1.4 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 demands 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 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 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 his henchman away to plow, so that he would not be a witness to what is now inevitably going to happen, so that the person who had nothing to do with Prokudin’s fate would not face 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 would not accept pity, love, patronage, or help 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 running. 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.

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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 filmmaker organically penetrates Shukshin the writer, his prose is visible, his film is literary in the best sense of the word, it 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 demands 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 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 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 his henchman away to plow, so that he would not be a witness to what is now inevitably going to happen, so that the person who had nothing to do with Prokudin’s fate would not face 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 would not accept pity, love, patronage, or help 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 running. 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.

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; the importance of family relationships; life changing love; a person's duty to his mother and relatives. Current problems of drunkenness and the return of a former criminal to society are also touched upon.

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 was confirmed in his desire to engage in agriculture and went to his homeland, Altai, to 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 until the hair grows 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 prone to adventurism. These qualities are manifested when Yegor leads the police away, thereby rescuing Guboshlep, and deals with Lyuba’s ex-husband.

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 belly 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 welcome 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 is as open a person as 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. The distinctive feature of the leader of Lipslap is 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 hoped that readers (viewers) were educated enough to recognize poetic texts and remember them in their entirety. 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.

Have you noticed that some authors write their works so figuratively, but at the same time uncomplicatedly, that even after many years, memories of their creations pop up in your head like entire films. You imagine the hero of the story so vividly while reading that later, when you come across the film adaptation, you literally cry out: “Exactly, that’s exactly what he looks like!” This is exactly what happens while watching the film “Kalina Krasnaya” (Shukshin). A brief summary of this story may take a few minutes, but the experiences remain with us forever.

Vasily Shukshin - great tragedian

Literary critics unanimously claim that such a merging of different talents and qualities into a single whole will surprise and delight more than one generation of readers. Even despite the fact that Vasily Makarovich’s work dates back to the Soviet era. “Kalina Krasnaya” (we’ll look at a summary of the chapters a little later) is the clearest example of how the author dissolves and does not notice himself in the face of the problems that he raises for readers. Shukshin literally belonged to art.

Sometimes critics argue that Vasily Makarovich “demonstrated” himself, flaunted himself in order to gain even greater recognition. But his friends and relatives, as well as many literary critics, say the opposite: any indication of himself, any demonstration of his “I” was completely alien to him. That's why it became unforgettable.

Film story

Let's take, for example, almost his most famous work - “Kalina Krasnaya”. Shukshin (the summary will not convey the emotional intensity, but at least it will remind you of the storyline) wrote this film story in 1973. The dynamism of the plot, many dialogues and third-person narration are the main literary characteristics of the work.

Critics immediately noticed that such an image of the main character - Yegor Prokudin - had never been seen in art before. It is he who makes the film “Kalina Krasnaya” stand out from the crowd. A brief description of his nature is as follows: he is either gentle and sentimental, hugging almost every birch tree he meets, or he is rude and “gets into trouble”; One minute Yegor is cheerful and kind, and the next he is already a bandit and a lover of drinking. It seemed to some literary scholars that such inconsistency indicates a lack of character, and therefore does not convey the whole truth of life in “Kalina Krasnaya.”

Consistent inconsistency

The apparent inconsistency of Prokudin’s actions is in fact not simple, not spontaneous. Shukshin managed to convey a logic alien to the ordinary person. We cannot understand, and, most likely, we should not understand and accept the actions of this person. But this does not mean that such life has no right to exist in principle.

So, “Kalina Krasnaya”, Shukshin. Let's start the summary with the fact that Yegor, a repeat offender, receives a farewell message from the head of the zone where Prokudin was serving his sentence. In the morning he must go free, and we become aware of some of this man’s dreams: to have a cow and get married. Yegor had never seen his chosen one in his life. They met by correspondence.

Once free, Prokudin goes to his friends (as you understand, also “unclean”). The company gathered there is waiting for news of how the next robbery went. Everyone is trying to ask Gore (that’s what Yegor’s friends call him) about prison, but he doesn’t want to talk about it at all. It's spring outside, and Prokudin is enjoying life.

A phone call interrupts the gathering: the police have caught up with the accomplices, and everyone has to run away. Realizing that he is in no danger, Prokudin also runs. Such is the power of habit...

The road to normal life

How do the events unfold in the story “Kalina Krasnaya”? Shukshin (the summary does not convey all the nuances of Prokudin’s attitude to life) sends his hero to meet his future wife - Lyuba. She meets him at the bus stop and takes him to meet his parents.

In order not to frighten older people, Lyuba says that her chosen one is a former accountant. But, left alone with his parents and answering questions, Yegor says: “He killed seven, but didn’t have time for the eighth...”. He is sure that a person has the right to rehabilitation, and, having received punishment, one cannot return. And you can’t judge him either. He criticizes the “backward” old people and their worldview, trying on the role of a public figure.

Prejudice

Public morality is quite clearly spelled out in the story “Kalina Krasnaya”. The content (Shukshin repeatedly shows the influence of society on the individual) of the conversations between Lyuba, her mother and daughter-in-law about a new acquaintance comes down to dissatisfaction for only one reason: Yegor has just been released from prison. Women convey the opinions of their fellow villagers.

And Yegor himself spends time in the bathhouse with Lyuba’s brother, Peter. This taciturn person is absolutely indifferent to what is happening. He is too lazy to get to know Yegor and have intimate conversations with him. The scenes with Yegor's resentment towards Peter, with the subsequent understanding that it is not pride and prejudice that motivates him, but ordinary reticence, were very vividly described by Vasily Shukshin. “Kalina Krasnaya” (we are trying to remember the summary) continues with Peter’s cry from the bathhouse, everyone grabs something “heavy” and runs to the rescue. But in fact, Yegor accidentally splashed boiling water on Peter. The incident is turned into a joke, and the rest of the evening passes in a “warm, friendly atmosphere.”

Details

Lyuba's friend Varya offers to break up with Yegor and take back her ex-husband, Kolka. It's just a little thing that he's a drunk. Varya laughs about her happy life with her alcoholic husband. Her story that beating a drunkard with a rolling pin is the norm somewhat offends Lyuba. Lyuba does not want to be “like everyone else,” and this greatly irritates her fellow villagers.

Meanwhile, Prokudin is thinking about his comrades whom he managed to see after leaving prison. He even sends money to one of them (Guboshlep). Why is Shukshin showing all this? “Kalina Krasnaya,” a brief summary of which is of our interest today, conveys the mood of society towards repeat offenders, towards those who go against accepted norms. Shukshin could not help but raise this topic in his work.

reveler

Egor is having fun in a restaurant with unknown men. He showers money and “debauches” in every possible way (as Shukshin himself called it): he sings, dances, drinks and makes pretentious speeches. But closer to night, he remembers Lyuba, calls her and says that business has detained him in the city. The mother does not believe such a “legend,” but Lyuba’s father helps her out and helps her explain herself to her mother. It is his father’s support that Shukshin persistently emphasizes.

“Kalina Krasnaya” - the summary again does not contain all the events and dialogues - continues with Prokudin taking a taxi and returning to Lyuba. But he goes to her brother, and they continue drinking in the bathhouse (in a dark, cramped world, as Shukshin called this place).

New job

Accompanying Lyuba to the farm where she works in the morning, Yegor recalls his childhood - his mother, the cow Manka and boyish carefreeness. Lyuba casually mentions her drunkard ex-husband. So, while chatting casually, they reach a farm, where Yegor meets the director and immediately gets a job as a driver. Having completed the first task, Prokudin refuses to work and says that it’s easier for him on a tractor.

In the evening, Gore takes Lyuba to a neighboring village in a borrowed dump truck. He asks her to introduce herself as a social worker and talk to old lady Kudelikha. He himself looks very serious during this visit and does not take off his dark glasses. On the way home, it turns out that they visited Yegor's mother.

Even a brief summary of the story “Kalina Krasnaya” by Shukshin cannot be conveyed without describing the moment when, having first sat behind the wheel of a tractor, Prokudin makes the first furrow. He is overwhelmed with joy and pride, he cannot breathe in the smell of plowed earth.

Not without bitches

When Lyuba’s ex-husband and friends show up at Lyuba’s house and try to get his license, Yegor pushes the whole company out of the gate with his fists. The summary of the story “Kalina Krasnaya” by Shukshin cannot convey the fullness of the cinematic scene of this fight. After all, it ended when, under Yegor’s heavy gaze, Kolka, coming at him with a stake, stopped.

Another trouble happened in Prokudin’s life. A former friend of Shura came to see him from the city. He brought money from Guboshlep, which was supposed to help Yegor return to his old life. But Prokudin refuses such an offer, throwing money in the visitor’s face. Yegor manages to calm down the agitated Lyuba, but it is clear that he himself is quite on edge.

Tragic death

While working in the field, Yegor notices a Volga with his former friends at the edge of the forest. He goes to them, and in the meantime we learn that Guboshlep decided to get even with Gor for the fact that he moved away from the life of a thief.

By the time the worried Lyuba figured out what was happening and drove up with her brother to the forest edge, the city visitors were already leaving for their home. Lyuba found the seriously wounded Yegor, and she and Peter tried to help Prokudin. But at some point, he felt his death approaching and asked to be put on the ground to listen... With the last of his strength, Yegor Prokudin asks to give his money to his mother.

“And he lay, a Russian peasant, in his native steppe, close to home...”

Ministry of Education and Science of the Udmurt Republic

State educational institution of secondary vocational education "Debes Polytechnic"

ABSTRACT

On the topic of: " Red viburnum"

Completed by: 2nd year student of group "B"

Voblov Anton Igorevich

Teacher: Ivshina Natalya Vladimirovna

S. Debesy, 2009

Introduction

1. Main part

1.1 Biography of the writer: Vasily Makarovich Shukshin (07/25/29 - 10/2/74)

1.4 Analysis of the selected work. (The story "Kalina Krasnaya")

Conclusion

Bibliography

Application

Introduction

The creative star of Vasily Makarovich Shukshin appeared on the horizon of current Russian culture quickly and, as if completely unexpectedly. It still burns, striking with its brightness and variety of color tints. However, Vasily Makarovich himself is no longer there... Smiling mischievously in Shukshin’s way towards the creators of culture, he disappeared from Moscow with the same strange surprise with which he appeared in it.

He lived only forty-five years. Moreover, his life was so difficult and unfavorable (early orphanhood, homeless youth, illness, late studies, mature years without a roof over his head, etc.) that only ten to twelve years and out of this small number of years he lived on earth, - that's all! - we can attribute it to the actual creative years. But this turns out to be enough for him to write more than one hundred and twenty stories, two novels, several novellas, film scripts and plays, and produce five full-length films based on his own scripts (“There Lives a Guy Like This,” “Your Son and Brother,” “Strange People” , “Stoves-Benches”, “Kalina Krasnaya”), play more than twenty roles. This would have been enough for several long and full-blooded creative lives, but he himself, on the eve of his untimely death, believed that he was just beginning to create for real, by and large...

Born in a Siberian, that is, Russian, village, he did not at all need to study or comprehend the national character. Behind him lay a centuries-old, largely tragic history, and a rich culture of folk art splashed about.

“Here you go!” his muffled voice, full of bitterness and inner strength, seems to sound. “So we have to work.” And numerous “middle peasants” from cinema and literature, puzzled by the “Shuksha phenomenon”, either continue to be perplexed, or rush into imitation, or pretend that nothing happened...

Shukshin's works are a bright kaleidoscope of literature. Each of them has its own “zest”, uniqueness, and dissimilarity from others. One of his brightest works was the story “Kalina Krasnaya”, which became one of his brightest directorial works.

1. Main part

1.1 Biography of the writer: Vasily Makarovich Shukshin (07/25/29 - 10/2/74)

V.M. Shukshin was born on July 25, 1929 in the village of Srostki, Altai Territory. After eight classes he entered the Biysk Automotive Technical School, but soon left it. He worked on construction sites and on a collective farm. I graduated from the tenth grade of high school as an external student. He worked as a rigger in Kaluga, Vladimir. He served in the navy (1949-1952), returning to his native village, was secretary of the rural district committee of the Komsomol, worked as a director at the evening school in the village of Srostki. In 1954 he entered the directing department of the All-Union State Institute of Cinematography. He first appeared in print in 1959 in the magazine "Smena".

Shukshin for a long time considered cinema to be his main calling and worked as a director and actor. Films with his participation as a director, screenwriter, and actor - “There Lives Such a Guy”, “Strange People”, “Stoves-Benches”, “Kalina Krasnaya”, “They Fought for the Motherland” - became a significant event in Soviet cinema in recent decades. In 1964 The film "There Lives a Guy Like This" received the Venice International Festival's Golden Lion of St. Mark award.

Shukshin is the author of the novels “The Lyubavins” and “I Came to Give You Freedom” - about Stepan Razin. He wrote the stories “There, Away”, “Kalina Krasnaya”, “Until the Third Rooster”, the play “Energetic People”, many stories that were collected in collections - “Village People”, “Countrymen”, “Characters”, “Conversations on a Clear Moon” ". Shukshin's talent as a writer was most clearly revealed in his short stories, extremely capacious in content, imbued with love for the hard worker and contempt and hatred for parasites, philistines, and grabbers.

The great merits of V. Shukshin - a writer, film director and actor - were awarded the titles of Honored Artist of the RSFSR, laureate of State Prizes of the USSR and the RSFSR. He was posthumously awarded the title of Lenin Prize laureate (1976).

1.2 Review of the writer’s work, main themes of creativity, main works

The writer took his material for his works from wherever people live. What material is this, what characters? That material and those characters that have rarely entered the sphere of art before. Apparently, it was necessary for a great talent to emerge from the depths of the people, to tell the simple, strict truth about his fellow countrymen with love and respect. And this truth became a fact of art and aroused love and respect for the author himself.

Lovers of “distilled” prose demanded a “beautiful hero”, demanded that the writer invent and not disturb them with his deep knowledge of real life. Shukshin's heroes turned out to be not only unfamiliar, but also incomprehensible. The polarity of opinions and harshness of assessments arose, oddly enough, precisely because the characters were not fictitious. When a hero is invented, and often to please someone, this is where complete immorality manifests itself. And when the hero represents a real person, he cannot be only moral or only immoral. Isn’t it from here, from a lack of understanding of Shukshin’s creative position, that creative errors in the perception of his heroes come from. After all, what is striking about his heroes is the spontaneity of action, the logical unpredictability of an act: he will either unexpectedly accomplish a feat, or suddenly escape from the camp three months before the end of his sentence. The writer's characters are truly impulsive and extremely natural. And they do this by virtue of internal moral concepts, perhaps not yet realized by themselves. They have a heightened reaction to the humiliation of man by man. This reaction takes on a variety of forms. Sometimes it leads to the most unexpected results. Shukshin himself admitted: “I am most interested in exploring the character of a non-dogmatic person, a person not grounded in the science of behavior. Such a person is impulsive, gives in to impulses, and, therefore, is extremely natural. But he always has a reasonable soul.”

Shukshin never specifically looked for material for creativity; he lived, like the rest of us, he saw and heard the same things that we see and hear. The very fluidity of life, which depresses and eats us so much, gave him both “plots” and “characters”.

In Shukshin, the whole story, all its heroes and characters, are important.

The theme of a village man, torn from his usual environment and not finding new support in life, became one of the main themes of Shukshin’s stories.

Shukshin's stories, referring to "village prose", differed from its main stream in that the author's attention was focused not so much on the foundations of folk morality, but on the complex psychological situations in which the heroes found themselves. The city both attracted Shukshin’s hero as the center of cultural life, and repelled him with its indifference to the fate of the individual. Shukshin felt this situation as a personal drama. “That’s how it turned out for me when I was forty. Not a city person until the end, and not a village person anymore. It’s a terribly inconvenient position. It’s not even between two chairs, but rather like this - one foot to the shore, the other in the boat. And it’s impossible not to swim, and it’s kind of scary not to swim..."

This complex psychological situation determined the unusual behavior of Shukshin’s heroes, whom he called “strange, unlucky people.” The name “weirdo” has taken root in the minds of readers and critics. It is the “eccentrics” who are the main characters of the stories collected by Shukshin into one of the best collections “Characters”.

“Human sorrows and sorrows are living and quivering threads...” These are lines from Shukshin’s story “I Believe” - lines that are the most accurate definition of many of Shukshin’s artistic studies, large, stretching from the first collection to the story “Other Games and Amusements” (from the last lifetime publication) way.

The folk art of this writer contains explanations for the phenomenality of his talent, his naturalness, high simplicity, and artistry.

1.3 The place of the chosen work in the writer’s work

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 filmmaker organically penetrates Shukshin the writer, his prose is visible, his film is literary in the best sense of the word, it 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.

1.4 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 demands 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 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 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 his henchman away to plow, so that he would not be a witness to what is now inevitably going to happen, so that the person who had nothing to do with Prokudin’s fate would not face 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 would not accept pity, love, patronage, or help 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 running. 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.

Conclusion

The last years of Shukshin's life were a period when everything that surrounded him - all the people and facts - became for him a subject of art, whether it concerned a quarrel with a janitor at the hospital or the study of the biography and deeds of Stepan Razin.

In modern Russian literature, Shukshin's works have remained a unique artistic phenomenon. When reading his stories, you need to think about their essence, delve into every word, feel and hear what his characters feel. The main characters of most of his stories are village and city ordinary people. The writer admires them for their dissimilarity, originality, roughness, and self-esteem. It is these qualities that make his heroes close and dear to us.

In his story "Kalina Krasnaya" Shukshin showed another life. The life of a “small”, but at the same time big person. Big... who experienced the hardships of life, but managed to take the right path, and did not go down the “uneven path”.

For me, Shukshin’s works are vivid examples of life... examples that teach us to understand life. His stories are like instructions to readers. All his heroes make mistakes, but in the end, these mistakes lead to the right path, to a new life. Using the example of Yegor Prokudin, I discovered a new quality of a person - inconsistency leading to the truth. It turns out that the right path cannot always be found with the help of rules and life examples. There are also those who are special, unlike anyone else, but achieve success in life.

Bibliography

1. Shukshin V.M. Stories. - L.: Lenizdat, 1983. - 477 p.

2. Shukshin V.M. Stories. - M.: Det. Lit., 1990. - 254 p.

Application

Dark pages of biography

The old school is now a museum. Vasily Makarovich once studied here and later taught here. Everything here breathes the atmosphere in which Shukshin grew up. An old desk, maps, pens, pointers, textbooks. Here he met his first wife, who also taught at this school. Met, dated, got married. And when he left to study in Moscow, he never returned to his wife. He didn’t even return to get a divorce. There is still no explanation for this action. Shukshin married for the second time in Moscow. His second wife was the daughter of the famous Soviet-era writer Anatoly Sofronov, who at that time headed the Ogonyok magazine. Vasily Shukshin acted simply - he told the police that he had lost his passport. And they gave him a new passport, without marriage and divorce stamps. So he lived undivorced, although in his short life he managed to marry three times. The first wife waited for her husband for quite a long time. Now she has a new family, but when she remembers Shukshin, she will cry. Apparently, she has many memories associated with Vasily Makarovich.

These words interested us, and we asked if it was possible to go to her and talk about Shukshin. But the guide shook her head and explained that such conversations are extremely difficult for her, and her second husband gets angry when anyone starts talking about Shukshin. He is still jealous of him, although Shukshin has been dead for a long time. Maybe because, in fact, the wife still remains Shukshin’s wife.

From school we leisurely walked through the village streets past the former Shukshins’ house, past the place where Vasily Shukshin spent his childhood, straight to Mount Picket. Here on the mountain, from time to time, Shukshin readings are held, where guests from different cities of Russia come and local poets and prose writers often perform. Bards also come here, form a tent city and sing songs about Shukshin, about their native lands, about Russia. This is a good place, free. And the Katun mountain flows nearby. Vasily Makarovich bought his mother a house here when he received a fee for The Lyubavins. The wives changed, but only the mother remained beloved throughout her life. Shukshin treated her touchingly, tenderly, and respectfully. Although both were stingy with their feelings, they did not hug or kiss in front of everyone, they talked about the main and serious things in private. Shukshin consulted only with her on all vital issues. And when I entered college, and when I was going to get married, and maybe even when I was going to start another new job. He filmed her in "Kalina Krasnaya", immortalized his beloved mother forever. The monument to Shukshin stands next to the house, in a small garden, next to a viburnum tree, which is actually red. The mother survived her son, who lived only 45 years. If you count how many years his life allowed him to create, then he will get nothing at all - 15 years. In order to write so much in fifteen years, film so much, go down in the history of cinema as a wonderful actor and director, in literature as a national writer, you probably needed a lot of strength, both moral and physical. We can say that Shukshin was on fire in his creativity and burned out untimely, not appreciated during his lifetime as he should have been appreciated, including in his own homeland.

Loyalty to a great man is a difficult matter. His mother was faithful to him. Mother was unable to go to the funeral and did not come to Moscow. She couldn’t believe that her son was no longer there, and she didn’t have the strength to go to the grave. But one of Vasily Makarovich’s admirers began to write to her, and described in detail what flowers she was planting, how the viburnum was leaning towards the monument, as red as in the novel, as in her mother’s garden.

Vasily Makarovich Shukshin is buried at the Novodevichy cemetery in Moscow. His grave is neat and well-groomed; apparently, there are still people who revere his work, who come to bow to the grave of the writer and director. Everything is as it should be, but my heart aches at how quickly his widow recovered from her loss. She married one, then another, all in plain sight, in front of the people. It's hard to understand how the leader of a trendy pop group can replace a great man in his heart. Although everyone has their own truth. The widow herself says that life was not easy for her with the writer, that he drank and cursed, and when he was jealous, he could hit. It's a difficult thing to live next to a very talented person. In life they are not so good and unambiguous, however, like their heroes.