Universal and eternal in the heroes of M. Sholokhov. (Composition - response). "Quiet Flows the Don" main characters Brief biography. Childhood and youth

The main characters of the novel Quiet Don» show readers a wide panorama of life Don Cossacks during the First World War, the revolutionary events of 1917 and the Civil War in Russia. Characteristics of the main characters of "Quiet Flows the Don" will help to understand their inner world.

Sholokhov "Quiet Flows the Don" main characters

• Grigory Melekhov main character novel "Quiet Flows the Don", Cossack of the village of Vyoshenskaya, born in 1892 This is a young resident of the village of Tatarskaya, an ordinary farm boy, full of strength and thirst for life. In spite of strong love to Aksinya, allows his father to marry himself to Natalya. Grigory has been torn between two women all his life.
• Petro Melekhov- the elder brother of Gregory, the husband of the frivolous Daria. He was a small, snub-nosed, fair-haired boy who looked like his mother. Unlike Gregory, he did not disdain to take someone else's and engage in looting. He died at the hands of a fellow villager and boyfriend of Dunyasha - Mishka Koshevoy.
• Dunyasha Melekhova- them younger sister Gregory. Having passed the difficult path from a teenage girl to a beautiful Cossack woman, she managed not to tarnish her dignity in anything.
• Panteley Prokofievich Melekhov- their father, a senior officer. He was a fair and loving man.
• Vasilisa Ilyinichna- wife of Panteley Melekhov, mother of Peter, Grigory and Dunyashka. She became the embodiment of the national image of a Russian woman. She understood the futility of war. For her, both "whites" and "reds" were someone's children.
• Daria Melekhova- wife of Peter (brother of Gregory). This is a cheerful and mischievous woman who does not like to think too much about life's problems. She is not afraid of her husband, they often cheat on him, she gets rid of reproaches with jokes. Family and maternal cares are not for her. Upon learning that she has syphilis, Daria deliberately drowns herself in the river.
• Stepan Astakhov- neighbor of the Melekhovs, husband of Aksinya, rival of Grigory Melekhov. This character is characterized by cruelty and hostility. Despite the fact that he loves his wife very much, he easily beats her to a pulp. Aksinya, he cannot forgive the fact that in her youth she was raped by her own father. For this, he considers the girl vicious and worthy of beatings.
• Aksinya Astakhova- Stepan's wife, beloved Grigory Melekhov. At the end of the novel, Aksinya dies from a Red Guard bullet right in Grigory's arms, never having known calm human happiness.
• Natalia Korshunova(then Melekhova) - legal wife of Gregory
• Mitka Korshunov- her older brother, at the beginning of events, a friend of Gregory
• Miron Grigoryevich Korshunov - a rich Cossack, their father
• Marya Lukinichna - Miron Korshunov's wife
• Grishak's grandfather - Miron Korshunov's father, participant Russian-Turkish war 1877-78
• Mikhail Koshevoy - a poor Cossack, peer and friend, later a mortal enemy of Grigory
• Khrisanf Tokin (Christonya) - "hefty and stupid Cossack", who served in the Ataman regiment
• Ivan Avdeevich Sinilin, nicknamed "Brekh" - an old Cossack who served in the Ataman regiment, a passionate storyteller
• Anikey (Anikushka), Fedot Bodovskov, Ivan Tomilin, Yakov Podkova, brothers Shumilin (Shamil) - Cossacks of the Tatarsky farm
• Sergei Platonovich Mokhov - a non-resident, wealthy merchant, the owner of a store and a steam mill in x. Tatar
• Elizabeth and Vladimir - his daughter and son
• Emelyan Konstantinovich Atepin, nicknamed "Tsatsa" - companion of S.P. Mokhov
• Ivan Alekseevich Kotlyarov - Cossack, machinist of the Mokhov mill
• Valet - a small, embittered person from other cities, a weigher of the same mill
• Davydka - a young cheerful guy, a mill roller
• Emelyan - Mokhov's coachman
• Yevgeny Listnitsky - Cossack, nobleman, centurion of the Ataman regiment
• Nikolai Alekseevich Listnitsky - his father, Cossack general, owner of the Yagodnoye estate
• grandfather Sashka - the groom of the Listnitskys, a passionate horseman and drunkard
• students Boyaryshkin and Timofey
• Iosif Davydovich Shtokman - a locksmith, a visitor, a native of Rostov-on-Don, a member of the RSDLP
• Prokhor Zykov - humble Cossack, colleague of Grigory Melekhov
• Alexey Uryupin, nicknamed "Chubaty" - a stern Cossack, a colleague of Grigory Melekhov
• Kalmykov, Chubov, Tersintsev, Merkulov, Atarschikov - Cossack officers, colleagues of Evgeny Listnitsky
• Ilya Bunchuk - Novocherkassk Cossack, St. Petersburg worker, machine gunner, Bolshevik
• Anna Pogudko - Jewess from Yekaterinoslav, machine gunner, lover of Bunchuk
• Gevorkyants Krutogorov - machine gunners from the Bunchuk team
• Olga Gorchakova - wife of captain Boris Gorchakov, then Yevgeny Listnitsky
• Kaparin - staff captain, Fomin's assistant

Early Sholokhov exaggerated not only intra-family hostility. Some of his naturalistic descriptions of horrors, for example, in "Nakhalenka", "Alyoshkin's Heart", "Azure Steppe", almost surpass the descriptions of Babel, whose hyperbolism was noted by critics as his main feature. This later, in large works, in proportion to their volume, will be much less, and in the tragic “The Fate of a Man” it will not be at all; however, before "The Fate of a Man" the theme of the suffering of innocent children will also weaken somewhat. The horrors of hunger starvation in "Aleshkin's heart" are sharpened as a result of silence and conjecture. The family of Alyoshka Popov’s prototype, A. Kramskov, died “not because there was a drought for two years (actually one year) in a row, but because the breadwinner father went into retreat at the most difficult time for the family, the mother died of typhus. ..", the elder sister of A. Kramskov, according to his first wife, the evil neighbor "Makaruha did not kill - Mishka Sholokhov came up with this." “To take the murdered Polka out of her house on a bright day, to bring her through the alley and throw Makaruha into Alyoshkin’s well, too, could hardly have dared.

All his life and upbringing, Alyoshka Kramskov was not prepared to accomplish a feat, saving a woman and a child at the cost of his own life. Kramskov was not a Komsomol member, and it is unlikely that bypassing the secretary of the RKSM cell, political committee Zagotzerno could hand over a Komsomol ticket to the “battlefield”. There are similar stretches in other stories. The too pathetic love of the little “impudent” Minka for Comrade Lenin was noted even in Soviet times.

From early stories“Alien Blood” (1926) stands out for its universal human content, to some extent ideologically anticipating the “”, begun at the same time, although the plot of the story is exceptional: those who lost only son, a white Cossack, grandfather Gavrila and his old woman nurse the wounded food worker Nikolai, who came to rob them, become attached to him like a son and even call him Peter by the name of the murdered man, and he, a communist, a worker, not only cannot stay with them to live, but and, as the grandfather understands, will not respond to his request to return. The image of grandfather Gavrila demonstrates the non-absolute distinction between “whites” and “reds” for Sholokhov. The episode of the death of Peter, who did not release the girth on the saddle in time, will be transferred to the Quiet Don as the scene of the death of Alexei Shamil; down gloves - a cover from blows, dried up to the bloodied head of the captive Danila, the son of Mikishara, from "The Family Man" (1925) will also turn into an epic novel: the captive Ivan Alekseevich Kotlyarov at the stage will cover his head with woolen gloves from the scorching sun, flies and midges and they will dry up on the wound. A detail that could have been comic sharply increases the drama: a feature inherent in the already mature skill of M. A. Sholokhov.

In 1925, Sholokhov created the first sketch called “Quiet Flows the Don” - really about the Kornilov rebellion and really without Grigory Melekhov, as L. G. Yakimenko suggested, but the main character of the surviving and found passage is called Abram Ermakov, and Grigory’s prototype was an officer from ordinary Cossacks Kharlampy Yermakov, who was shot in 1927 for old offenses against the Reds; his participation in the Upper Don uprising is shown in detail in The Quiet Don, where he acts along with Grigory Melekhov as his comrade and subordinate. Since 1923, Sholokhov met with him several times and, obviously, received valuable information from him. X. Ermakov did not live long enough to see the first book of the epic.

In an excerpt from 1925, an ordinary, but long-standing Cossack, Abram Yermakov, kills a German with a rifle, after which the sergeant-major, dissatisfied with the consequences of the February Revolution and the fact that “the Cossacks have become masculine,” notices that Yermakov “as if he had lost his face.” In the text of the novel, such experiences will be - more convincingly - conveyed to the recruit Grigory, who has just begun to kill, but in the passage they are needed as one of the motivations for the disobedience of Ermakov and his comrades to the regimental authorities. They fought and do not want to go with the officers to Petrograd. In the novel, Grigory was not shown the Kornilov mutiny, and his blood-weariness was reflected in a number of episodes, especially in the scene of his hysteria after he cut down the red sailors (at great risk!) - when he begs his friends to put him to death.

In 1925, Sholokhov quickly realized that he had taken on the task beyond his strength. But already in the autumn of 1926, he began The Quiet Don anew - with a description of the pre-war life of the Don Cossacks. When the very word "Cossack" caused bitterness, and few people imagined what they were, these Cossacks, Sholokhov decided to show them to everyone not as a police force of tsarism, but as a whole world, a world of special habits, norms of behavior and psychology, a world interesting personalities and the most difficult human relations.

The closest analogue of the "Quiet Flows the Don" "War and Peace"

In the light of the entire content of the epic, its title sounds like a mournful irony, and, probably, Sholokhov took this into account, although in general the “quiet Don” is a folk speech idiom that has been repeatedly encountered in the press; so, in 1914, I. A. Rodionov published a book of essays on the history of the Cossacks under this title. In the epic novel, there are more than six hundred characters, many are described in detail or in such a way that they are remembered even thanks to one or two episodes (for example, the brutally chopped Likhachev, dying "with black bud petals on his lips"), and almost all of these characters die - by hand similar to themselves or from grief, deprivation, absurdity and disorder of life. This has never happened before on such a large scale. The closest analogue is “War and Peace” by L. N. Tolstoy, where, for all the drama of the events taking place, the picture of the world is still not tragic, rather even “idyllic”.

In The Quiet Don, even pre-war life is far from idyllic, and the world and civil wars lead to truly catastrophic consequences. was created, as it were, in the light of a folklore song about the Quiet Don, which Sholokhov could not use directly on its pages, “In the song, the Quiet Don is depicted as an orphan, left without ‘clear falcons - Don Cossacks’.” And it was no longer hyperbole. In 1932 Sholokhov wrote to Ye. He sings amazingly!

Although in the "Quiet Don" at first the Cossacks-front-line soldiers "were dismissive of the civil war: the scope, the strength, and the losses - everything was a toy in comparison with the German war" (vol. 3, part 6, ch. X), the victims world war in our artistic perception appear as if smaller: those to whom the reader had not yet had time to get used to, or completely nameless characters, died there, and during the civil war or because of its consequences, most of the Melekhovs, the elder Korshunovs, Natalya, Aksinya, relatives of Mikhail Koshevoy, passed away, Jack, Kotlyarov, two brothers Shamil (in German - one), Anikushka, Khristonya and many, many others, even if we talk only about the Tatars. Among those killed and dead who did not live permanently in the same farm with the Melekhovs, father and son Listnitsky and their servant grandfather Sashka, Shtokman, Anna Pogudko and Bunchuk, Platon Ryabchikov, etc., including real, historical characters: Podtelkova, Krivoshlykova and members of their expedition, Chernetsov, Fomin, etc. - whites and reds, rebels and those who fought in the "gangs". Stepan Astakhov returned safely from German captivity, although he was very afraid of getting caught: the Germans did not take Cossacks prisoner; besides, he settled down quite well in Germany thanks to a woman, but from the “retreat” after the defeat of the uprising, he did not return to the farm. During the German war, Grigory is shocked by the collective rape of Frani, and during the civil war he recalls this event, suggesting that if he left the farm, the same account could befall him Natalya. Yes, and death comes to women and children much more often when "classes" are fighting, and not armies of different peoples.

The handwritten originals of the first parts of The Quiet Flows the Don, discovered by the journalist L. E. Kolodny, make the grounds for doubts about the authorship of Sholokhov, which arose immediately after the first two books of the epic novel appeared in print, extremely unsteady. The ability of a 22-year-old provincial with a four-year education (which, however, is more than that of the first Russian Nobel laureate Bunin, not to mention Gorky) to write such a large-scale work, which required, among other things, the broadest and most versatile knowledge, was doubtful. But Sholokhov really grew up - colossally and rapidly. At that time, many sources were available, including the memoirs of white emigrants. In any case, before collectivization, it was possible to question the remaining participants in the First World and Civil Wars, the Upper Don uprising. A well-known curiosity - the presence, according to the novel, in East Prussia of the "city of Stolypin", - used as an argument against the authorship of Sholokhov, can also speak in favor of this: this is a typical case of folk etymology, some illiterate Cossack changed an incomprehensible name in a familiar way, and so told it to an inquisitive young man. As for the life and customs of the Cossacks, before Sholokhov there was simply no writer who knew and understood them so well.

At the same time, the writer was aware of the task he set for himself, unlike even the best critics of those years, such as D. A. Gorbov, who preferred Fadeev’s “Defeat” over “Quiet Don” and doubted that that Sholokhov will be able to realize his too enormous plan. Often his word, wrote Gorbov, does not reveal the position or character, "but lives on its own", like many descriptions that do not participate in the movement of the novel; the presence of many figures “is not entirely necessary,” everyday material “with its naturalistic fullness suppresses the human side of the idea ...” These features of Sholokhov’s manner are explained by “his young greed for showing as much as possible, while genuine art seeks not in breadth, but in depth ... ". The observations (apart from what was said about the “suppression” of human relations by everyday life) are correct, the interpretation and assessment are not: Gorbov sees a novel in the first two books of The Quiet Flows the Don and judges them accordingly, while Sholokhov, whose reference book at that time was War and world”, from the very beginning built his work as an epic novel, in which “width” and “depth” do not exclude each other, but are interconnected and interdependent.

The epic acceptance of the world in the novel Quiet Flows the Don

The epic acceptance of the world is indiscriminate, the substantial beginnings of life are stable and manifest in everything - in big and small. Life is valuable in itself, outside the projection on some abstract ideals. The connection of events in the epic is carried out not by the plot, but by the whole attitude of the world, in which the primacy of the general over the individual is expressed. And life, and every event here, in contrast to a novel with a concentric plot, is needed not only for something subsequent, but also in its own, self-sufficient content.

In the first part of The Quiet Flows the Don, the action unfolds slowly.

By novel standards, two scenes of fishing are really optional, the trip of the Cossacks to the camp, in any case, the quarrel between Pyotr Melekhov and Stepan Astakhov that took place there (it is true that the fight between the Melekhov brothers and Stepan, who beats Aksinya, will thereby receive a double motivation, but for Peter it will remain in plot without consequences) and the trouble with Stepan's lame horse, left for treatment by a hunchbacked old woman, and the forgotten author, and the episode with the race, when Mitka Korshunov overtook Yevgeny Listnitsky. The second part (after Grigory's marriage - his departure with Aksinya to Yagodnoye and the call for service) is the most "romantic", but it also contains an episode of taking the oath by young Cossacks, when the boot presses Mitka Korshunov's leg and he returns to the farm from the village in a stocking, in a lot of value in itself, as well as the scene when "the pedigree bull of Miron Grigorievich cut the neck of the best mare-womb with a horn." In the third part, an insert that has nothing to do with the heroes (some other Astakhov acts there, Mitka Korshunov is incidentally “tied” to previous episode), shows the battle of several Cossacks with the Germans and the official nomination as a hero of only one of its participants - the famous Kuzma Kryuchkov, the favorite of the commander of the hundred (although before that Kryuchkov’s clash with the hundred was shown - Yesaul Popov, whose pronunciation he mimicked: “I taught kego in the past gedu On whose merda did this nag break?.. "- the captain said to the one whom, after a dozen and a half pages, Sholokhov suddenly declared his favorite). The chapter on the glorification of Kryuchkov with the participation of the "reddish sleepy emperor" was definitely written in imitation of the revealing chapters of "War and Peace": , collided, struck blind blows, mutilated themselves and horses and fled, frightened by a shot that killed a man, dispersed, morally crippled.

This was called a feat” (book 1, part 3, chapter IX).

Another insert is the diary of Timofey, the lover of Elizaveta Mokhova, who was killed in the war - a self-revealing diary and exposing Moscow intellectual youth. The plot connection is that Grigory Melekhov found the diary, which spoke about his farmer, for some reason while searching the decaying corpse (whether the illiterate Cossack read this book remains unknown). Further, not only in the murdered Timothy, but also in Elizabeth there will be no need. And after Aksinya’s betrayal of Grigory with Listnitsky and the breakup of the protagonist and heroine in November 1914, until their meeting at the Don (“- Hello, Aksinya dear!”) And the resumption of relations in April 1919, four and a half years out of ten covered by action of the work, and they will occupy the entire second volume and most third. The main novel action is so delayed by the events of the epic.

A detailed description of peaceful life on the Don is replaced by a display of the "German" war. The main attention of the author is given to her: in the farm, while the young Cossacks are fighting, nothing new happens. The closer to the end, the more deaths of the main characters, and it is usually said about this (also in "War and Peace") succinctly, less detailed than before it was said about certain cases from their lives: the feelings of the heroes are overtired (thus, Gregory in the “retreat” he was afraid that his children would not be saved from typhus, “and at the same time he felt that, with all his love for children, after the death of Natalya, no grief could shake him with such force ...”), and the author seems to spare the readers who empathize with them, although, for example, in the absence of Grigory's reaction in the finale to the news of the death of little Polyushka - last death, which is mentioned in the work, is, in fact, no less tragic than in his memories of childhood and his brother Peter in front of the corpse of the murdered Peter. General disasters, as it were, diminish the grief of individual people, but in fact it is precisely from their sufferings that they are made up.

Love and other passions boiled in peacetime. In the war, Petro forgives the prodigal Daria, as soon as she came to him at the front, Stepan Astakhov, who returned from captivity, forgives Aksinya and Grigory, and the young pan, and then, when she again got together with Grigory, behaves magnanimously; Grigory also forgives Aksinya's betrayal: for ordinary Cossacks this is not a tragedy of life, while Listnitsky, who married a friend's widow according to his will at the beginning of the third book and did not appear almost until the end of the fourth, is remembered in the story of the joker Prokhor Zykov as having shot himself "from displeasure" after Olga's sudden betrayal, and the old pan - as if dead from typhus. “Well, to hell with them,” Grigory said indifferently. - It's a pity good people which have disappeared, but there is no one to grieve about these ”(book 4, part 8, chapter VII). Meanwhile, from General Listnitsky, who lost his wife as a result of a terrorist act against him, Grigory did not see anything bad, and Yevgeny, to whom a dying friend, “bleeding blood and urine”, said: “You are honest and glorious” (book 3, part 6, ch. V), - in the work he does not allow himself anything worse than the seduction of Aksinya, who responded to affection, and the harsh treatment of the lower ranks, who forgot about discipline (he used to give the Cossacks, who suffered without a cigarette, all his stock of cigarettes ). Wounded more than once, having lost his arm, and married the widow of the murdered Gorchakov, on his return to Yagodnoye, Yevgeny was already seduced by Aksinya and looks comical (having come out from behind a bush, “puffing on a cigarette, he rubbed his trousers with a handkerchief, greened at the knees with juicy grass”), and Aksinya, having achieved her “finally”, is poeticized: “... throwing up her hands, Aksinya straightened her hair, looked at the fire, smiled ...”

The death of the Listnitskys is not even shown directly by the author. In the third part (the end of the first book), Sholokhov describes with pleasure the beating of a young master with a whip - Grigory's revenge for himself and for Aksinya, although she also got a whip in the face. In general, the story of Aksinya and Listnitsky gives a kind of reduced, coarsened, with real betrayal parallel to the story of Natasha Rostova and Anatole, but, like her, does not have a “nodal” plot meaning for the novel line: a simple person, according to Sholokhov, can overcome the insult with a natural, good, deep feelings.

The historical and the fictional are connected in Sholokhov differently than in War and Peace, where Prince Andrei serves as Kutuzov’s adjutant and sees Napoleon on the field of Austerlitz, Pierre ends up with Marshal Davout, and Nikolai and Petya Rostov see Alexander I, whom they adore. Don" "top" history is much more sharply separated from the history of the people. Only mention is made of the meeting between Grigory and Budyonny, the highest generals of the White Army act in separate chapters (the person of the imperial family who visits the eye hospital is not named), only Podtelkov, who is socially, intellectually and psychologically closer to Grigory than educated officers, yes real faces of the second plan, retaining their original names and surnames, act together with the main characters, fictitious. There is no correspondence to the pair "Napoleon and Kutuzov" in "Quiet Don".

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9-11 grade

Methodological and bibliographic material

Emelyanova Irina Nikolaevna

lead librarian

GBUK RO "Rostov Regional Children's Library named after V.M. Velichkina"

Books by M.A. Sholokhov is always a discovery. The discovery of the truth in life and in a person, the truth that we often encounter, is nearby, as if side by side. But needed great talent and wisdom to reveal this truth in the way that Sholokhov does, so that we shudder inwardly, asking ourselves in surprise: “How did he know all this? How to understand what we ourselves did not understand in ourselves.

Sholokhov the writer was characterized by the sharpest sense of modernity. As soon as the civil war broke out, the tears in the eyes of the Cossack women who had lost their husbands and sons had not yet dried up, the Don land, which had drunk plenty of human blood, was still smoking with conflagrations, young Sholokhov was already writing stories and starting to create the great epic "Quiet Don". Grigory Melekhov had not yet completed his tragic path, as native and dear to his heart villages and farms were covered by a new event - collectivization began, when "life reared up like a restive horse." Sholokhov puts aside his unfinished gigantic work and writes the first part of "Virgin Soil Upturned" - the book was published almost in the midst of the events described.

Our cinema brought to the screen the peculiar world of Sholokhov's heroes

In early 1956, intensive preparations for filming began. Quiet Don.

Filmmaker Sergey Gerasimov recalled: “Sholokhov’s novel “The Quiet Flows the Don” attracted me, first of all, because in it I saw a book, completely new. Unique in its originality, in the power of language, in the completeness of knowledge of the subject, about which in question, by the depth and strength of the images of heroes, by the sharpness of social and psychological conflicts. It was natural for me to want to see this book come to life on the screen ... "

The script was written by Gerasimov himself. The director outlined his creative credo in one interview: “What tasks did we set ourselves when creating the film? One that seems simple and clear... so that the viewer recognizes the characters, follows their fate, perceives everything that happens on the screen not only with consciousness, but with the heart, as he perceives the novel.

Based on the task - to most fully recreate Sholokhov's novel on the screen, the director conceived a three-episode color film, and all three episodes were to be filmed simultaneously.

central role Grigory Melekhov was played by Pyotr Glebov. Before choosing him, the filmmaker reviewed many actors and non-actors. An accident helped with the actor for the role of Melekhov. Glebov, Gerasimov did not even intend to try for this role. In the film, he was offered a small role of officer Merkulov - just a few lines.

Glebov showed up for a trial. The director's assistant led him into the dressing room and abruptly shouted: "Dress as an officer!" The rehearsal has begun. Director V. Dorman encouraged Glebov: “Don't worry, Gerasimov won't pay attention to you. He is interested today in the artist Igor Dmitriev - the younger Listnitsky. A frame is being shot for him…”

Meanwhile, Gerasimov, both at the rehearsal and at the test shooting, vigilantly followed Glebov. flair great artist the director saw in an unfamiliar actor a new contender for the role of Grigory Melekhov and asked the assistant to make him up, which caused everyone complete bewilderment. The resemblance of the make-up Glebov to Melekhov was simply striking, if one can only speak of the resemblance of an actor to a literary character, whom each reader is free to accept and imagine in his own way. However, by that time the novel “The Quiet Flows the Don” had already been illustrated so many times, and the illustrations repeated the same appearance of Grigory, that everyone already had a certain visual idea of ​​Sholokhov’s hero.

The decision was taken. It remains to obtain the consent of Sholokhov. Mikhail Alexandrovich was in Moscow, and when he looked at Glebov, he simply said: "So this is him."

If for Glebov the opportunity to play Grigory arose unexpectedly, then for Bystritskaya the image of Aksinya was a cherished dream.

Still in the first year of Kiev theater institute Bystritskaya performed at the training ground in the role of Aksinya. The work of the student did not satisfy the teachers. She moved with a ballet gait, abused external techniques.

The failure upset, but did not discourage Bystritskaya. She realized that the role of Aksinya was not yet her strength. But the future actress promised herself to return someday to this role.

The actress learned about the production of the film “Quiet Flows the Don” during a trip to France. This news was told to her by the artist A. Larionova. She also said that for each role there is a huge competition.

Returning to Moscow, Bystritskaya called Gerasimov on the phone and resolutely said that she would like to try for the role of Aksinya. A very laconic invitation to enter the studio followed.

Gerasimov took a risk by inviting Aksinya Bystritskaya to the role, because in the appearance and manners of Bystritskaya there was nothing “village”, something that would allow you to immediately believe in Aksinya the Cossack. But the actress has done a truly titanic work in order to completely rebuild, to achieve perfection in the performance of this complex role.

The actress paid special attention to her hands. Aksinya's hands are peasant, accustomed to physical labor. And at Bystritskaya they are graceful, thin. They resorted to special make-up, later, before shooting some episodes, Bystritskaya washed clothes for a long time so that her fingers would become coarse and lose their “intelligent” form.

Filming took place in the Dichensky farm. The actors settled in Cossack families - this was supposed to help the performers quickly get used to the new, unusual environment for them. Actors often sang along with the inhabitants of the farm Cossack songs who are known by many. And so - from day to day, from evening to evening. It was also a kind of work, a very important part of the preparation of the film, and not just pleasant entertainment. The actresses learned to carry water on a yoke, sweep the yard, fumbled with firewood to the base, the group almost in full strength worked on the construction of adobe houses. Gradually, shyness, uncertainty, a sense of inaccuracy and deliberate movements disappeared, which is characteristic of actors when they do not believe themselves. In the end, the main performers and participants in the episodes became so accustomed to the reality of Cossack life, the farm way, that it began to seem familiar to them, like their own. The entire film crew had to get to the essence of Sholokhov's prose, comprehending not only the meaning, but also the style of the novel, for one in it is inseparable from the other, to convey the wise and cruel truth, which the writer endured and gave to people.

Much was given at the cost of extraordinary effort. Particularly complex were the scenes corresponding to those places in the novel where the events of the civil war on the Don are directly depicted.

staging "Virgin Soil Upturned" conceived to do in 1960, director Alexander Gavrilovich Ivanov.

When the widely known literary work, everyone at the studio is interested in who the director will invite to the main roles. Future viewers are also worried. They write letters to the group, ask, advise.

And in the film crew, everyone looked inquisitively at Ivanov, tried to guess which of the actors he was more supportive of. But the director's face remained impenetrable.

“In the pavilion there was a decoration of the upper room, where test shootings took place,” the director was talking with the cameraman, when a man in military boots, in a green tunic, appeared at the end of the long pavilion.

The man approached, and we saw that it was a new actor - a Muscovite. It's like we've never met. And yet we were struck by some features and gestures in him.

The actor excitedly began to tell Ivanov about how he got lost in the studio and searched for the pavilion for a long time.

M-yes-yes ... M-yes! - the director said vaguely, making it clear that time is precious. The actor glanced at the lens, at the scenery, and quickly went to the table in the upper room. Extinguishing his cigarette on his heel as he walked, he ran his palm over the tabletop. He sat down and suddenly pulled the box towards himself. Seeing in it a pouch with shag, a newspaper, the actor tore off a strip from it, nervously twisted a cigarette and hastily, choking, smoked. His eyes widened with rage and stared at the invisible interlocutor. Suddenly the actor jumped up, leaned over the table and, turning purple, gasping for breath, yelled: “You are ... whose speech? What are you doing, I’m here for a counter?.. Laugh at socialism, you bastard?” At this point, even a blind man would have guessed that the pavilion was Nagulnov.

So the artist E. Matveev won the role of Nagulnov with one blow.

After the test, they returned to the question of Davydov: they were impatient to find out with whom Matveev would have to work, who would restrain the selfless Nagulnov, quick-tempered like gunpowder.

During the trial period, the following tests were carried out in front of the movie camera, and then the following were approved: V. Dorofeev - Shchukar, F. Shmakov - Razmetnov, L. Khityaeva - Lushka, P. Glebov - Polovtsev, V. Chekmarev - Ostrovnov, E. Lebedev - Beskhlebnov. One or even two candidates competed with each of the named actors. And a number of actors were called for the role of Davydov. Director Ivanov looked at them not very carefully. He was clearly waiting for someone. With the arrival of the artist Pyotr Chernov, the question of the performer of the role of Davydov was closed: Chernov was given the responsible role.

For the winter nature, the film crew of "Virgin Soil Upturned" chose the village of Karginskaya, because. most of the group knew the life and way of life of the Cossacks from the works of Sholokhov. For success in working on a picture, filmmakers needed to see the living participants in the events told.

The results of these meetings and conversations sometimes appeared immediately, sometimes they useful influence felt after a while. Here is what the artist L. Gurova, who played the role of Nastenka Donetskova, the most furious Cossack, said. “The image of Nastenka seemed to me completely clear, indisputable. What to specify here local residents? But once they are ordered, it must be done. I met with one, with another Cossack. They are not remembered. But the old woman Evdokia, nicknamed Valushikha, I still remember. And what she said was not forgotten. “I was born in the steppe! the old woman said proudly. - I grew up on a horse. There was fire! She herself, in a woman's rebellion, dragged sacks around the farm! .. "

Valushikha described in detail to the actress the whole picture of the looting of collective farm barns. The story was so vivid and juicy that Gurova thanked Lucky case who brought her to the old woman.

The scene was very interesting woman's rebellion". In the Alder Horn, filmmakers found an old barn. They clung to him, because. the operator and the artist traveled around the villages and farms, and they were upset by the signs of a new village life. The barn became the main point around which the dramatic events of the "Women's Revolt" were recreated.

In this scene, the operator Fastovich and his camera required great mobility and maneuverability. The same qualities were needed in the filming of the episode of the beating of Davydov.

Neither persuasion, nor reminders of responsibility, nor shouting, nor cunning helps Davydov. There comes a moment when he is no longer able to restrain the onslaught. With pain and anger, he shouts: “They are damned for you ... We are doing it for you ... And you are killing me!”

The crowd commits lynching. Cossack women beat Davydov with anything, tear, scratch. He falls to the ground, exhausted but not defeated.

Chernov's make-up was changed three times. Three times the actor withstood a hail of sometimes sensitive blows. The best of the takes gave a believable picture of the beating.

The third series of the film was released when moviegoers were still freshly impressed by the final chapters of the novel that had just been read, published simultaneously with the release of the first two series of the film.

How rich is Sholokhov's prose! They differ in special capacity and completeness short stories Sholokhov. Filmmakers often turn to "Don stories" Mikhail Alexandrovich. They were attracted by the dynamic development of the plot, short dialogues, well-aimed remarks, a deep comprehensive disclosure of characters, and finally, a sharp, intense conflict, i.e. everything that is so necessary for the script.

The first of Sholokhov's early stories was filmed "Shepherd".

Following the "Shepherd" in 1959, the film by V. Fetin was released "Foal”, where the People's Artist of the USSR Yevgeny Matveev starred in the role of Trofim.

In 1964, V. Fetin again turned to the work of M.A. Sholokhov, making a film "Don story" starring Yakov Shibalka - Yevgeny Leonov. (stills from the film)

In 1965, a film directed by V. Monakhov was released "Unsolicited Love" (picture)

In 1971 - "In the azure steppe" directed by V. Koltsov (picture)

In 1972 - "Mortal Enemy"- director E. Matveeva. Having put this picture, E. Matveev for the third time touched the work of M.A. Sholokhov. (picture)

The directors who filmed these stories of Sholokhov created interesting performances. Undoubtedly, their success contributed literary source, which made it possible to widely show the director's talent.

But special success fell to the lot of the film by Evgeny Karelov "Sneaky".

Day after day, in one of the rooms at Mosfilm, the conversation about the main character of the future picture was resumed. Old views were defended or new views were put forward, other assumptions were made, but the essence of the conversation was always the same: how to quickly find a boy for the role of Nakhalyonok for the film of the same name.

Kids were brought to the studio every day. They sang "A Christmas tree was born in the forest", "We have a red flag", read poetry, played. Karelov - the director of the picture and his assistants watched the children from the side, and then "tried" one or two boys in simple improvisations. All this ended with a disappointing conclusion: “We don’t have Nakhalenok yet!” Markelov - the second director - agreed and again went in search.

One day, approaching the kindergarten, he saw a funeral procession in the street. And then the director drew attention to the boy standing at the gate kindergarten. The kid didn't show much of anything. He just watched what was happening. But his face expressed acute bewildered grief. "Is it really Nakhalyonok?" (a photo)“It's hard for me to explain why this particular boy excited me,” says Markelorv. “After all, there were other children there. But I saw in him something very related to that Nakhalyonok, who stood by the cart with his murdered father - "father", as Mishka called him.

The boy said that he was Vova Semyonov, that he was about six years old, that his mother was a carriage driver, and his father was a driver. When Vova appeared at the studio a day later, he did not delight the director. He was a thin boy with short bangs. He did not at all resemble the shooter whom I wanted to see in the picture. And yet there was something special in Volodya. Other boys were capricious, asking to go home. But Volodya was in no hurry and did not want to leave the studio at all. "I want to shoot!" he stated categorically. Then Karelov took him in his arms and said how Mishka, breaking out of his father’s arms, shouted: “Let him go, father!” "Can you scream like that?" asked Karelov. Volodya tried. And this short “Let go, father!” decided the choice.

But the first test in front of a movie camera upset the director. Vova played himself. There was no Nakhalyonok character. But the boy tried to understand the task, asked the director: “How, Uncle Zhenya, should I do it?” And it was reassuring. At the next rehearsal, Vova managed to convey individual traits of Mishka’s character, and Karelov breathed a sigh of relief: “There is a cheeky one!” The rest was in the hands of the director.

The creative core of the production group was young people. Director Yevgeny Efimovich Karelov, cameraman German Shatrov, artist Boris Tsarev and second director Anatoly Markelov had short creative biographies and "Nakhalyonok" became their first big work.

Among the actors there were also several young performers. D. Netrebin, playing the role of Mishka's father - Foma Korshunov, for the first time in "Nakhalyonka" received a leading role. Prior to that, he had performed only in episodes. Netrebin has a scar on his forehead. It seemed to him that this interfered with acting work. But for the image of a fighter of the revolution, the scar came in handy. The actor had little to make up - they glued on a mustache and swept out his eyebrows.

For V. Burlakova, the role of Mishka's mother was also the first significant work in the cinema. But the most experienced actors who recreated Sholokhov's images in other films were invited to play the roles of grandfather and priest. The performer of the role of grandfather, D. Ilchenko, played in the "Quiet Don" Pantelei Melekhov. Three decades after working on Aksinya, Emma Tsesarskaya took up the role of the priest with great desire. (frame)

It was difficult for artists, both beginners and experienced ones, to play in Nakhalyonka. In general, actors are at a disadvantage when their partner is a child. It distracts the lion's share of the audience's attention. Sympathy is directed towards him even when the little artist appears only in an episode. And in "Nakhalyonka" Mishka is the main character. Through his boyish perception, through his eyes, the viewer should see the village of the period of formation and strengthening of Soviet power on the Don. Each artist understood that the success of the boy is the success of the whole team. But there was another reason for the actor's "self-sacrifice". Vova Semyonov was liked by everyone. He was heartily loved and spoiled.

In Sholokhov's story there are such lines about Mishka: “For his father, he is Minka. For mother - Minyushka. For grandfather - in a tender moment - a baby, at other times, when grandfather's eyebrows hang in gray tatters over his eyes, - "Hey, Mikhailo Fomich, go, I'll wrap your ears around!" And for everyone else: for gossip neighbors, for children, for the whole village - Mishka and Nakhalyonok.

The relationship between the actors and the boy developed in such a way that he really was Minka for Netrebin, for Ilchenko a baby, for the boys Nakhalyonok. Affectionate words - "father", "mother", "grandfather" came from Volodya from the soul.

The most difficult scene for a little actor is the death of his father, and Karelov wanted to shoot a crying Mishka at the wagon. Tears could be imitated with glycerin, they could be called with a bow or a shout. From all this, the director refused. It was important for him to achieve a natural great feeling from the boy.

Come on, Vova, work for real! - with the approach began the director. - When you come to the wagon, you will have to cry ... But the boy did not understand how it was to cry on assignment.

Uncle Jenya. HOW is it to cry?

Imagine if your dad died...

How should you imagine?

You will take the father by the hand ... you will cry ...

Uncle Jenya! You pay yourself, and I'll see.

Karelov had to cry. Volodya looked intently into the face of the director. The little actor already understood what they wanted from him, and tried, but did not know how to do it.

Uncle Jenya! Let Grandpa cry now.

Ilchenko also had to shed a tear. The boy inquisitively looked at the director of the actor, then sadly turned away.

The director led him to the cart. Volodya has completely changed. Shuddering, he took the lying actor by the hand and looked at the sailor's shirt of the "father" with moist, frightened eyes wide open. Tears flowed down Volodya's face, hot, living tears. (excerpt from the film)

Excitement seized everyone who was in the pavilion. The operator's face twitched, and he barely completed the shooting. With difficulty, the director followed the boy. The play of the little "actor" was so direct, so touching that no one could remain calm.

On the episode of Misha's farewell to his father, the shooting of Volodya Semyonov ended. But the image of Nakhalyonok created by him will not leave the screen for a long time, and the audience will thank the little “actor” more than once for the exciting direct performance of the role.

In the first post-war years, going fishing, Mikhail Alexandrovich every time tried to take with him more bread.

"Why so many?" - sometimes surprised his companions.

“To the bait, to the bait,” he explained, as if casually.

And it’s true, wherever, in whatever corner of the Don or Khopra Sholokhov set up his fishing camp, entire shoals instantly went to that place. Only not fish, but farm boys. As starlings, flying off, they cluster nearby and look. Mikhail Alexandrovich does not torment them with expectation: he will untie the backpack, pull out a loaf: “Take it, one-sacks, share it!”

Once, among such a flock, Mikhail Aleksandrovich noticed a fair-haired, big-eyed boy of eight years old in a tattered, pre-wounded clothes. He beckoned to himself:

Where are you from, gypsy?

I'm an uncle, not a gypsy... I'm Russian... My name is Vanyushka.

And where do you live, Vanyushka?

And when where, - the boy answered carelessly - I am a stray ...

Sholokhov looked at the boy for a long time, without asking anything. I understood everything myself. He swallowed a suffocating lump, and said cheerfully:

Only sheep or chickens are stray, but you are a man ... do you want something to eat?

The boy shook his head in agreement.

Then we went to our hut.

... Maybe he, this Vanyushka, appeared to the world a few years later in the story "The Fate of a Man."

From the story of Sholokhov "Destiny of Man" has begun new stage development of our military literature. And again, Sholokhov's fearlessness and Sholokhov's ability to show the era in all its complexity and in all its drama through the fate of one person played a role here.

After The Fate of Man, it became impossible to keep silent about the tragic events of the war, about the bitterness of captivity experienced by many Soviet people. Sholokhov's story, as it were, pulled the curtain from much that was hidden by the fear of "offending the winners, spoiling the heroic portrait of Victory."

"The Fate of a Man" was the first directorial work of S. Bondarchuk. He read Sholokhov's story in Pravda - it was like a blow to the heart. And he really wanted to make a movie. The idea did not suit the court: for the actor to shoot, and even on the basis of little story… But he did it.

“When it became known,” B. Polevoy wrote in a review of the film “The Fate of a Man”, that the artist Sergei Bondarchuk, conquered by the power of this Sholokhov work, decided to make a film based on it and play the main character in it, the thought somehow involuntarily arose: is it possible to do this without adding anything or excluding anything, is it even possible to transfer it to the screen without violating or distorting the captivating cordiality of the narrative?

And Sholokhov at first had a mistrust of Bondarchuk - a city man: "Will he be able to fit into the skin" of Andrei Sokolov, a character seen in the very core of people's life? He looked at his hands for a long time and said: “Sokolov’s hands are different ...” And then he told how one Cossack fell ill and the doctor ordered him to do a blood test. The needle went down many times, and each time it broke - it could not pierce the skin on his arm, which worked all his life.

Later, while already with the film crew in the village of Vyoshenskaya, Bondarchuk, dressed in a Sokolov costume, knocked on the gate of the Sholokhov house. Mikhail Alexandrovich did not immediately recognize him. And when he found out, he gasped in amazement and did not talk about his hands anymore. Soon, just like Sholokhov, Bondarchuk was recognized by the Vyoshensky Cossacks and Cossacks. “Andrey went to work,” they said, seeing him go to the shooting. With the same conviction as Bondarchuk and unshakable faith in success, the cameraman V. Monakhov began work on the film. And when Andrei Sokolov walked across the screens of the country in his quilted jacket, leading the boy adopted by him by the hand, it became clear: he came to the cinema real hero. Andrey Sokolov is something much more than Andrey Sokolov himself: this is the image of the Russian people, his soul ...

The film would be incomplete, impoverished, if it were not for the image of Irina, Sokolov's wife, created by Zinaida Kiriyenko.

Here they are both on the screen - Andrei and Irina Sokolov ... They lived well before the war. They lived as they could only dream of. Free, independent, beautiful, they loved their work, their children.

The war hit the life of the people like a huge hammer on a living body. She struck, immediately breaking and destroying everything, breaking the strongest human ties, orphaning mothers, wives, sisters.

Zinaida Kiriyenko in the scene where Irina, as if blinded by grief near a soldier's car, escorts Andrei to the front, will never be forgotten. Modest and simple, unpretentious Zinaida Kiriyenko in her cheap half-shawl, casually, somehow hastily tied, in a short simple jacket. Almost unconsciously, she looks after the departed echelon and, it seems, sees nothing. The actress lives tragic feeling the enormous unbearable grief of her Irina, and this makes her beautiful.

Z. Kiriyenko allows us to feel Irina's terrible guess - her heroine knows that this parting is forever; from now on it's all over. (frame from the film)

When the test of war falls on the hero, Bondarchuk raises Sokolov to a new, higher level of morality.

All episodes about the hero's stay at the front, and then in captivity, are played by Bondarchuk with such force, restraint and at the same time sensitively, that here and again it seems to us that it was as if we saw the war on the screen for the first time, as if for the first time we felt all its horror and everything. found the strength to overcome. (a photo)

A number of episodes of Nazi captivity were filmed in the villages of Ternovka and Gubarevo. For filming the overnight stay of prisoners of war, the group used the skeleton of the church, destroyed by the Nazis during the occupation.

On the screen is not a faceless mass. There are weak and persistent, strong-willed and cowardly. The first night of terrible trials - she tests everyone in her own way. The episode of the shooting of prisoners was filmed at dawn. But at this early hour film set there were many spectators. There was a volley. And at the same time, the artists heard a heartbreaking cry. A woman standing in the audience screamed. It turned out that in this very place the Nazis shot her son. Thus the truth of life coincided with the truth of art.

Bondarchuk does not single out Sokolov in these scenes. It is important for the director to show the courage of others. The scene emphasizes that there are many people like Sokolov.

Let us recall one more scene where Andrei Sokolov, summoned by the commandant of the concentration camp for interrogation, torture and, probably, to death, moral victory. Andrey's duel with the commandant is amazing. When he, half-dead, drinks vodka - three glasses one after another, with Russian heroic dashing, without snacking. Snack - bread and bacon - he gives to his comrades in captivity, unfortunately.

Sokolov - Bondarchuk remains himself in a fascist concentration camp; but after all, he is going through his most painful days here, rooting for dying friends, tormented by uncertainty and anxiety about children, about Irina. And we are infected with these feelings, we are proud that captivity and torture do not change the moral being of the hero, do not break his spiritual integrity. He may no longer hope for freedom and life, but he continues to fight for them as soon as circumstances permit. And if the hero himself, with his innocence inherent in him, does not think at all, does not guess that he is a hero, then the actor helps us very clearly see this unparalleled heroism as a property of Russian, truly human nature. Even in these difficult circumstances, the artist allows us to rejoice in the strength of the hero, to be proud of the hero.

Sergei Fedorovich invited Sholokhov and Gerasimov to view the work that had just been mounted. The film ended, the lights were turned on, and there was a long, painful pause, after which Sholokhov suddenly took it and abruptly left the hall. Gerasimov said some kind words, and the downcast Bondarchuk and his wife Irina Skobtseva drove home. They were silent as if stunned. Two hours later, Sholokhov called: “Give me Sergei” (with his characteristic Cossack “g”) And he said: “Forgive me. I was afraid to get pissed off. Just came to my senses."

There were ceremonial films about the war, or serious, but chilly ones. There were films imbued with longing and bitterness of heavy irreversible losses ... But there was no film before “The Fate of a Man” that would have absorbed the great ability of the Russian people to resist ...

Roman by M.A. Sholokhov "They fought for their country"- a work of amazing harmony of composition. This is only four days of the week, from dawn to sunrise, the last day is Sunday. And in this symbolic meaning, a generalization unexpected in breadth of thought - an anticipation of future victories.

This talented novel powerfully attracted Sergei Fedorovich Bondarchuk. “Probably sooner or later, but I would still come to the picture of the Great Patriotic War", Bandarchuk recalled. - “If only because I myself belong to a generation that took part in it and paid with their lives for the joy of a peaceful life. The war still lives as an unhealed wound in the soul. Perhaps that is why I myself put on a soldier's overcoat and played the role of Zvyagintsev in the film.

One of the many meetings between S. Bondarchuk and M.A. Sholokhov in his house in the village of Vyoshenskaya, on the Don. She left a deep imprint in the soul of everyone who worked on the film "They Fought for the Motherland." Mikhail Alexandrovich said then: “The whole world has long known about the Russian soldier, his valor, his Suvorov qualities. But this war showed our soldier in a completely different light. I want to reveal in the novel the new qualities of the Soviet soldier, which so exalted him in this war. I have to write about this out of a sense of duty to those who died the death of the brave in battles with the Nazis, and for those who went through this great school of war.

The "non-healing wound" war entered the lives of many actors who starred in the film. Stalingrader, former soldier, actor of the older generation Ivan Lapikov, who played the role of foreman Poprishchenko, who became the head of the soldiers after the death of Lieutenant Goloshchekov. What amazing depth of feelings and thoughts the words Sholokhov gave in farewell speech at a fresh steppe grave, when he addressed the living like a father: “Comrade soldiers, my sons, soldiers! We are burying our lieutenant, the last officer that remained in our regiment ... (stills from the film)

Military memory also burned Yuri Nikulin, who plays the role of a soldier Nekrasov, a calm man, with good humor, dignity, from which confidence in victory emanates. After all, this actor did not have to invent anything superfluous, he himself went a long way along the roads of war, defended Leningrad, liberated Estonia and Latvia. Even during breaks in filming, he did not part with a soldier's uniform!

"We always remember!" - Vyacheslav Tikhonov (who played the difficult role of Nikolai Streltsov), and Georgy Burkov (soldier Kopytovsky), and Nikolai Gubenko (lieutenant Goloshchekov), and Vasily Shukshin (soldier Lopakhin), and all other participants in the picture who did not pass the fiery school of battles, but to one degree or another experienced, and shared with the people the bitterness of the loss of military hard times.

The role of Lopakhin in the film "They Fought for the Motherland" was played by Vasily Shukshin, a man of rare, versatile talent - writer, actor, film director. This was his last role.

Yes, the film "They Fought for the Motherland" is just a story about four days, bitter, tragic, scorched by war. But in him there is a high faith in victory, the indestructibility of life, which breaks through with mighty sprouts, despite the land red-hot from military conflagrations, deformed by shells, bombs, cut by fragments and bullets.

“Now, after the production of the film “They Fought for the Motherland,” said S.F. Bondarchuk, - “When every line of the work is comprehended, thought out, I can say with confidence that this novel is one of the best creations of Sholokhov. I say this not from being in love with the work (although such a feeling was natural for everyone who created the picture).

It is estimated that it took a total of over 10 years to work on all the works of Sholokhov's works. Thousands of people participated in the making of these films. Not all films expected the same success. But each of the participants - whether it be a props or a costume designer, a pyrotechnician or a gunsmith, a sound engineer or a composer, a screenwriter or director, an artist or a cameraman, an extra or an actor - everyone did everything in his power to make Sholokhov's images live on the screen a full-blooded life.

Films based on Sholokhov's works were shot in different time, at different studios, but those who created these paintings were united by love for the writer's work, worried about the depth of the works that were to be visibly embodied on the screen.

BIBLIOGRAPHY:

1. Agisheva G. The fate of man. Sergey Bondarchuk: a minion of fate - and a slandered, humiliated, deceived master ... / / Our time (Business Tuesday) .-2001.- May 25 .- (History of a masterpiece)

2. Bondarchuk S.F. Desire for a miracle. - M.: Mol. Guard, 1981. - 222C. - (Masters of Arts - Youth).

3. Vlasov A., Mlodik A. Heroes of Sholokhov on the screen: a report from the film studio. - M.: Art, 1963. - 304 p., ill.

4. Gerasimov S. Collection. Op. in three volumes. T. 2 cinema. Cinema pedagogy. - M.: Art, 1983. - 415 p., 7 sheets of illustrations.

5. Gromov E. Ascent to the hero: Screen and youth: A book for teachers, 1982. - 191s., ill.

6. Parfenov L. Sergey Gerasimov. - M.: Art, 1975. - 280s., 24 sheets. Il. - (Masters of Soviet cinema).

7. Tolchenova N. World of Beauty: Cinema by Sergei Bondarchuk. - M.: Sov. Russia, 1974. - 288S., ill.

ILLUSTRATIONS:

1. Heroes of Sholokhov on the screen: (Postcards) Ed. M. Neumann. Those. Ed. V. Yantsevich. - M.: Polygraphist, 1980. - 10 postcards in the cover.

2. Mikhail Alexandrovich Sholokhov [Album] / Comp. S.N. Gromtseva, T.R. Kurdyumova.-M.: Enlightenment, 1982.-73l.

3. Life and work of M.A. Sholokhov: Materials for an exhibition at school and children's library / / Comp. And enter. Art. V.V. Gura; Designed by T. Ordynsky.- M.: Det. lit.-1985.-18 p. photoill.- (Exhibition at school).

MOVIES:

• Quiet Don (Mosfilm, 1958) - based on the novel of the same name. Director and scriptwriter - Sergey Gerasimov.
• The fate of man (Mosfilm, 1959) - based on the story of the same name. Screenwriter - Lukin, Yuri Borisovich.
• Virgin Soil Upturned (1959-1961) - based on the novel of the same name.
• Nakhalenok (1961) - by story of the same name. Director - Evgeny Karelov.
• When the Cossacks Cry (1963) - based on stories from the Don Stories cycle. Director - Evgeny Morgunov.
• Donskaya tale (1964) - based on the stories "Shibalkovo seed" and "Birthmark". Directed by Vladimir Fetin.
• In the azure steppe (film almanac in 3 parts) - according to early stories.
• Kolovert (1970) (ch. 1)
• Wormhole (1970) (ch. 2)
• Food Commissioner (Mosfilm, 1970) (part 3)
• "The Foal" (1959) - a short film based on the story of M. A. Sholokhov, dir. Vladimir Fetin.
• "They fought for their homeland" (1975) - based on the novel of the same name - dir. Sergey Bondarchuk.

Heroes of Sholokhov on the screen

Mikhail Sholokhov, everyone opens it in their own way. Everyone likes their hero of Sholokhov's stories. This is understandable. After all, the fate of the heroes, the problems raised by Sholokhov, are in tune with our time. But my Sholokhov is not only the author of works. First of all, he is a man of interesting, bright destiny. Judge for yourself: at the age of sixteen, young Sholokhov miraculously survived, falling into the hands of the power-hungry Nestor Makhno, and at the age of thirty-seven he saved his friends from persecution and repression more than once. He was accused of plagiarism, sympathy for the white movement, they tried to poison him, kill him. Yes, many trials fell to the lot of this writer. But he did not become like grass, which "grows, obediently bending under the disastrous breath of worldly storms." Despite everything, Sholokhov remained straightforward, honest, truthful person. One of the manifestations of his veracity was the collection of stories "Don stories". In them, Sholokhov expressed his attitude to the war, which was the tragedy of the people. It is disastrous for both sides, brings irreparable losses, cripples souls. The writer is right: it is unacceptable when people, rational beings, come to barbarism and self-destruction. In Don Stories, I was attracted by the realistic, anti-romantic presentation of harsh military conditions; that truth of war that spares no one, not even children. There are no unnecessary romantic beauties in his stories. Sholokhov said that it is impossible to write too picturesquely, colorfully about death among the "gray-haired feather grasses", to ascribe to the perishing states when they "died choking beautiful words". But what about the beauty of presentation? Sholokhov, which is remarkable, has beauty in the prostate, the nationality of the language. The very essence of the stories makes you think about life, about modern life. In my opinion, the meaning of the stories is that people, in order to prove their devotion to their ideals, step over the life and fate of their closest, closest people. Brother must kill brother, son must kill father. Class hatred is higher than kindred feelings. In the short story “Bakhchevik”, a Cossack saves a wounded brother, deals with his White Guard father. An even darker story Family man”: in it, the father kills two sons of the Red Guards at once, trembling before the threats of the White Cossacks. In this sense, the stories are quite modern, the only thing is that ideological hatred is replaced by money. For the sake of money in our time, they can "kill both their father and sell their mother." Sholokhov's heroes do not reason, but act: without hesitation, at the first call of their hearts, they rush into the river to save a foal, save children from gangs. But along with good deeds, they also, without hesitation, kill their sons, take away the last from the peasants. They make you angry, then cry. You read, and "sadness-longing" fills your heart. Why couldn't Sholokhov add a little "smile" and happiness to his works? It seems to me that he wanted to bring us, the readers, at least a little closer to the reality of war, when there is not a single happy person. What gives me Sholokhov? Let one critic speak for me: “He awakens the fire hidden in our souls, introducing us to the great kindness, great mercy and great humanity of the Russian people. He is one of those writers whose art helps everyone become more human." Such is my Sholokhov. A writer who taught me lessons in courage, decency and honesty. I will try to read and re-read Sholokhov, each time marveling at his ability to look into deep recesses human soul. I trust my writer, so I will never have doubts about his veracity. Let the author be accused of having stopped writing in last years. What was he to write about? About the victories of developed socialism? He saw perfectly what was happening. Yes, the writer worked on the novel "They Fought for the Motherland." Mikhail Aleksandrovich Sholokhov is the first figure in our post-October literature.

Sholokhov's epic novel The Quiet Flows the Don rightly occupies a special place in the history of Russian literature. The author gave a decade and a half of his life to create a literary masterpiece. The action of the book begins in 1912, before the outbreak of the First World War, and ends in 1922. Knowing from the inside the life and way of life of the Cossacks, Sholokhov put the main emphasis on the description of the Cossacks. The ending of the epic contains philosophical overtones. The author gives the main character the right to make an independent decision and pass new life tests.

Characteristics of the heroes of "Quiet Don"

The main characters of "Quiet Flows the Don"

Minor characters

Heroes of the second plan appear only by nicknames, like an old man from the farm of Tatarsky Smorchok - a quarrelsome person and Semak - a participant in the Veshensk indignation, essentially a robber. These characters are indicated in the list only by nicknames. Sholokhov's novel - short but Full description human destinies. All images are taken from the people. The concept has found in the epic deep artistic display: in a true illustration of the life of the people, their way of life and work, in short description participation of the masses in the events of history. The list of the main characters of The Quiet Flows the Don is a story of interaction between people in different life situations.

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