Global InformationVladimir Vysotsky filmography information
During his years in cinematography, Vladimir Vysotsky appeared in more than twenty-five films. He made his film debut in 1958 while studying at the Moscow Art Theater School, when he played an episodic role of a student called Petya in the film "Female Age-Mates". Vladimir Semyonovich's early filmography was dominated by characters in whose images he appeared briefly on the screen, uttering a few lines. In the 60's directors, inviting Vysotsky to the film, sometimes used his singing potential more actively than dramatic possibilities. The first film work, which changed the "episodic" role of Vysotsky, was the role of the tank driver Volodya in the film of the Belarusian director Viktor Turov "I come from childhood". Widespread fame actor brought participation in the movie "Vertical". In both films for the first time sounded from the screen songs Vysotsky; songs from "Vertical", which gave the action dynamics and sharpness, became a kind of mountaineering folklore and were highly appreciated by the public and critics. The presence of Vysotsky in the picture could be the reason why the movie was screened in limited numbers or not at all. This was the case with Kira Muratova's"Brief Encounters" (1966), which the public saw only in 1987.
In 1968, the actor created the images of the White Guard lieutenant Brusentsov ("Two Comrades Were Serving", directed by Yevgeny Karelov) and the revolutionary underground Brodsky ("Intervention", directed by Gennadi Poloka). In an effort to break the stereotype of antihero and hero in these films, Vysotsky showed the figure of the White Guard Brusentsov so vividly that his portrait came to the fore and required cuts, and the role of the revolutionary was resolved "epathetically", which served as one of the reasons for the film's ban at the box office. In Vysotsky's cinematic career, he used to play ambiguous or negative characters; among them - the criminal Ryaboy ("Master of the Taiga"), the occasional policeman at a wedding ( "War Under Roofs"), maximalist Von Koren ("The Bad Good Man"), a man with a "stalled conscience" He in the film "The Fourth", "shabby seducer" Boris Ilyich ( "The One and Only..."). The actor also had positive characters: revolutionary underground Nikolai Kovalenko (Georges Bengalsky) in the adventurous "Dangerous Tour", a prisoner of war Solodov ("The Only Road"), Ibrahim Hannibal ("How Czar Peter the Great Married Off His Moor"). Vysotsky's last acting work was participation in television films: he played the role of Gleb Zheglov in "The Meeting Place Cannot Be Changed" (directed by Stanislav Govorukhin, premiere November 11, 1979) and Don Juan in "Little Tragedies" (directed by Mikhail Schweitzer, premiere February 29, 1980). In 1987, Vysotsky was posthumously awarded the USSR State Prize "for the creation of the image of Zheglov in the "The Meeting Place Cannot Be Changed" and the author's performance of songs".
Vysotsky acted not only in films, but also in television plays and did voice-over work: his voice can be heard in cartoons and in the documentary "Ilf and Petrov". As an author, he wrote more than a hundred and thirty songs for films, including "Brotherly Graves", "Song about a Friend", "Brodsky's Song", "House of Crystal", "Couplets of Bengal", "Ballad of Love", "Interrupted Flight" and others. A considerable part of the works he wrote for the cinema were rejected by the studio's art councils at the stage of preparation or removed from the film during the commissioning or editing.
Vysotsky was not able to realize his plans related to scriptwriting. The scripts he wrote (alone or as a co-author) were not accepted for production. The only exception was a joint script with Igor Shevtsov for the film "Green Van", which was actually accepted (subject to revision) by the Odessa Film Studio in 1980; however, this project remained unrealized. Since the second half of the 1960s, Vysotsky's appearance on the screen was always accompanied by press coverage; in 1975, the "Iskusstvo" Publishing House published the book Actors of the Soviet Cinema with an article by Irina Rubanova entitled Vladimir Vysotsky, which became the most complete lifetime study of the artist's cinematic work.
How many versions, how many disputes?
All over the place!
People know more about the actor
Even more than he knows himself.
Vladimir Vysotsky, from "The Actor's Song"[1]
- ^ Кинея, 1992, P. 113—114.