I saw a lot

The current season of the Moskino joint program and the excursion project “Moscow through the eyes of an engineer” are devoted to the topic of urban micro -communities. Showing the film by Eldar Ryazanov and the lecture of engineer Andrei Tutushkina “Aesthetics of simplified forms. Architecture for a new person in the 50s of the twentieth century ”will be held on August 3 at the very Ryazanov address-Straitelov Street, 4 and 6 (beginning at 20:00).

"Girl without address" (1957)

Director Eldar Ryazanov

A visiting in Moscow is always not easy. But, of course, depending on who this visiting is.

Here is Katya Ivanova. Education-seven classes and a fully viewed repertoire of the Moscow Operetta Theater, who once came on tour in her native provincial town. Work experience - dismissed in connection with the inanimate nature of character. Additional skills - knows how to play the guitar and sing. The main thing: it knows that it is right-when it is in advance, and when not in advance, this is wrong.

With this simple, but strong CV, Katya sits on the train to Moscow, where her grandfather is waiting for her (we will soon recognize him by voice: this is Erast Garin, the main Soviet king since 1947-that year he played in Cinderella). And then he falls under the charm of a fellow traveler - the young man of Pasha Gusarov, who squints at her through tobacco smoke. To fall in love is easier: after all, our Marlon Brando, Nikolai Rybnikov, is played by Pasha, a leading specialist in the Soviet screen to tame the obstinate. He will extinguish the cigarette, and the gunshole, the feeling will amaze both of them. On the square of three stations, they will be lost, she will not have time to end her address to the end, and again will meet in the final - also at the train.

The love line is not the main thing here. The main thing is the topic of searching for work, without which in Moscow one can not resist either then or now.

Katya will lead us along the 1957 Moscow labor market and leave us in slight bewilderment and complete delight: almost no one works here! The head of the ZhEK, where she was attached by the grandfather of the elevator, wanted to spit on a broken elevator and citizens stuck in him. The head of the office, whose employees cannot really formulate what they are doing, quietly dozing over the table in anticipation of tea, for which, by the way, 500 rubles of state money is spent a year. From the despotistical leadership of the house of models, fashion models run, new ones are caught right on the street - and they run away directly from the catwalk. It is also impossible to work in the service sector: while you rub parquet, the husband of the housewife of the apartment is sneaking up, having passionately moved a mustache - this type (also the boss) is in a hurry to serve. At the same time, everyone lives in perfect mansions. Here is Katin Grandfather - for nothing that the watchman is in the district council, and his apartment is two -level and with a panoramic window on the floor. But this is understandable: the only bosses who in the “girl without address” are not in vain receive a salary - these are foremen at construction sites.

Starting to get and supervise stupid directors, deputies and acting In his first independent full -length comedy “Carnival Night”, by the second film, the young director Eldar Ryazanov raked in earnest. Comrades of the Ogurtsov in the "Girl without Address" - a whole Moscow. And everyone will overtake a small limiter, whose inanimate character - of course, is not a curse, but superpower. Long before the generation of wipers and watchmen, she will understand the main thing - and will go with a broom to the street.

This, by the way, is not the only prophecy in a “girl without an address”-in one of the scenes of Ryazanov, Khuliganski anticipated the historical travesty-blockbuster “Hussar Ballad”, which will be removed in 1962. Having stuck a ficus leaf into a hairstyle and belowing a Pavlovoposad scarf, Katya, intonent in the manner of a young Vertinsky, will perform in front of a theater dressing sprunker who can push into the troupe, “Countess’s aria from the operetta“ Gusar Boy ”” (of course, nonexistent):

I have seen a lot in life, Arno -
I loved a lot, I suffered a lot.
You are a boy, Arno, and you don't understand,
What does it mean to love! And what does it mean to suffer!

There is no more mockery of the Operetta genre and foster exams at the theater university. Nevertheless, it was this role that became the unprofessional actress Svetlana Karpinskaya pass to Ligitmik for Katya - after all these pirouettes she was credited immediately to the second year without any exams.

"Red Houses" on Stroitelov Street

The general plan for the reconstruction of Moscow in 1935 stipulated that the territory of the city would be cut out by wide highways that will depart from the Palace of Soviets. Two large avenues were supposed to lead from the center to the south-west: “Eastern Ray” and “Western Ray”. Implemented these projects later and somewhat differently. The active layout of the southwest began in the late 1940s, when a resolution on mass housing construction was adopted. In connection with him, in 1951, under the leadership of architect Dmitry Chechulin, a new plan for the reconstruction of the city was developed, operating until 1960. This plan determined the appearance of this part of Moscow: the south-west became the area of ​​the first post-war mass development, and they chose it for this purpose because the conditions for the placement of residential areas were evaluated as exclusively favorable.

One of the first (after Moscow State University) and the most striking (in the literal and figurative sense) projects was the Red Houses on Stroitelov Street-a residential complex of panel-brick houses of the II-02 series, built in 1952-1958. They got the name thanks to the color of the facing tiles, which Alexander Melia proposed as an experiment. “Red Houses” is a striking example of the ensemble development of a large Stalin style, a complete collection of his favorite techniques: fountains, symmetrical-axial compositions, bas-reliefs, stucco molding, wood-and, of course, spreading arches and shady green yards. A real trip to a happy Soviet childhood-on the example of the southwest, post-war Moscow showed what the perfect city should be.

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