On the complexity of work in the "Dowry"

The action of almost all the films in which Ktorov was shot earlier took place in conditional and fictional countries - somewhere in the West, but where exactly - was essentially unknown and unimportant. The cinematic production of "Bride" required the exact observance of the color and spirit of a well-defined era, historical and psychological reliability, an accurate understanding and sense of Ostrovsky's style. For Protazanov was by no means inclined to rude modernization or arbitrary interpretation of the classical play, on the contrary, he wanted to get as close as possible to the author, to catch his intonation, his manner. In addition, for Ktorov (if we leave aside the “Puppets” with their underlined and aggressive - almost to operetta - conventionality), this was, in essence, the first sound dramatic film. The artist was to perform in one of the most popular roles played by many great masters in the roles of the Russian theater repertoire. Running a little ahead, let’s say that Protazanova’s “Dowry” still appears on the screens again and again and enjoys constant success, and that Ktorov in the role of Paratov still makes a great impression. However, in 1968, when Ktorov was asked a question about his Paratov, he answered not without visible irritation:

- Horror! I can’t look at this fatal handsome man with a fake mustache!

Such irritation against one of his most popular roles often arises among actors.

The feeling of being “attached” to one work that was done many years ago and has long been left behind is a sensation that really must be unpleasant. Ktorov has long gone far from his Paratov, and Paratov follows him obsessively, constantly accompanying him ... It is important for us, however, to look at this long-standing work of the artist from the point of view of the time when it was carried out. Only in this case will the reasons for Ktorov’s success at that time and the long, unquenchable popularity of The Bride directed by Protazanov be understood.

In The Bride, Y. Protazanov, obeying Ostrovsky, resolutely turned to the truth of life and the truth of psychology. The director led his actors deep into the drama, lovingly and poetically shot Volga landscapes, introduced folk songs, old romances, Tchaikovsky’s music into the score, and with rare care used to reproduce, using many motifs of painting of the Wanderers, the Russian provincial life of the second half of the last century. In such a reliable, historically concrete atmosphere, the very manner of playing the Protazan actors was, of course, to change. And although almost all of them, only recently having parted with the expressiveness of silent cinema, of course, continued to pay tribute to him, although almost all of them still did not feel very confident in that element of the word, in that "conversation", generous and fresh, where Ostrovsky so great, however, both N. Alisova - Larisa, and V. Balikhin - Karandyshev, and B. Tenin - Vozhevatov turned out to be worthy partners of masters from the Maly Theater, “Ostrovsky House” - V. Ryzhova (Efrosinya Potapovna) and M. Klimova (Knurov). https://m777live.com

I definitely need to do up a list like this! I need focusing especially after maternity leave.

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