The Intercession Gate is a famous two-part feature film, shot in 1982 by Mikhail Kozakov. The plot was based on the play of the same name by Leonid Zorin about the events taking place with the residents of a communal apartment near the Pokrovsky Gate in the second half of the fifties.
The popular TV picture in 2012 celebrated its thirtieth anniversary. Thanks to the performers and vivid roles, an extraordinary atmosphere was created within the film itself.
Former spouses
All events take place in the capital of the country. Everyday life of communal life of the fifties passes before the spectator. Several notable characters happened to live in the same square. One room is occupied by Kostya, a handsome student, and his aunt. In the other, the pop artist-coupletist Velurov lives. The funny troika in the next room deserves special attention.
For a long time, two of the tenants, Margarita Pavlovna and Lev Evgenievich Hobotov, have been divorced. Esk-spouse is going to remarry. However, so far the energetic lady has not managed to get her own living space. For this reason, all participants in the "triangle" are forced to live under one roof as a single team. However, the problem is not at all that simple.
Margarita is accustomed to custody of her ex-husband. She cannot even admit the thought that Hobotov is able to solve something without her participation. Lev Evgenievich regularly tries to defend his own right to independence. However, everything turns out in real life from a talented writer is very unconvincing.
All applicants for the heart and hand of Khobotov are kicked out of the territory instantly by the efforts of the ex-wife. It is impossible even to imagine how such a confrontation could end. Viewers can predict throughout the picture. The performers of the key roles are distinguished by a special charm and character. The cast of the film is truly stellar.
The role of Lev Khobotov was brilliantly played by the actor from St. Petersburg Anatoly Ravikovich. The performer brilliantly blended into the image of the hero. The character turned out to be surprisingly touching, naive. Each shot with his participation evokes sympathy from the audience. Inna Ulyanova in the form of Margarita Pavlovna, an imperious and omniscient lady, became a real decoration of the film. Her remark “Khobotov, this is shallow!” Has turned into an aphorism. After the simply brilliant monologue addressed to the heroine Elena Koreneva, laughter involuntarily begins.
Kostik and Velurov
The main character, student Konstantin Romin or Kostik, was performed by a young actor Oleg Menshikov. Subsequently, he turned into an iconic figure for Russian cinema. It was from the "Pokrovsky Gates" that the brilliant career of the performer started.
The frivolous Kostya is almost the only one of the inhabitants of the apartment to take the side of Lev Evgenievich. It was Kostik Khobotov who in the film's finale owes his, albeit a caricature, escape with his beloved on a motorcycle.
The already matured Kostik was played by Mikhail Kozakov himself. According to his idea, the performers brought home black and white photographs. Children's and youthful photos appeared next to the names of the artists in the credits, as if forcing time to move in the opposite direction.
The image of the coupletist Velurov, created by Leonid Bronev, is very characteristic and bright. By the time of filming, the performer was already a famous artist. He played in such cult films as "Seventeen Moments of Spring", "Connoisseurs lead the investigation."
A special place in the room of the artist Mosestrada is occupied by the poster. She is wearing Velurov in a concert costume. A scarlet rose on the piano is a sign of success for him. Leonid Bronev created a talented parody of popular coupletists. However, the actor also created the image of a vain, but still charming person. The performer showed the hero's weaknesses in an extremely grotesque way. Sometimes in Veliurov, restlessness slip through with naive innocence.
Caught unawares by the love that flared up to the swimmer Svetlana, Velurov forgets the usual pathos of the verses and sings to his naiad a lyric song from the film that was popular at that time. Against the background of the confusion and loneliness of the artist who has lost all the pathos, the understanding in the eyes of the hilariously accurate Dogileva is especially noticeable.
Savva and others
Sophia Pilyavskaya became Kostik's film assistant Alisa Vitalievna. She has played many outstanding roles during her career. Among them are Countess Vronskaya from Anna Karenina and Raisa Pavlovna in We'll Live Until Monday.
Former front-line soldier, fiancé of the energetic despot Margarita - Savva Ignatievich. This image was ideally created by the actor of the Moscow Maly Theater, Viktor Bortsov. The artist himself did not take part in hostilities. But Vladimir Picek, who played the role of his front-line comrade in the film, did indeed take part in the Great Patriotic War.
The supporting characters, but no less significant, were played by Igor Dmitriev, Valentina Voilkova, Elena Koreneva. Tatiana Dogileva became the swimmer Svetlana in the film. Her cheerful and simply sparkling with fun, the heroine turned out to be very convincing. In the pool, instead of the actress, a stunt double was filmed. The artist herself performed stylish dances.
Valentina Voilkova reincarnated as Kostya's beloved Rita. Her heroine appears in the first shots. A student racing on a motorcycle sees a graceful stranger and waves his hand to her. A chance meeting with Kostik is not forgotten. He notifies everyone of the upcoming changes.
The image of a fairy mystically appears both in the night trolleybus and on the skating rink. Kostik cannot understand whether he sees a dream or a real girl. A real acquaintance takes place in the registry office during the wedding of Margarita Pavlovna and Savva Ignatievich.
Based on the play by Zorin, the name of Kostik's friend is Alevtina. The director named the heroine after the playwright's wife. Even outwardly Voilkova looked like her.
Painting creation
The role of the motorcyclist Savransky, who made real teleportation flights in the film, was played by the "biker sorcerer", stuntman and coach of the capital's motoball team Leonid Mashkov.
The ideal ensemble of artists might never appear on the screen at all. The misadventures of the film began with the director Kozakov's refusal in 1981 to shoot at the State Border. The popular artist received a hint from senior management that viewers might not see his project. After such a warning, the actor agreed to appear with Boris Stepanov. The State Film Agency was satisfied with this option, there were no obstacles to the work.
However, almost immediately after the end of the dubbing and the end of filming, Elena Koreneva went abroad. At that time, the work of emigrant performers was under special control. Due to the departure of the performer for permanent residence abroad, a picture with her participation could be banned. Fortunately, this was avoided.
They shot a film based on the play by Leonid Zorin. The playwright had previously created the work "Transit", wrote the script for "The Royal Hunt", "Law". All images of the "Pokrovskie Gates" were surprisingly close to the audience. Kozakov was one of the first directors of the work of the same name at the Theater on Malaya Bronnaya. The idea of transferring a funny tragicomedy to the television screen immediately appeared in his mind. Work began on the screenplay.
The departure of Koreneva nevertheless affected the fate of the tape. After being shown in 1983, the painting was put on the shelf for three years. Then the audience could again admire the characters they liked.
Features of the film
For all its splendor, the project did not avoid some historical mistakes. All blockheads are connected with transport. Trolleybuses appear in the frame several times, cars with license plates of a later model than the time of the film's action appear.
The unity of time and place for the production of the play has become a prerequisite. A change of scenery on the price is possible no more than three times on average. The cinema has a lot more possibilities. For this reason, the picture differs markedly from the original source. The difference is not only seen in the setting. She is visible in images.
In the speech of Savva Ignatievich, German words and expressions are constantly flickering. In the habit of Kostik the use of French phrases. However, in Zorin's play, both heroes speak like ordinary people without the habit of using foreign words.
The picture, roles and their performers have remained in the hearts of the audience for more than three decades. In each of the heroes of the film, which has become a cult, the audience finds something dear, their own. Therefore, the film is included in the golden collection of Russian cinema. She is unlikely to disappear from the screens. The merit of the work of the film crew was the vital truth inherent in the picture and ensuring its longevity.
