“The Key Without the Right to Transfer” - a 1976 motion picture directed by Dinara Asanova at the studio Lenfilm (USSR).
|Genre||drama , romance|
|In the main|
|Elena Proklova |
|Operator||Dmitry Dolinin |
|A country||the USSR|
In one of the ordinary Leningrad schools, a strange situation has developed: the students of the 10th “B” class do not get along well with their parents and teachers, but are very friendly with each other and with their young class teacher Marina Maksimovna. They spend the weekend together, discuss pressing contemporary problems and the teachers with their conservative, outdated views. Colleagues disapprove of the methods of the class teacher, whose grown-up children, according to the figurative expression of one of the teachers, were given a “key” from the heart of the class, without the right to pass it on to anyone else. The young teacher is fully aware of her pedagogical gift, sees a significant difference in intelligence and spiritual development between herself and her fellow losers, and on this basis behaves with them proudly and defiantly. The guys recorded their audacious, frank statements on a portable tape recorder . The recording falls into the hands of Yulia’s mother. She brings a tape recorder to the school, demanding a trial from the school administration. The new headmaster, a former army officer, who at first appears to be a martial arts and a retrograd , is trying to find a decent way out of a difficult situation, and the progressive views of the young teacher turn out to be not so admirable.
- Screenplay: George Polonsky
- Stage Director: Dinara Asanova
- Main operators: Yuri Veksler , Dmitry Dolinin
- Main artist: Vladimir Svetozarov
- Composer: Evgeny Krylatov
- Sound engineer: Konstantin Pashkov
- Director of the picture: Yuri Gubanov
Festivals and prizes
- 1977 - XI All- Union Film Festival in Riga :
- Prize "For the Best Director" Dinara Asanova
- Prize "For the best performance of the male role" Alexei Petrenko
- Prize of the Central Committee of LKSM
- Prize of the children's jury of viewers to the film’s creative team
- 1977 - X IFF in Moscow : Special Prize of the Jury of the Children's Film Competition
- 1977 - Prizes of Leninist Komsomol directed by Dinara Asanova and actress Elena Proklova
- 1978 - VI International Koszalin Meetings ( Poland ): Prize "Amber" for the best screenplay to George Polonsky
- 1978 - VIII International Film Festival of the Best Films of the World "Fest" in Belgrade ( Yugoslavia ): Honorary Diploma "Kekets"
- 1978 - VIII IFF for Children in Giffoni ( Italy ): Special Diploma
- 2006 - Russian Film Week in Paris: Regards de Russie, Paris (France)
- 2008 - Russian cinema in the cinema "Arlequin", Paris (France)
- 2008 - “Spirit of Fire” International Film Debut Festival, Khanty-Mansiysk (Russia)
- For Marina Levtova it was the first movie role. She was a classmate of Tsyplakova, who starred in the film Dinara Asanova " Do not hurt the head of a woodpecker ." When Asanova started looking for children for her new picture, Tsyplakova showed her a photo of her ninth grade. Asanova immediately liked two - a boy and a girl. This girl was Levtov.
- In the role of Marina Maksimovna, Asanova wanted to film Ekaterina Vasilyeva , but she was not approved by the artistic council. Samples were also held by Evgenia Khanaeva , Marina Neyolova , Lyudmila Gurchenko
- When Kirill Alekseevich asks Marina Maksimovna to help him understand the books on pedagogy, she suggests to start by reading Janusz Korczak “How to love children”
- On a walk, Marina Maksimovna reads to the students of Haiku Chiyo-ni :
- Over the creek all day
- Catches, catches a dragonfly
- Own shadow
- Catches, catches a dragonfly
- Over the creek all day
- The episode near Pushkin’s house on the Moika on the day of the 139th anniversary of the poet’s death was initially absent in the script, added by Asanova. At the monument to Pushkin, his poems dedicated to the poet read: Bulat Okudzhava “Alexander Sergeyevich is good ...”, David Samoilov “Boldino Autumn”, Mikhail Dudin “In the circle of earthly bells” ..., Bella Akhmadulina “Country Romance”.
On the pages of the collection “The Cinema of the Young” (1979), film critic A. V. Karaganov stated that the film “gained the recognition of viewers and critics”  . Film director and teacher I. V. Talankin noted “exquisitely built mise en scenes, like, say, happy birthday episodes by candlelight or a sound“ letter to descendants ””  .
Film critic T. Mamaladze wrote in the magazine “ Art of Cinema ”: “The authors of the film“ The Key Without the Right of Transfer ”do not rate their heroes; She also noted the “inerrancy of the actor’s choice”  .
The role of Elena Proklova was highly appreciated. Film critic Natalya Zelenko noted that “the actress seems to be indifferent, consciously or spontaneously, her character searches her moral search — she defends the right to happiness of this gifted, bright woman.”
|Perhaps she is too intolerant of her less fortunate, less talented colleagues? Maybe. But the right to this intolerance gave the actress respect for the profession of a teacher, the firm conviction that in work you have to be demanding to the end, that for the work you are doing you have to bear full and absolute responsibility - especially when it comes to the human soul ”  .|
The audience can justify and condemn it, but “the psychological depth of the actor’s research of an extremely complex, controversial nature was recognized by all - and without reservation”  .
The film's director admitted that for her it was a surprise that the character of school principal Kirill Alekseevich performed by A. Petrenko was unexpected. According to her, the actor "rose above the expected content of the role"   . Film critic E. Gromov noted the “unexpected” role of chemistry teacher Emma Pavlovna, who is “unpleasant in his doctrinaire and narrowness” and unable to find a common language with accelerators from the class of Marina Maksimovna, which provokes a conflict   .
E. Gromov singled out “The key without the right to transfer” among school films: “This is not only a truly interesting film, but also a kind of model of youthful cinema of the 70s”  . At the same time, he believed that the film was “indicative of both its indisputable merits and some miscalculations and weaknesses.” “The gifted teacher Marina Maximovna, focusing only on capable guys,” noted E. Gromov, “willy-nilly, arrogant in them, which is not without its own help”  . He wrote that “critics and spectators unwittingly ask themselves questions: where are the people who are not talented?” And “how did Darling Marina Maksimovna succeed in turning the usual Leningrad class into a small resemblance of Tsarskoye Selo lyceum?”  .
Unlike N. Zelenko, E. Gromov considered unacceptable the maximalism of Marina Maksimovna with her conviction that "only talented, god-marked people have the right to work at school". He called convincing the work of A. Petrenko in the role of a school principal, who “takes a different viewpoint”. At the same time, the critic doubted that “the viewer, especially the young one, understood and accepted the pedagogical and moral correctness of the school principal”   . He also noted that the images of teachers turned out to be more interesting (“there is something to talk about and argue”) than their pupils: “The guys are given in one key, they are, in essence, equally good”  .
Very critically evaluated the film L. Arcus :
|Something prevents today to perceive the film as living and modern - something elusive at first glance that it is difficult to pick up right away. And this “something” is, strangely enough, not true. All high school students are completely unique ... <...> The beauty, talent and poet as well as their teacher Marina Maksimovna ... But the enlightened literary woman is somehow surprisingly unpleasant in her rigorism, and from the episodes of the elevated rites of high school students with their idol there is a feeling it is unnatural  .|
Different estimates were made by the compilers of the collection “Noah's Ark of Russian Cinema” (2012). They called the picture one of the most vivid in the genre of "school film"  . The reviewer of this film, O. Zhuk, called the film “a story from the life of my generation.”  She wrote that the representatives of this generation were different, including such romantics, idealists, maximalists, intellectuals.
- Shcherbakova G. FE LI NI (Fedoseeva Lydia Nikolaevna). - M .: Union of Cinematographers of the USSR, 1989.
- Documentary film "Dinara" (1988)
- Karaganov A., 1979 , p. eight.
- Talankin I., 1979 , p. 17
- Mamaladze, 1977 , p. 83-84.
- Mamaladze, 1977 , p. 80
- Zelenko N., 1979 , p. 295.
- Zelenko N., 1979 , p. 294.
- Asanova D. Soviet screen, 1977 , p. ten.
- Asanova D. Screen 1974-1975, 1976 , p. 294.
- Gromov E., 1978 , p. 34
- Gromov E., 1981 , p. 36-37.
- Gromov E., 1981 , p. 35
- Gromov E., 1981 , p. 37.
- Gromov E., 1981 , p. 36
- Gromov E., 1978 , p. 35
- Arcus L., 2010 .
- Noah's Ark of Russian Cinema, 2012 , p. sixteen.
- Noah's Ark of Russian Cinema, 2012 , p. 317.
- Asanova D. “The key without the right to transfer” // Screen 1974-1975. - M .: Art, 1976. - S. 125-126. - 245 s.
- Asanova D. “Key without the right of transfer” // Soviet screen. - 1977. - № 3 . - p . 10-11 .
- Mamaladze T. Composition on an unexpected topic // Art of Cinema. - 1977. - № 4 . - pp . 75-84 .
- Gromov E. School cinema roll / / Screen 1976-1977 / Comp. Y. Tyurin, G. Dolmatovskaya. - M .: Art, 1978. - pp. 31-38. - 288 s.
- Karaganov A. Responsibility of the Young // Cinema of the Young: Collection / Comp. O.YA. Zlotnik - M .: Art, 1979. - p. 5-10. - 296 s.
- Talankin I. The Right to Search // Cinema of the Young: Collection / Comp. O.YA. Zlotnik - M .: Art, 1979. - S. 15-40. - 296 s.
- Zelenko N. Elena Proklova // Cinema of the Young: Collection / Comp. O.YA. Zlotnik - M .: Art, 1979. - p. 291-295. - 296 s.
- Gromov E. School Cinema Hall // Art of Cinema. - 1981. - № 4 . - p . 34-46 .
- Arkus L. The Adventures of the White Crow: The Evolution of the “School Film” in Soviet Cinema // Session. - 2010. - Vol. June 2
- Noah's Ark of Russian Cinema: From “Stenka Razin” to “Stilyag” / Comp. and foreword E. Vasilyeva, N. Braginsky. - M .: Globus-Press, 2012. - p. 16, 317-320. - 552 s.