As always, I sometimes, from fifth to tenth came to the website with the script of the film “Moscow does not believe in tears”. I thought I read. Started reading and the first page began to wonder. First, in the scenario Lyudmila speaks far more explicit language than the film. For example:
– Well, how’s your electrician? – inquired Lyudmila. – You slept with him already?
– It’s not like you think, – said Antonina.
– Clearly, – said Lyudmila. – It means that something is not right.
I imagined how it would look on screens of the Soviet Puritan cinemas in 1979, when this movie came out. Mikhail Andreyevich Suslov probably would have a heart attack, and all the movie bosses as the catapult would be demolished from their seats. But most of all I was surprised by one episode.
Remember, at the beginning of the film, the main character is Catherine with a roommate in the Dorm Lyudmila standing on the stairs of the Theatre Actor and drool coming out of their cars famous Soviet actors? So in your scenario, it turns out Lyudmila brought a friend does does not on the actors I admire and absolutely not in the Soviet. And that’s how this scene looks in the script:
Them went the two guys with open collar and sleeves rolled up white shirts.
– Hey, girls! – started one of them cheerfully.
– Stomp, stomp, drop them Lyudmila.
– Why are you so strict? – asked her in a whisper to Catherine. – Guys like anything.
– That’s it nothing, – said Lyudmila. The village, like us. Limitchik, you can see a mile away. One word – salomoni! It’s not real.
– What now? – interested in Katerina.
– I’ll show you sometime, he promised Lyudmila.
Then they were at the Argentine Embassy. Through amplifiers on the street are echoing rumbling bass.
Machine the Bolivian Ambassador to the door!
Gently rolled up, stocky, almost flattened on the ground “Ford”. From the entrance came a dark-haired gentleman with a high flexible woman in a dress of silvery brocade. And again echoing bass.
Machine naval attaché, commander… followed by a very strange, rather long name.
– Like, what’s his name? – did not understand Katerina.
– The name does not matter – waved Lyudmila. She reveled in the brilliance of Nickel on cars, jewelry for women, glittering medals on uniforms.
– This is true – suddenly said Lyudmila.
– What is real? – did not understand Katerina.
– All of it.
“I know,” agreed Catherine. – I was in the operetta went. There are exactly the uniforms and dresses were shown.
– Well, fool, you, – said Lyudmila.
And the door rolled up all the new cars in them sat men and women. Respectable men and women, some quite young, as Katerina and Lyudmila.
And immediately after a brilliant diplomatic travel we will see Katherine in the shop of the factory of metal haberdashery…
Nothing scene? Structurally, it is organized as follows:
1. The introduction, which Ludmila gives a description of “fake” and promises to explain what “the present”.
2. The main part, which shows the real Lyudmila and calls the girlfriend “stupid” because she questioned the authenticity of the “real”.
3. Contrast, which does most of the scene more vivid and percussion.
Soviet cinema is always a moral movie. The moral of this fragment? And it is very unusual. For the Soviet cinema, of course. A working girl Ludmila (she works at the bread factory), and not spoiled by “capital one”, and the most that neither is a provincial – she even calls itself the insulting nickname “limitchik” – used as “unreal” image of the same ordinary working folks, too provincial. And then calls the “real”, i.e. what we live for – foreign diplomats in elegant robes, pulls on luxury foreign cars. At the same time, she calls stupid friend who does not understand this.
And in the scene there is no moral assessment and contrasting this phrase “what a fool you are.” The idea is that this phrase, Catherine had to fend off something like: “who are you? You’re a Soviet woman! How can you insult the Soviet young workers and to admire the bourgeoisie in diamonds?”. Not so straightforward of course, but somewhere around that. Do not forget that in the film the first series takes place in the 50-ies.
It is for anyone real in the movie 50 years Lyudmila would have thrown in some proper shot. Like in the 1956 film “Different destinies” pripechatal spiritual prototype Ludmila – a bitchy tease Tanya Ogneva. And in the scenario of 1979, working girl, explicitly experiencing contempt for the working peers and admired by wealthy foreigners, shown right after the main reformatory. If someone argues with her and then apologizing. However, in the scene near the Argentine Embassy Catherine did not argue. Received a rating of “Well, fool, you,” and immediately transferred to a contrasting scene of the plant in the mud, crashing and fleeing from the plant due to the low salaries of the Adjusters. That is, – Lyudmila – “unreal.”
Not surprisingly, in the movie this scene came in a very mild form – Ludmila of course neglected workers limitchiki, but still gives the Soviet sympathies of the right people, in the face of the actors Kharitonov and Konyukhova. It’s ideologically. And clear of antisemetic to hate work and to admire the bourgeois! – Lyudmila turned into just frivolous nothing. Well, its evaluation, by the way, Catherine is digested and it comes out of “fake” entering the circle of the Soviet elite – the Director of modern plant and member of city Council. And Lucy, too, by the way, its got. Though not for long. And it’s not her fault that Sergei Gurin drunk (she fought for it). But most importantly, it has confirmed by example – you can break out of the Soviet “fake” and feel “real” foreign. And, by the way, there is the final hint that MS will not pick up after some widowed General.
In General, it is interesting sometimes to read a script of famous movies.
Here’s what’s interesting – the American Academy awarded the film “Moscow does not believe in tears” Oscar – the script they read or just watched the film? It seems to me that the script read, too.
UPD: IN connection with the attack conspiracy, and suddenly discovered a large number of “experts”, should look like the text of the script, here is a link to an archive of scripts for some famous Soviet films: http://www.screenwriter.ru/info/sov Any sane person, even skim the scripts to such films as “White sun of the desert” or “Mirror” finds that in Soviet times, the text of the scripts looked exactly as it looks like the text of the script of the film “Moscow does not believe in tears”, to which I referred. Therefore, references in the style of “this is not a real script, because it looks like something is wrong” is unjust.
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