I go over Danelia's colleagues in the Russian cinema in my mind and I don't see anyone whose style would be as related to him as the works of the Italian master are related to him. However, maybe I just failed to grasp some more subtle connections?
— I like the works of Gleb Panfilov. I consider him to be a very talented person.
— But, in my opinion, he is much sharper. Tougher. What is the breadth of attachments?
— No, I'm very narrow. Tolerance, alas, is not my virtue. I take everything emotionally. Either I'm tuning in to the artist's wave, or I'm bored with him. Of course, I also have estimates based on analysis, but they are not so stable... Intellectually, I understand the virtues of many "dissidents," but emotionally I still do not perceive them...
We are talking about some famous masters — Danelia asks not to name them, and I see that many of our points of view do not coincide. And most importantly, it's hard to understand why you can't combine love for them and love for, say, Jermie.. It is quite obvious that in this case the critic and the director think differently. Maybe their professions require a different balance of thought and feeling? However, to say that a critic is broader, and this is better than a director who thinks already, is absurd. But, in my opinion, it is more natural for a director to be "narrow" than for a critic, an "outsider appraiser": to cherish and crystallize his own, different from others, system of views on things, his system of values. Then he is a Creative Individual. However, this, apparently, cannot be brought up and is difficult to cultivate. You have to be born with it.
It just seems to me that Danelia is incriminating herself when she reduces the role of the rational principle in her work. There is a certain game in this: "I have not created my own theories, I do not know how, but I do not agree with other people's theories." It is good, however, that the playful coquetry of intuitionism is not combined in it with hostility to the rationalism of creative antipodes. He respects analysis, uses it himself — his range of interests is wider than his own creative predilections. And yet, who does he work with in the cinema — with "prose writers" or "poets", "romantics" or "everyday people"?
— I don't take this division well. I know it's conditional. And I think it's better not to belong to any group. However, I would like to defend the concept of "everyday person" if anyone puts an ironic meaning into it.
In our cinema, there are a number of paintings that somehow systematically fall out of all the various "clips". There are heroic, historical and revolutionary films dedicated to the working class, biographical - all these are important areas in which a lot of success has been achieved. There are less successful "categories" — say, comedies or adventure films, but they are also remembered, at least for the purpose of criticism. But from all the reviews, reports, and journal articles, modest "everyday" tapes fall out. How many people know about the painting "Mama got Married" by Leningrad artists Klepikov and Melnikov? Without pedaling, with humor, and rich in good acting, the film tells a life story that excites me. I am convinced that a story about how a person lives in a family, how he treats his son, how he eats lunch, and what he talks about with his wife cannot be "shallow"... It's important what the thought behind it is. And there may be failures, but is any movie epic guaranteed success just because of its scope? Experience shows* that the viewer loves the "family and household" genre. And it would be simply unwise not to use this attraction for the "education of feelings," which is the purpose of art.
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