Andrzej Wajda - 'Siberian Lady Macbeth' (84/222) скачать в хорошем качестве

Andrzej Wajda - 'Siberian Lady Macbeth' (84/222)

To listen to more of Andrzej Wajda’s stories, go to the playlist:    • Andrzej Wajda (Film director)   Polish film director Andrzej Wajda (1926-2016), whose début films portrayed the horror of the German occupation of Poland, won awards at Cannes which established his reputation as storyteller and commentator on Polish history. He also served on the national Senate from 1989-91. [Listener: Jacek Petrycki] TRANSCRIPT: So I thought about finding a place for myself in a different cinematographic environment. I was already a known film director, and I was able to work abroad. But I made the wrong choice. Instead of looking for a strong cinematography which would have given me, presented me with difficult projects, I went to Yugoslavia and made 'Siberian Lady Macbeth'. Why this? It was a film that I had wanted to make in Poland but in Poland we could make everything into a film apart from Russian literature because it was totally reserved for Soviet directors. Therefore, Leskov, 'Siberian Lady Macbeth' - no, under no circumstances. Polish cinematography didn't want to agree to this, whereas in Yugoslavia at that time the Russian tradition was very strong, there was a large group of 'white' Russians who had emigrated and come to Belgrade. My set designer was one of these, Miomir Denic, he was a wonderful set designer for both theatre and film. I also met there people who understood Russian literature very well. I thought that this was a good idea and that the film would give me a lot of genuine satisfaction. As it turned out, this film also stopped somewhere in the middle. No one was to blame, it was my fault because I made a bad choice. It could have been an interesting film if the whole story written by Leskow had only been a recollection, a story told along the way travelled by the prisoners. I should have shown this journey. I could have done it because I had good extras, a good landscape, a good place. And perhaps if I'd shown that these people together with the political prisoners and this woman who had murdered her husband, the Siberian Lady Macbeth, were all walking to Siberia then this mixture would have created a completely different effect, and defined the film. As it was, the film was neither Russian nor Polish nor Yugolsav, but something that had stopped in between.