Creative story of the creation of a dog's heart. History of creation and literary fate of the work. Bulgakov the satirist. Theory of the origin of images

The story, written in 1925, recreates the writer’s contemporary reality - the Soviet reality of the early 1920s. However, the picture reproduced in the smallest detail (with an exact indication of the salary of the “typist of the IX category” - four and a half chervonets - and the mention that firefighters, “as you know, dine on porridge”) does not at all become a documentary portrait of the era. The combination of a fantastic assumption (the transformation of a dog into a human) with many specific details (up to the chemical composition of the “Special Krakow” sausage), the interweaving of comic details of Sharik’s “humanization” with the tragic consequences of this experiment form a grotesque image of reality.

The main character of the story - Professor Preobrazhensky - bears a sacred surname, indicating his role as an omnipotent deity, a “priest” (as Sharik will perceive him), capable of transforming the world and man. Even the ordinary procedure of bandaging Sharik’s scalded side in Preobrazhensky’s house becomes comparable to death and resurrection (and involuntarily brings to mind the parable of the resurrection of Lazarus from the Gospel): “And then he finally fell over on his side and died. When he resurrected, he was slightly dizzy and slightly sick in his stomach, but it was as if his side was not there, his side was sweetly silent.”

However, the event, full of mystical significance, is presented in an aura of reducing, prosaic details. Sharik’s “transformation” is just the next stage in the professor’s scientific research, the main goal of which is human rejuvenation through transplantation of the gonads. In the narrative structure of The Heart of a Dog, the miraculous Transfiguration of the Lord becomes synonymous with an ordinary surgical operation.

The parodic and ironic transformation of the gospel motif is clearly manifested at the level of the stylistic organization of the text. Professor Preobrazhensky is an all-powerful “priest”, “magician” and “sorcerer”, however, these definitions fall into Bulgakov’s following context:

The man who entered bowed very respectfully and embarrassedly to Philip Philipovich.

Hee hee! “You are a magician and sorcerer, professor,” he said, embarrassed.

“Take off your pants, my dear,” Philip Philipich commanded and stood up.

“Lord Jesus,” thought the dog, “that’s a fruit!”

The fruit had completely green hair growing on its head, and on the back of its head it had a rusty tobacco color...

In the vicinity of “hee-hee”, “pants” and the green-haired “fruit”, the Transfiguration turns into profanation, and the “priestly” secrets into a scientifically disguised fraud.

However, the “speaking” surname of the protagonist of the story does not exhaust the spectrum of sacred meanings. Professor Preobrazhensky's apartment is located on Prechistenka - thereby, with the help of a toponym, the image of the Most Pure Mother of God is introduced into the associative semantic series. Thanks to Sharikov, a “flood” will occur in the same apartment - a parody version of the local “great flood” (in pursuit of the cat, the former dog turned out the faucet in the bathroom). The first word uttered by Sharik after turning into a human - “abyrvalg” - is a store sign “Glavryba” read from right to left and, in a retrospective analysis of biblical allusions, can serve as an ironic allusion to the laws of Semitic writing. Equally ironic and parodic is the combination in the narrative of a quote from an opera aria (Professor Preobrazhensky hums the same fragment from Verdi’s opera “Aida” - “To the sacred banks of the Nile...”) and a notice on the door: “I forbid eating sunflower seeds in the apartment.” . F. Preobrazhensky." (In addition, the musical theme of culture and priestly power is interrupted with the appearance of Sharikov with the motifs of the songs “Oh, Apple” and “The Moon is Shining,” which came from the world of “proletarian devastation” that Preobrazhensky is trying to resist.) Thus, the constant juxtaposition of the gospel and - more broadly - mythological allusions and comic details of real life cast a grotesque reflection on the picture consecrated by priestly service and introduces sharply satirical tones into it.

Gospel motifs find direct expression in the arrangement of characters. The miraculous transformations performed by Professor Preobrazhensky are recorded by his student, Doctor Bormental, who appears in the story as an “evangelist” (the same role will be played by Matthew Levi under Yeshua in the novel “The Master and Margarita”). Features of the figure of the “evangelist” in Bulgakov’s works - in a contradictory combination of sincere devotion to the teacher and his complete misunderstanding.

Dr. Bormenthal's notes are filled with sincere admiration for the teacher's discovery; Sharik’s documentary “case history” is continually interrupted by the enthusiastic exclamations of the “chronicler”: “The amazing experience of Professor Preobrazhensky revealed one of the secrets of the human brain! From now on, the mysterious function of the pituitary gland - the cerebral appendage - is explained!.. The surgeon's scalpel brought to life a new human unit. Prof. Preobrazhensky, you are a creator!! (Blot)". (Let us pay attention to another stylistic glitch in the narrative - the significant juxtaposition of the “creator” and the blot).

However, the faithful student-"evangelist" actually acts as an unreliable narrator - a storyteller who inadequately interprets the words and actions of the teacher, creating a distorted picture of what is happening. His explanations and comments conflict with the “correct” interpretation - supported by the authority of a participant in the event or the author himself. So, for example, Sharik’s amazing ability to read from right to left in Bormental’s diary receives the following explanation: “Sharik read! I read it!!!... I read it from the end. And I even know where the solution to this riddle is: in the dog’s optic chiasm!” However, the true reason, as the reader remembers from the very beginning of the story, was much more prosaic and lay in something completely different: for Sharik “to run up to the store... it was more convenient from the tail of the word “fish”, because at the beginning of the word there was a policeman.” The ominous tone of Professor Preobrazhensky when his student tries to start a conversation about Sharik’s future and his transformation into a “very high mental personality” remains without any intelligible comment: “Something strange is happening to Philip... The old man has come up with something.”

Professor Preobrazhensky still remains an omnipotent deity in the eyes of his student - while the “magician” and “sorcerer” turned out to be powerless in the face of the chaos brought into his life by the accomplished miracle. Professor Preobrazhensky represents that type of Bulgakov hero who will then pass through the entire work of the writer: endowed with powerful creative (transformative) power, he can be weak and vulnerable at the same time. Bulgakov's hero is always forced to confront the world around him - hostile, aggressive, absurd. In “Heart of a Dog” this world is personified in the person of Shvonder and the members of the house committee. The “devotees” of the new faith are presented in a sharply grotesque light. One of the members of the house committee - “a peach-colored young man in a leather jacket” - bears the surname Vyazemskaya (let us pay attention to the literary origin of the surname and the emphasized change in the usual grammatical gender), turns out to be a woman, but Bulgakov’s description invariably restores the grotesque context of identifying the identity: “This is indescribable! - exclaimed the young man, who turned out to be a woman”; “I, as the head of the cultural department of the house... - Head,” Philip Philipovich corrected her.”

The inexplicable metamorphoses occurring with representatives of the new government may, however, be fraught with danger. As soon as Sharik turned into Polygraph Sharikov and became involved with the powers that be - “accepted the position” of the head of the subdepartment for clearing Moscow of stray animals, his stay in Preobrazhensky’s apartment became a mortal threat both for the professor himself (on whom a denunciation had already been written), and for all the inhabitants of his house. The grotesque transformations to which responsible Soviet officials are subject in Bulgakov’s world (and in Bulgakov’s works of the 1930s these metamorphoses will become truly fantastic) give the new government and its representatives an infernal-demonic character, making them not so much a social or political force, but a metaphysical force, which Bulgakov’s hero is forced to resist.

In “Heart of a Dog” another important feature of Bulgakov’s poetics is clearly manifested - the division of artistic space into two (ideally impenetrable to each other) subspaces. One of them is Preobrazhensky’s apartment on Prechistenka, a “dog paradise” in Sharik’s terminology and an ideal (even idyllic) space for a professor. The most important components of this space are comfort, harmony, spirituality, and “divine warmth.” Sharik’s arrival in this space was accompanied by the fact that “the darkness clicked and turned into a dazzling day, and it sparkled, shone and turned white from all sides.” Of the “topographical” features of this space, two main ones should be highlighted: externally it is strictly limited, localized and is simply an apartment; internally it is spacious, huge and, moreover, capable of limitless expansion (to a large extent - due to the huge mirrors).

The second space is external - open, aggressive, hostile. Its initial signs are blizzard, wind, street mud; its permanent inhabitants are “a scoundrel in a dirty cap” (“a thief with a copper face”, “a greedy creature”), a cook from the canteen, and “the most vile scum” of all proletarians - a janitor. External space appears - as opposed to internal space - as a world of absurdity and chaos. Shvonder and his “retinue” come from this world to conquer part of the professor’s “personal” space and compact his seven-room apartment by “expropriating” the examination room. These two spaces are separated from each other only by the door of the apartment - and therefore Professor Preobrazhensky’s only desire is to receive “such a piece of paper, in the presence of which neither Shvonder nor anyone else could even approach the door of my apartment. The final piece of paper... Armor." Sealing, complete isolation is the only way to protect your own, “true” space from the invasion of someone else’s, “imaginary” one. (Note that the side of the door that faces outward also finds itself in the grip of an absurd reality. Ball, trying to read the door sign with the name of the professor, is horrified to discover that the continuation of the three guessed letters - p-r-o - can become “l” , and then the inscription will turn into the hated word “proletarian.” Only the presence of “pot-bellied, two-sided rubbish” - the saving letter “f” - turns the almost beginning nightmare into the beautiful reality of a luxurious apartment on Prechistenka).

The coexistence of two opposing spaces in Bulgakov’s artistic world also determines the structure of Bulgakov’s cross-cutting, invariant plot: the destruction of the internal, ideal space - and the hero’s attempts to restore the lost paradise. In “The Heart of a Dog,” the destruction of a harmonious existence is accompanied by a parody flood, obsessive visits from “werewolves” from the world of art - Vyazemskaya (a member of the house committee) and Vasnetsova (Sharikov’s fiancée), and absurd projects for remodeling the professor’s apartment. Restoring the destroyed harmony - even at the cost of crime (“The crime matured and fell like a stone...") is the only goal of Professor Preobrazhensky and the main vector of the plot. Thus, the story rethinks the traditional complex of guilt of the intelligentsia before the people. Preobrazhensky and Bormenthal defend their “right to rights” in the new world - although they are not relieved of responsibility for the experiment on human nature.

The great Russian writer is widely known for his brilliant and, at the same time, humorous works. His books have long been dismantled into quotes, witty and apt. And even if not everyone knows who wrote “Heart of a Dog,” many have seen the magnificent movie based on this story.

In contact with

Plot Summary

How many chapters are in “Heart of a Dog” - including the epilogue 10. The action of the work takes place in Moscow at the beginning of winter 1924.

1. First, the dog's monologue is described, in which the dog appears smart, observant, lonely and grateful to the one who fed it.
2. The dog feels how its beaten body hurts, remembers how the windshield wipers beat it and poured boiling water on it. The dog feels sorry for all these poor people, but more for himself. How compassionate women and passers-by fed me.
3. A passing gentleman (Professor Preobrazhensky) treats her to Krakow-quality boiled sausage and invites her to follow him. The dog walks obediently.
4. The following tells how the dog Sharik acquired his abilities. And the dog knows a lot - colors, some letters. In the apartment, Preobrazhensky calls Dr. Bormental's assistant, and the dog feels that he has again fallen into a trap.
5. All attempts to fight back do not yield results and darkness sets in. Nevertheless, the animal woke up, albeit bandaged. Sharik hears the professor teaching him to treat him kindly and carefully, to feed him well.

The dog woke up

Preobrazhensky takes the well-fed and well-fed dog with him to the reception. Then Sharik sees patients: an old man with green hair who feels like a young man again, an old woman in love with a sharper and asking to have monkey ovaries transplanted into her, and many, many others. Unexpectedly, four visitors from the management of the house arrived, all in leather jackets, boots and dissatisfied with how many rooms there were in the professor’s apartment. After calling and talking with the unknown person, they leave embarrassedly.

Further events:

1. The lunch of Professor Preobrazhensky and the doctor is described. While eating, the scientist talks about how he brought only destruction and deprivation. Galoshes are stolen, apartments are not heated, rooms are taken away. The dog is happy because he is well-fed, warm, and nothing hurts. Unexpectedly, in the morning after the call, the dog was again taken to the examination room and euthanized.
2. An operation is described to transplant the seminal glands and pituitary gland into Sharik from a criminal and brawler killed during arrest.
3. The following are excerpts from the diary kept by Ivan Arnoldovich Bormental. The doctor describes how the dog gradually becomes a human: it stands on its hind legs, then its legs, begins to read and speak.
4. The situation in the apartment is changing. People walk around depressed, there are signs of disorder everywhere. Balayka is playing. A former ball has settled in the apartment - a short, rude, aggressive little man who demands a passport and comes up with a name for himself - Poligraph Poligrafovich Sharikov. He is not embarrassed by the past and does not care about anyone. Most of all, Polygraph hates cats.
5. Lunch is described again. Sharikov changed everything - the professor swears and refuses to accept patients. The polygraph was quickly adopted by the communists and taught their ideals, which turned out to be close to him.
6. Sharikov demands to be recognized as the heir, to allocate a part in Professor Preobrazhensky’s apartment and to obtain registration. Then he tries to rape the professor's cook.
7. Sharikov gets a job catching stray animals. According to him, the cats will be made into “polts”. He blackmails the typist into living with him, but the doctor saves her. The professor wants to kick Sharikov out, but we threaten him with a pistol. They twist him and there is silence.
8. The commission that came to rescue Sharikov finds a half-dog, half-man. Soon Sharik is again sleeping at the professor's table and rejoicing at his luck.

Main characters

The symbol of science in this story becomes the luminary of medicine - the professor, the name of Preobrazhensky from the story “The Heart of a Dog,” Philip Philipovich. The scientist is looking for ways to rejuvenate the body, and finds - this is the transplantation of the seminal glands of animals. Old people become men, women hope to lose ten years. The transplantation of the pituitary gland and testes, and the heart that was transplanted into the dog in “Heart of a Dog” from a murdered criminal is just another experiment of the famous scientist.

His assistant, Doctor Bormenthal, a young representative of miraculously preserved noble norms and decency, was the best student and remained a faithful follower.

The former dog - Polygraph Poligrafovich Sharikov - is a victim of the experiment. Those who just watched the movie especially remembered what the hero from “Heart of a Dog” played. Obscene couplets and jumping on a stool became the author's find of the screenwriters. In the story, Sharikov simply strummed without interruption, which terribly annoyed Professor Preobrazhensky, who appreciated classical music.

So, for the sake of this image of a driven, stupid, rude and ungrateful man, the story was written. Sharikov just wants to live beautifully and eat deliciously, does not understand beauty, the norms of relationships between people, lives by instincts. But Professor Preobrazhensky believes that the former dog is not dangerous for him; Sharikov will do much more harm to Shvonder and the other communists who look after and teach him. After all, this created man carries within himself all the lowest and worst that is inherent in man, and does not have any moral guidelines.

The criminal and organ donor Klim Chugunkin seems to be only mentioned in “Heart of a Dog,” but it was his negative qualities that were passed on to the kind and smart dog.

Theory of the origin of images

Already in the last years of the existence of the USSR, they began to say that the prototype of Professor Preobrazhensky was Lenin, and Sharikov’s was Stalin. Their historical relationship is similar to the story with the dog.

Lenin brought the wild criminal Dzhugashvili closer, believing in his ideological content. This man was a useful and desperate communist, he prayed for their ideals and did not spare his life and health.

True, in recent years, as some close associates believed, the leader of the proletariat realized the true essence of Joseph Dzhugashvili and even wanted to remove him from his circle. But animal cunning and rage helped Stalin not only hold out, but also take a leadership position. And this is indirectly confirmed by the fact that, despite the year “Heart of a Dog” was written - 1925, the story was published in the 80s.

Important! This idea is supported by several allusions. For example, Preobrazhensky loves the opera “Aida”, and Lenin’s mistress Inessa Armand. The typist Vasnetsova, who repeatedly appears in close connection with the characters, also has a prototype - the typist Bokshanskaya, also associated with two historical figures. Bokshanskaya became Bulgakov’s friend.

Problems posed by the author

Bulgakov, confirming his status as a great Russian writer, in a relatively short story was able to pose a number of extremely pressing problems that are still relevant today.

First

The problem of the consequences of scientific experiments and the moral right of scientists to interfere with the natural course of development. Preobrazhensky first wants to slow down the passage of time, rejuvenating old people for money and dreaming of finding a way to restore youth to everyone.

The scientist is not afraid to use risky methods when transplanting animal ovaries. But when the result is a human, the professor first tries to educate him, and then generally returns him to the appearance of a dog. And from the moment Sharik realizes that he is a human, that same scientific dilemma begins: who is considered a human, and whether the scientist’s action will be considered murder.

Second

The problem of relations, or more precisely, the confrontation between the rebel proletariat and the surviving nobility, was painful and bloody. The impudence and aggressiveness of Shvonder and those who came with them is not an exaggeration, but rather a frightening reality of those years.

Sailors, soldiers, workers and people from the bottom filled the cities and estates quickly and brutally. The country was flooded with blood, former rich people were starving, gave their last for a loaf of bread and hastily went abroad. A few were able not only to survive, but also to maintain their standard of living. They still hated them, although they were afraid of them.

Third

The problem of general devastation and the error of the chosen path has arisen more than once in Bulgakov’s works. The writer mourned the old order, culture and the smartest people dying under the pressure of the crowd.

Bulgakov - prophet

And yet, what did the author want to say in “Heart of a Dog”. Many readers and fans of his work feel such a prophetic motive. It was as if Bulgakov was showing the communists what kind of man of the future, a homunculus, they were growing in their red test tubes.

Born as a result of an experiment by a scientist working for the needs of the people and protected by a supreme projection, Sharikov threatens not only the aging Preobrazhensky, this creature hates absolutely everyone.

An expected discovery, a breakthrough in science, a new word in the social order turns out to be just a stupid, cruel, criminal, strumming on a balayka, strangling unfortunate animals, those from among whom he himself came. Sharikov’s goal is to take away the room and steal money from “daddy.”

“Heart of a Dog” by M. A. Bulgakov - Summary

Dog's heart. Michael Bulgakov

Conclusion

The only way out for Professor Preobrazhensky from “Heart of a Dog” is to pull himself together and admit the failure of the experiment. The scientist finds the strength to admit his own mistake and correct it. Will others be able to do this...

The film Heart of a Dog was first shown on Central Television of the Soviet Union on November 19, 1988. The story on which the film was based was written by Mikhail Afanasyevich Bulgakov in 1925, but since it was impossible to publish the book in the Soviet Union due to its pronounced satirical orientation, it was distributed in samizdat from the 30s.

The story was first published abroad in 1968, and in our country it was published only during perestroika. The publication of “Heart of a Dog” took place in the June 1987 issue of the magazine “Znamya”, and in November of the following year the premiere of the television version of the story took place.

Vladimir Bortko said that director Sergei Mikaelyan, who then headed the television department of Lenfilm, pushed him into the idea of ​​adapting Bulgakov’s work: “Having met me in the studio corridor that time, Mikaelyan handed me a magazine.

I came home, started reading, got to the professor’s monologue and realized that I was going to film and I even knew how. This should be a black and white movie...” Such venerable actors as Leonid Bronevoy, Mikhail Ulyanov, Yuri Yakovlev, Vladislav Strzhelchik fought for the right to play Professor Preobrazhensky, but Evgeny Evstigneev won.

Despite the fact that Evgeniy Aleksandrovich had not read the story “Heart of a Dog” before working on the film, he was so natural in the role of Philip Philipovich that this work became one of the best in his film career. The actor’s son, famous cameraman, director and producer Denis Evstigneev recalled: “This film appeared in my father’s life at the right time and literally saved him.

2.

Dad was going through a difficult period when he was sent into retirement at the Moscow Art Theater. Having a hard time agreeing to work in “Heart of a Dog,” he then simply lived it. I don’t know what happened on the set, but he constantly talked about his role, played something, showed some scenes... At that moment, the picture became a support for him.” Of the eight candidates for the role of Sharikov, among whom was Nikolai Karachentsov, Vladimir Bortko chose the actor of the Alma-Ata Russian Drama Theater Vladimir Tolokonnikov.

At the auditions, Tolokonnikov played a scene at dinner when Sharikov utters his later famous phrase: “I wish that’s all!” The artist made a toast and drank so convincingly that the director lost all doubts about the candidacy for the role of Poligraf Poligrafovich: “Volodya killed me the very moment he took a sip of vodka.

3.

He chuckled so convincingly, his Adam’s apple twitched so predatorily that I approved him without hesitation.” Famous comedian Semyon Farada auditioned for the role of Shvonder along with Roman Kartsev. These and other wonderful actors who starred in both major and episodic roles - Nina Ruslanova, Boris Plotnikov, Olga Melikhova, Angelika Nevolina, Sergei Filippov, Valentina Kovel and others - managed to so vividly embody on the screen the images of the characters in the story that the film is still rightfully considered the best film adaptation of Bulgakov’s prose.

4.

This success, of course, was facilitated by the directorial talent of Vladimir Bortko, and the high professionalism of the cameraman Yuri Shaigardanov, and the skill of the set designers, costume designers and make-up artists who worked on the film, and the musical numbers created by the composer Vladimir Dashkevich and the poet Yuli Kim.

One of the undoubted successes of the film is Shvonder played by Roman Kartsev. Boris Plotnikov, Nina Ruslanova, and other artists performed beautifully in the film.
The reviews were diametrically opposed: from harsh criticism and rejection to complete delight. Time has shown who was right: “Heart of a Dog” is considered the best film adaptation of Bulgakov

5.

The film Heart of a Dog in 1989 was awarded the Golden Screen prize at the International Film Festival in Warsaw (Poland) and the Grand Prix at the International Television Film Festivals in Dushanbe (USSR) and Perugia (Italy). In 1990, the director of the film, Vladimir Bortko, and Evgeny Evstigneev, who played the role of Professor Preobrazhensky, became laureates of the State Prize of the RSFSR named after the Vasilyev brothers.

The filming took place in Leningrad, and the “role” of the streets of Moscow, where the action of the film takes place, was successfully “played” by the streets of the northern capital. Prechistenka, where Sharik’s fateful meeting with the professor took place, was Borovaya Street, Obukhov Lane, where the house in which Preobrazhensky lived is located, filmed on Mokhovaya, filming also took place on Preobrazhenskaya Square, on Ryleeva Street, in Degtyarny Lane and in other places cities on the Neva.

6.

The scenes in the cinematography were filmed in the Znamya cinema, and Yuri Mamin’s comedy “The Feast of Neptune” was shown on the screen to make the actors-spectators laugh in the frame. Interesting facts about the film Heart of a Dog - “Heart of a Dog” was first filmed by Italian and German filmmakers in 1976.

In Italian the film is called “Cuore di cane” (“Heart of a Dog”), while the German version of the title is “Warum bellt Herr Bobikow?” - translated as “Why is Mr. Bobikov barking?” (the Germans changed the surname “Sharikov” to “Bobikov”). The film was directed by Alberto Lattuada and the role of Professor Preobrazhensky was played by Max von Sydow.

7.

— The film contains characters and scenes from other works of Bulgakov. Professor Persikov, whom Preobrazhensky invited to examine Sharik, is the hero of the story “Fatal Eggs,” and the circus soothsayer is a character in the story “Madmazel Zhanna.”

The story of a janitor who read two volumes of the Brockhaus and Efron dictionary is a quote from the story “Gem Life,” the episode with the “stars” of the twin sisters Clara and Rosa is taken from the feuilleton “The Golden Correspondence of Ferapont Ferapontovich Kaportsev,” and the scene with the professor’s neighbors engaged in table-turning is from the story “Spiritualistic Seance”.

— Vladimir Bortko starred in the film in the cameo role of an onlooker in Obukhov Lane, refuting rumors about Martians.

8.

The dog who played Sharik was found through the Leningrad Service Dog Breeding Club. Out of 20 applicants, he was chosen because he looked like a purebred mongrel.

I dreamed of a dog, but they didn’t allow me to buy one,” says Elena Nikiforova, the owner. - One day I saw a couple of puppies in the garages. She left at first, but then came back for one of them. Moreover, I was going to take another one; I liked him better. But this one ran out... I gave him the name Karai.

Dog makeup

For the film, Karai had to be made up, because he had a smooth six, and Bulgakov wrote that Sharik was shaggy.

They used starch, but as soon as Karai ran out into the street, he immediately began to wallow in the snow and wash everything off himself, recalls make-up artist Elena Kozlova. “Then they thought of using gelatin, and it turned out to be more stable.

On the set, Karai became everyone's favorite.
“Most of all he communicated with Evgeny Evstigneev,” says the hostess. “When we arrived at the site, I immediately ran to greet him. Evgeniy Alexandrovich always answered him: “Hello, hello!” and patted him on the withers.

9.

Vladimir Tolokonnikov, who played the humanized Sharik, did not have any common scenes with the dog. But one day he specially came to the site to meet his “predecessor,” as he called him.

On the site, Karai had to freeze. For example, in the scene when the cook pours slop on him. They filmed a lot of douches, and the dog endured dousing for a long time in 20-degree frost.
In addition, during the filming, Karai bravely devoured sausage take after take. She was salty, and after the command “Stop!” he spat and ran to the bucket of water.

Friendship with a cat

After the film was released, people began to recognize the dog.

For the film “Rock and Roll for Princesses,” where Karai also starred, we flew to Yalta by plane,” says Elena. - And the flight attendant recognized the “movie star”! The whole crew came to see him.

After “Heart of a Dog,” Karay also shot in a short film with Sergei Shakurov, in the films “Forever 19,” “Wedding March,” and others. But there he simply flashed on the screen, alone or in a flock; he did not have such noticeable roles as in “Heart”.

10.

You can’t erase the words from the film:

Here everything is like at a parade: a napkin here, a tie here, and “excuse me,” and “please,” “mercy,” but in a way that’s real, that’s not the case. You are torturing yourself, just like during the tsarist regime (Sharikov).
-Get in line, you sons of bitches, get in line! (Sharikov)
-Take everything and divide it! (Sharikov)
-First, there is singing every evening, then the pipes in the toilets will freeze, then the steam heating will burst, and so on... (Preobrazhensky)
-But I'm not Isadora Duncan! I will have lunch in the dining room and operate in the operating room! (Preobrazhensky)
-Yesterday cats were strangled, strangled, strangled, strangled... (Sharikov)
-Gentlemen, everyone is in Paris! (Sharikov)
-Give me a cigarette, your trousers have stripes! (Sharikov)

Make a mysterious face, fool!
- Janitors of all proletarians are the most vile scum (Sharikov).
-I wish it all! (Sharikov)
-We didn’t study at universities... (Sharikov)
-We know about his works! We wanted to leave him five whole rooms! (Shvonder)
-We won’t do anything today: firstly, the rabbit is dead, and secondly, “Aida” (Preobrazhensky) is at the Bolshoi.
-Do not use indecent words! (Bormenthal)
-Don’t read Soviet newspapers before lunch (Preobrazhensky)
-Get off, you bastard! (Sharikov)
- Obscene apartment!.. (Sharikov)
- Clean, like a tram! (Sharikov)
-Only landowners who were undercut by the Bolsheviks eat cold appetizers and soup. A more or less self-respecting person handles hot snacks (Preobrazhensky).

http://1001material.ru/22039.html

The story of M.A. Bulgakov’s “Heart of a Dog” was written in 1925. This is a sharp satire on the writer’s contemporary society. Bulgakov was skeptical about attempts to create a new society and a new person during the revolutionary, i.e. violent transformations. The image of Sharikov embodies the low-lying element of people's life. Bulgakov sees a threat to life in the rudeness, bad manners, lack of enlightenment, and arrogance of the “new people.” The themes of the responsibility of the intelligentsia and the unpredictability of the results of experiments on humans are still relevant today.

The beginning is an operation during which Sharikov, a man-dog, is born. Climax: Sharikov threatens the professor. The denouement is a repeat operation: the dog returns to its original state.

At the center of the story “Heart of a Dog” is Professor Preobrazhensky’s experiment, which turned the sweet, nice dog Sharik into a short man of unattractive appearance. In this creature, which emerged as a result of scientific experiment, the makings of an eternally hungry and humiliated dog were combined with the qualities of his human donor - the alcoholic and criminal Klim Chugunkin. Such heredity makes the process of raising Sharikov very difficult.

Showing how Sharikov’s evolution occurs, how he gradually becomes bolder and more aggressive, Bulgakov makes the reader, laughing merrily at comic situations and witty remarks, feel the terrible danger of Sharikovism, this new social phenomenon that began to emerge in the 20s. The revolutionary government encourages snitching and denunciation, releasing the basest instincts of uncultured and uneducated people. It gives them a sense of power over smart, cultured, intelligent people. The Sharikovs, who have seized power, pose a terrible threat to society. Bulgakov reflects in his story on the reasons for their appearance. If Sharikov arose as a result of the scientific experience of Professor Preobrazhensky, then similar people with the heart of a dog may appear as a result of that risky experiment, which in our country was called the construction of socialism, an experiment of enormous scale and very dangerous.

An attempt to create a new just society, to educate a free and conscious person using revolutionary, that is, violent methods, according to the writer, was initially doomed to failure. After all, the desire to “to the ground” destroy the old world with its eternal universal moral values ​​and build life on a fundamentally new basis means forcibly interfering with the natural course of things. The consequences of this intervention will be disastrous. Philip Philipovich understands this when he sadly reflects on why his brilliant scientific experiment gave birth to a real monster who began to pose a mortal danger to everyone around him. This happened because the researcher violated the laws of nature, and this should under no circumstances be done.

All the events of the story take place on Christmas Eve, and the professor bears the name Preobrazhensky. And the experiment becomes a parody of Christmas, an anti-creation. The story is based primarily on allegory. We are talking not only about the scientist’s responsibility for his experiment, about the inability to see the consequences of his actions, about the huge difference between evolutionary changes and a revolutionary invasion of life. The story “Heart of a Dog” contains the author’s extremely clear view of everything that is happening in the country. Everything that was happening around and what was called the construction of socialism was also perceived by Bulgakov as an experiment - huge in scale and more than dangerous.

Bulgakov's story "The Heart of a Dog", subtitled "A Monstrous Story", was not published during the writer's lifetime. It was first published in 1968. ("Student". London. Nos. 9, 10; "Fringes". Frankfurt. No. 69). In the USSR, it was published in the magazine "Znamya" (No. 6) only in 1987. The manuscript bears the author's date: January-March 1925. The story was intended for the magazine "Nedra", where "Diaboliad" and "Fatal Eggs" had previously been published.

The plot of "The Heart of a Dog", as well as the story "Fatal Eggs", goes back to the work of the great English science fiction writer Herbert Wells (1866-1946) - to the novel "The Island of Doctor Moreau". The book tells how a maniac professor in his laboratory on a desert island is creating unusual “hybrids”, surgically turning people into animals.

The title “Heart of a Dog” is taken from a tavern couplet in A. V. Laifert’s book “Balagans” (1922):

For the second pie -

Frog legs filling,

With onions and peppers

Yes, with a dog's heart.

The name can be correlated with the past life of Klim Chugunkin, who made his living playing the balalaika in taverns.

On March 7, 1925, the author read the first part of the story for the first time at the literary meeting of the Nikitin Subbotniks, and on March 21, the second part. M. Ya. Schneider was present at the meeting, who later wrote about his impressions: “This is the first literary work that dares to be itself. The time has come to realize the attitude towards what happened” (to the October Revolution of 1917). An OGPU agent present there reported to his superiors somewhat differently: “Such things read in the most brilliant literary circle are much more dangerous than the useless and harmless speeches of writers of the 101st grade at meetings of the All-Russian Union of Poets.<...>The whole thing is written in hostile tones, breathing endless contempt for the Soviet Union.<...>and denies all his achievements.<...>The second and last part of Bulgakov’s story “The Heart of a Dog” caused strong indignation among the two communist writers who were there and general delight among everyone else.<...>If similarly crudely disguised attacks (since all this “humanization” is only an emphatically noticeable, careless make-up) attacks appear on the book market of the USSR, then the White Guard abroad, exhausted no less than us from book hunger, and even more from the fruitless search for an original, biting plot , one can only envy the exceptional conditions for counter-revolutionary authors in our country.”

Of course, such statements by “competent” employees could not pass without leaving a trace, and the story was banned.

However, people experienced in literature accepted the story and praised it. Vikenty Veresaev wrote to the poet Maximilian Voloshin in April 1925: “I was very pleased to read your review of M. Bulgakov<...>His humorous works are pearls that promise him to be an artist of the first rank. But censorship cuts it mercilessly. Recently they stabbed to death the wonderful piece “Heart of a Dog,” and he is completely losing heart.” On May 7, 1926, as part of a campaign sanctioned by the Central Committee to combat “smenovekhovstvo,” Bulgakov’s apartment was searched and the manuscript of the writer’s diary and two copies of the typescript of “Heart of a Dog” were confiscated "Only more than three years later, what was confiscated during the search was returned to the author thanks to the assistance of Maxim Gorky.

“Heart of a Dog” was supposed to be staged at the Moscow Art Theater. On March 2, 1926, Bulgakov entered into an agreement with the theater, which, due to a censorship ban on the work, was terminated on April 19, 1927.

In "Heart of a Dog" there are characteristic signs of the time from December 1924 to March 1925. The epilogue of the story mentions the March fog, from which Sharik, who had regained his canine form, suffered from headaches. The program of Moscow circuses, which Preobrazhensky so carefully studies, checking whether there are any acts with the participation of cats (“Solomonovsky... has four of some kind... Ussems and the man of the dead center... Nikitin has... elephants and the limit of human dexterity "), exactly corresponds to the programs of the beginning of 1925. It was then that the aerialists “Four Ussems” and the tightrope walker Eton, whose act was called “Man at a Dead Point,” took part in a tour.

The story begins with an image of Moscow, seen through the eyes of Sharik, a stray dog, no one needs, who “knows” life far from its best side. The picture of the city is realistic, even naturalistic: chic restaurants where “the standard dish is mushrooms and pican sauce,” and a canteen for “normal food for employees of the Central Council of the National Economy,” where they cook cabbage soup from “stinking corned beef.” “Comrades”, “gentlemen”, “proletarians” live here.

Everything shows an unsightly underside: devastation is all around, streets, houses, people are distorted in a terrible grimace. Houses, like people, live their own independent lives (Kalabukhov’s house). The ominous landscape is of considerable importance in the plot of the story: “The blizzard in the gateway roars for me to leave”, “the witch of the dry blizzard rattled the gates”, “the blizzard clapped a gun over my head.”

One of the main characters of the story - Professor Preobrazhensky - a world-famous scientist, doctor, clever man, absolutely confident that “the devastation is not in the closets, but in the heads,” reflects on what is happening like this: after all, the Kalabukhov house stood before the revolution, and no one he stole galoshes, and there were carpets in the front door, and the staircase was clean, covered in flowers, but other people came and “one fine day in April of the seventeenth year, all the galoshes disappeared<...>3 sticks, a coat and a samovar from the doorman,” and that’s when the devastation began.

The idea of ​​transforming the world is an old and noble one, supported and developed by the best minds in history, but it is an idea of ​​transformation, not destruction. From the very first pages of the story, the reader is immersed in an atmosphere of destruction, devastation, in a world where everything is built according to the law: “He who was nothing will become everything.” These “nobodies” live in the Kalabukhov house, and it is thanks to them that “devastation” comes. They don't do business, they sing. In this world, universal human norms and laws of behavior cease to apply.

The surname Preobrazhensky is not accidental. Philip Philipovich is not just a doctor, he is a “magician”, “wizard”, “sorcerer”, a transformer who is trying to find a way to “improve the human race”. But his experiment leads to unexpected results. The unfortunate dog Sharik becomes citizen Sharikov. The process of influencing the word that Shvonder carries begins. In his opinion, Sharikov is a “proletarian”, a “worker”, which the professor cannot understand. “Why are you a hard worker?” - he is amazed. And the logic of the “proletarians” is as follows: “Yes, it’s already known that he is not a NEPman.” Sharikov is unaware that everything that Professor Preobrazhensky has was acquired by his own labor; it does not bother him that he lives and feeds at the expense of the professor: after all, why work if you can take it away. As is known, Lenin’s slogan “Rob the loot!”, including what was acquired by intellectual labor, was one of the most popular during the days of the revolution. The noble idea of ​​“equality and brotherhood” has degenerated into primitive egalitarianism and outright robbery. Both Sharikov and Shvonder are artificially bred people, just in different ways. The operation to transplant the pituitary gland “humanized” the dog within a week, the “operation” to “humanize” Shvonder lasted longer, but the result is essentially the same. These “people” have only external human characteristics, which are insufficient for the definition of “human” to be applicable to them. Millions of Shvonders were taught: in order to become a “new man”, the master of life, you do not need to work hard or make any special efforts; it is enough that you are a “proletarian” - and therefore have the right to be the “master of life”. Sharikov’s conviction of his class superiority causes an outburst of indignation among Preobrazhensky and Bormental: “You stand at the lowest stage of development<...>In the presence of two people with a university education, you allow yourself to give some advice on a cosmic scale and cosmic stupidity about how to divide everything..."

With the appearance of Sharikov, devastation begins in the professor’s apartment, it takes on catastrophic proportions, and instead of doing business, operating, Preobrazhensky is forced to receive Shvonder, listen to threats, defend himself, write countless papers in order to legitimize the existence of Polygraph Poligrafovich. The life of the entire house is disrupted, “people are breaking in all day long” to watch the “talking dog.” People have no other business, but without their business there is no life. This idea of ​​the author is very important. The Bolshevik revolutionaries do nothing but do their own thing: they lead without knowing how to lead, they destroy what they did not create, they redo and rebuild everything. The Bolshevik experiment in creating the “new” is the central problem of the story. Professor Preobrazhensky does not like the Bolsheviks, but he also wants to “improve the human race” with his own surgical methods. And here is the conclusion made by the professor: Sharikov is violence against nature! “Please explain to me why it is necessary to artificially fabricate Spinoza, when any woman can easily give birth to him at any time. After all, Madame Lomonosov gave birth to this famous one of hers in Kholmogory!<...>My discovery, the devils would eat it,<...>costs exactly one penny...<...>In theory this is interesting.<...>Well, practically what? Who is in front of you now? - Preobrazhensky pointed towards the observation room where Sharikov was sleeping." What could have come out of Klim Chugunkin, a drunkard with three convictions, who died in a pub from a stab in the heart? The answer is simple - Klim Chugunkin. Another thing is scary: an "advanced" proletarian, for whom destined for a government post, he becomes a "cross between" a criminal and a dog. But Sharikov would go far, because people like him are convenient. The Sharikovs are ready to obey and subjugate. And the power of the proletariat is the basis of proletarian ideology. You cannot change what has developed overnight " experiment." Time has shown how right M. Bulgakov was in his insights.