unhardened, kindly soul, striving for rural foundations and life according to human laws in accordance with conscience.

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The release of the film "Kalina Krasnaya" caused a number of complications. The resulting general creative and human overstrain of Vasily Makarovich affected his health, and at the beginning of 1974 he again found himself in the hospital.

Each hospital is, among other things, also a warning, advice that you need to be careful, to change the rhythm of life in some way. However, Shukshin could not sit idle.

Everyone who wrote and spoke about the work of Vasily Shukshin could not help but mention his almost incredible versatility without surprise and some feeling of confusion.

After all, Shukshin the cinematographer organically penetrates Shukshin the writer, his prose is visible, his film is literary in in the best sense words, he cannot be perceived “in sections,” and so, reading his books, we see the author on the screen, and looking at the screen, we remember his prose.

This fusion of the most diverse qualities and talents not only into a whole, but also into a very definite, completely complete one, still delights and surprises us today, and will always delight and surprise us.

Shukshin belonged to Russian art in that tradition, due to which the artist not only humiliated himself, but did not notice himself in the face of the problem that he raised in his work, in the face of the object that became for him the subject of art.

Shukshin was not only uncharacteristic of, but also contraindicated in, any demonstration of himself, any indication of himself, although he had something to demonstrate to anyone. It was this shyness about himself that made him unforgettable to others.

Analysis of the selected work (the story "Kalina Krasnaya")

One can say about Shukshin’s work - to live among people, incidents, impressions, each of which requires its own, and rightful place in art, each, pushing away everything else, breaks through you onto paper, onto the stage, onto the screen, urgently demanding and complaining - this is very difficult.

Here we remember V. Shukshin’s film story “Kalina Krasnaya,” written in 1973. The main character is Yegor Prokudin. Yegor is inconsistent: sometimes he is touchingly lyrical and hugs one birch tree after another, sometimes he is rude, sometimes he is a ruffian and a drunkard, a lover of drinking, sometimes he is a good-natured person, sometimes he is a bandit. And now some critics were very confused by this inconsistency, and they took it for a lack of character and “truth of life.”

Criticism did not immediately notice that, perhaps, no one had been able to create such a way of life until now - not a single writer, not a single director, not a single actor, but Shukshin succeeded because he, Shukshin, piercingly saw the people around him, their destinies, their life's vicissitudes, because he is a writer, a director, and an actor all rolled into one.

Prokudin's inconsistency is not at all so simple, spontaneous and unconditioned; it is by no means an empty place or a lack of character.

Prokudin is consistently inconsistent, and this is something else. This is already logic. His logic is not our logic, it cannot, and probably should not be accepted and shared by us, but this does not mean at all that it does not exist, that it is not able to open up to us and be understood by us.

Not quickly and not quietly, but with an even step, Yegor moves across the arable land he has just plowed towards his death.

He goes, knowing where he is going.

He goes, first sending away his henchman to plow, so that he would not be a witness to what is now inevitably going to happen, so that the person who was in no way involved in Prokudin’s fate would not be in any danger, some kind of trouble as a witness.

The blows of Prokudin’s tarpaulin boots on the wooden walkways are loudly and continuously heard when he leaves prison to freedom, but now he almost inaudibly, but in the same rhythm, walks across the arable land from freedom to his death, and the circle closes, and everything becomes clear to us.

But then we understand that this is the only way this person should have acted - all his previous inconsistency spoke about this.

Prokudin neither pity, nor love, nor patronage, nor help - he would not accept anything from us, but he needs our understanding. It is necessary in its own way - after all, he resists this understanding all the time, it is not for nothing that he was so inconsistent and threw out his knees, but all this is because he needed our understanding.

And then you involuntarily begin to think that Prokudin gives us an understanding not only of himself, but also of his artist - Vasily Shukshin.

Time is ticking. Those born in the year of Shukshin’s death are becoming his readers today. For them, he involuntarily is the name of the classical series. But the years that passed after his death did not lose at all their sought-after meaning, the words that he wrote with capital letters. People, Truth, living Life. Every word is a reflection of Shukshin’s soul, his life position- never give up, never bend under the weight of life, but, on the contrary, fight for your place in the sun.

Moor Elizabeth

Commentary on the film by V.M. Shukshina "Kalina red"

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Commentary on the film by V.M. Shukshina "Kalina red"

The “healing” power of cinema.

“Kalina Krasnaya” is not just a film, it is soaring art, where V.M. Shukshin the cinematographer organically penetrates V.M. Shukshin the writer, where the prose is visible and the film is literary; reading his book, we see the author on the screen, and looking at the screen, we remember his prose.

For a better understanding of the work of V.M. Shukshin, I explored the interpenetration of cinema into the film story and prose work into the film “Kalina Krasnaya”.

“Kalina Krasnaya” is the pinnacle achievement of the mature V.M. Shukshin, the work is deep and humane. The film story was published in the magazine “Our Contemporary” (1973, No. 4). The film was shot in the same 1973. Director and screenwriter of the film V.M. Shukshin, cameraman A. Zabolotsky, artist I. Novoderezhkin, composer P. Chekalov. The premiere took place in February 1974. At the VII All-Union Film Festival in Baku, “Kalina Krasnaya” was awarded the main prize.

In the film story by V.M. Shukshin laid down unusually important themes that were developed and completed in the film. It raises the question of human responsibility for choice life path, showing the moral shock of the main character Yegor Prokudin, a former criminal, a thief, moving away from his past through doubts and torment. Yegor Prokudin is a lonely man with a restless soul and unspent generosity of heart; courage, dignity, talent and secrecy, cruelty, and buffoonery are intertwined in him. V.M. Shukshin sees in his hero the traits of a strong, good person, despite his past, which destroyed and changed much in his soul. Before us passes a panorama of the hero’s life with a series of attempts to create fate. The saturation of this life with events allows the hero to say about himself: “I live, by God, on the run”... And this haste of the hero is caused primarily by attempts to resolve many issues of human existence.

During the filming, some circumstances of the action, individual lines and even entire scenes changed, some characters were introduced and, conversely, others disappeared.

I paid attention to those episodes of the film that cause incredible tension and penetrate into the very soul of the viewer V.M. Shukshina.

This is how one of the initial episodes in the film story is presented:

“And here it is - will!

This means that the door slammed behind Yegor, and he found himself on the street of a small village. He took a deep breath of spring air, closed his eyes and shook his head. He walked a little and leaned against the fence. An old woman with a purse walked past and stopped.

Are you feeling bad?

“I feel good, mother,” said Yegor. - It’s good that I sat down in the spring. You should always plant in the spring.

Where to sit? – the old lady did not understand.

To prison."

In this scene one can see Shukshin’s irrepressible humor; through laughter he talks about important things. It seems that the scene does not need any adjustments, it just begs to be shown on the screen. But in the film V.M. Shukshin showed the first moments of Yegor’s will in a completely different way.

...The iron doors rattle, letting out the shorn Egor. And we see the young, slightly surprised faces of the guard soldiers, we see the centuries-old, strong walls growing out of the lake water, the blinding light of the strong northern sun. Egor closes his eyes for a second from this unbearable light, and soon, without looking back, he steps forward to a new life.

Tarpaulin boots hit the flooring evenly and loudly, the clicking of heels resounds loudly across the still water, but Yegor hears and sees nothing, all directed towards the treasured shore.

Here it is - will!

In the film, these first seconds of freedom - freedom after a five-year imprisonment - sounded much stronger than in prose. Comparing the scene from the film story with what we saw in the film, we understand why V.M. Shukshin chose to move away from the original humorous tones to the harsh colors of genuine drama.

Egor was played by Shukshin himself: his hero at this moment is unsmiling, you can’t detect any signs of weakness in him, his step is confident and impatient...

In this rather long piece, we not only recognize the hero’s stony tenacity. We have a presentiment that this person is actually moving away from the past, his decision is irrevocable.

There are a lot of great finds and well-conceived scenes in this film.

The scene of Yegor Prokudin's meeting with his mother, who did not recognize him, is one of the most powerful dramatic episodes of the film. With amazing power V.M. Shukshin played later repentance Yegor is that he hasn’t visited for so long my own mother. The tension in this scene reaches its highest point, then finding an outlet in Yegor’s desperately frantic confession, when he, no longer able to control himself, jumps out of the sharply braked car and, shuddering with sobs, falls face down on a hillock into the grass. He beats his hands on the ground, screams in an unrecognizably changed voice, and Zabolotsky’s camera, slightly rising above this repentant “ prodigal son", includes in the frame an overgrown rural churchyard, someone's unmarked grave, as dilapidated as Yegor's old mother. The recordings of Fomin, who was on the set of “Kalina Krasnaya” in 1973, have been preserved: “When they filmed the scene of Yegor’s hysteria after his return from his mother, Shukshin writhed so terribly on the ground, sobbed so sincerely and inconsolably that goosebumps appeared on the skin, and the camera, and lighting fixtures - all of this suddenly ceased to exist, disappeared somewhere. There was some kind of eerie feeling that this was not filming, not the actor Shukshin, but just some person crying, writhing in terrible agony... And, honestly, having forgotten where all this was happening, I suddenly caught myself thinking that I either want to rush to the man sobbing inconsolably on the ground, or to run away from all this horror.” However, in the film the story of grandmother Kudelikha (mother of Yegor Prokudin) in the form in which V.M. Shukshin introduced him in the film story, no. IN prose work Yegor’s mother speaks with trepidation about her children:

“One now lives with me, Nyura, and three are in the cities...

And two more? – asked Lyuba.

But they... I don’t know: are they alive, dear souls, or have they been gone for a long time,” tears dripped onto her hands, and she hastily wiped her eyes with her apron.”

The scene of Yegor Prokudin’s conversation with birch trees near the arable land is extremely touching. The chirping of birds is heard all around, the wind gently sways the bare branches of the trees, and we hear the tender words of Yegor Prokudin addressed to the birch trees:

“Oh, you are my good ones. Well? How are you here? Waiting..."

This is the third meeting of the hero with birch trees in the film story. It is difficult to understand whether he is looking for support “in the birches,” in their whiteness, or saying goodbye to them, repenting before them: “Oh, you are my good ones! And they stand there: they have shriveled to the edges and stand there. Well, are you waiting? They turned green... - He affectionately touched the birch tree.”

Another interesting episode from the film, but already absent from the film story. At the Baikalovs' table he was tipsy, but, apparently, good man, perhaps a teacher, sings folk song to the famous poems of Nekrasov (“Schoolboy”). And you can see how bitter and annoyed he is because they didn’t let him finish singing, but what a song, and what a good ending:

That nature is not mediocre,

That land has not yet perished,

What brings people out

There are so many glorious ones, you know, -

So many kind, noble,

Strong loving soul,

Among the stupid, cold

And pompous of themselves!

This song seems to emphasize a different path that Yegor Prokudin could have taken. However, once free, the hero is still rushing about, he is at a crossroads: internally, Yegor, without realizing it, is already far from Guboshlep, his comrade and “benefactor,” although he does not yet see his near future. He will have to part with illusions, understand the world that will burst into his life along with the kindness of Lyuba Baikalova who loved him. The image of Lyuba carries the theme of effective kindness, desire and ability to fight for a stumbled person. She was the only one who was able to unravel Yegor Prokudin and was able to help him find peace of mind. And Yegor finally understands how much he needs Lyuba.

"Red viburnum,

Viburnum has ripened"

often sung in film stories. This song is not in the film. But there is a static shot: a boy throws ripe viburnum berries into the water. They slowly sink and are pecked by small, nimble fish. One of each folk beliefs viburnum is a symbol of first, necessarily unhappy love. This is what the hero of the film story and film “Kalina Krasnaya” Yegor Prokudin experienced.

The song about viburnum, this old, popular and so sad song, is not in the film. A V.M. Shukshin loved it, sang it skillfully, with soul... Towards the end of the picture, in the episode with Lyuba and Peter, the hero tries to sing it, he walks along a narrow village street to the lake, where his wife is sitting on a bench, closer to the water, this is an alarming moment , the last peaceful minute, then a shot will come, death will come...

In “Kalina Krasnaya” V.M. Shukshin showed the “birth” and death of a man who walked on the edge all his life:

“... Having been hungry, having suffered in childhood, I thought that money was a holiday for the soul, but he also realized that this was not so. But he doesn’t know how and never found out.”

Thus, having analyzed episodes from the film and the film story “Kalina Krasnaya”, we were convinced that reading gives us the full depth of the work, awakens our imagination and thought, enriches feelings and speech, and the film adaptation of the work helps to appreciate both the work of the writer and creative work directors.

Moor Elizabeth

One can say about Shukshin’s work - to live among people, incidents, impressions, each of which requires its own, and rightful place in art, each, pushing away everything else, rushes through you onto paper, onto the stage, onto the screen, urgently demanding and grumbling, - it's very difficult.

Here we recall the film story by V. Shukshin “Kalina Krasnaya”, written in 1973. The main character is Yegor Prokudin. Yegor is inconsistent: sometimes he is touchingly lyrical and hugs one birch tree after another, sometimes he is rude, sometimes he is a ruffian and a drunkard, a lover of drinking, sometimes he is a good-natured man, then a bandit. And now some critics were very embarrassed by this inconsistency, and they took it for a lack of character and “truth of life.”

Criticism did not immediately notice that, perhaps, no one had been able to create such a way of life until now - not a single writer, not a single director, not a single actor, but Shukshin succeeded because he, Shukshin, piercingly saw the people around him, their destinies, their life's ups and downs, because he is a writer, a director, and an actor all rolled into one.

Prokudin's inconsistency is not at all so simple, spontaneous and unconditioned; it is by no means an empty place or a lack of character.

Prokudin is consistently inconsistent, and this is something else. This is already logic. His logic is not our logic, it cannot, and probably should not be accepted and shared by us, but this does not mean at all that it does not exist, that it is not able to open up to us and be understood by us.

Not quickly and not quietly, but with an even step, Yegor moves across the arable land he has just plowed towards his death.

He goes, knowing where he is going.

He goes, first sending away his henchman to plow, so that he would not be a witness to what is now inevitably going to happen, so that the person who was in no way involved in Prokudin’s fate would not be in any danger, some kind of trouble as a witness.

The blows of Prokudin’s tarpaulin boots on the wooden walkways are loudly and continuously heard when he leaves prison to freedom, but now he almost inaudibly, but in the same rhythm, walks across the arable land from freedom to his death, and the circle closes, and everything becomes clear to us.

But then we understand that this is the only way this person should have acted - all his previous inconsistency spoke about this.

Prokudin neither pity, nor love, nor patronage, nor help - he would not accept anything from us, but he needs our understanding. It is necessary in its own way - after all, he resists this understanding all the time, it is not for nothing that he was so inconsistent and threw out his knees, but all this is because he needed our understanding.

And then you involuntarily begin to think that Prokudin gives us an understanding not only of himself, but also of his artist - Vasily Shukshin.

Time is ticking. Those born in the year of Shukshin’s death are becoming his readers today. For them, he involuntarily is the name of the classical series. But the years that passed after his death did not lose the desired meaning of the words that he wrote with a capital letter. People, Truth, living Life. Every word is a reflection of Shukshin’s soul, his position in life - never give up, never bend under the weight of life, but, on the contrary, fight for your place in the sun.