Shadow outside the window, steps outside the door: people and legends of the Silver Age come to life in a television film

The journalist, literary critic, candidate of philosophical sciences Vyacheslav Nedoshinov had just completed in St. Petersburg in television Lot the only work dedicated to the Silver Age - the sixty -part film "Nameless Houses".

"The divine feeling to know: Akhmatova’s hand touched this windowsill. From this window, Yesenin and his wife Zinaida Reich threw it into the courtyard, quarreling, engagement rings and immediately rolled up this stairs to look for them in the dark. And it was this door chain that moved, like shackles, Osip Mandelstam. And a black staircase, and a chain still exist.

“In St. Petersburg, we will meet again, as if the Sun we buried in it ...” The people of the Silver Age - Akhmatova and Gumilev, Blok and Bely, Voloshin, Yesenin, Kuzmin, Mandelstam, Severyanin, Sologub, Mayakovsky, Khlebnikov, Khodasevich, as you know, lived in St. Petersburg.

But where? On which bridge did Blok confessed his love to his future wife? In what apartment did Meyerhold first staged a Kuzmin play? Where did Akhmatova lived when Gumilyov came to her for the last time before the execution? ..

For seven years I collected this information, I was offered to publish a book three times, but it was always early, not completely found, not everything was found ... And then one day in St. Petersburg, wandering at the next addresses, I suddenly realized how good it would be to show this who knows nothing ... "

The film, shot on a grant of the Ministry of Public Printing and dedicated to the upcoming three hundredth anniversary of the city, was represented in the restored basement of a "vagabond dog" - where there was once on the walls "Flowers and Birds languished in the clouds" ...

“Oh, how they met Gumilyov in a“ stray dog ”! - We read in the script of the film.“ He came on a business trip from the front and from Akhmatova came to the basement for the last time - “The Dog” will be closed in the 15th year. Fairy -tale evening: blue rings of cigar smoke, quiet ringing of glasses, poems, words of admiration. He is in a dashing form, and with a dashing form and with a dash The first dairy of a snowstorm, a curtain of snow wind, like a curtain between the world and the war, and in the basement: the music, the severity of friends, the eyes of the eyes of the women’s loves, is also a kind of "front", if you know how much he "twisted" the novels with Tatyana Adamovich. He stares at the actress Arbenin, because of which he will compete with Mandelstam, builds an affair with Magia, poetess Margarita Tumpovskaya. The one that Madrigal dedicated to Mandelstam, and Esenin was married to the only one with whom he will be explored by the barricades of the revolution, a student of the neuropsychiatric institute, a beauty, a poetess ...

“Do not forget me,” he wrote to her from the front. “I often jump through the fields, shouting to meet the wind your name, and you dream of me almost every night” ... ”

On the houses where the poets lived, and everyone met another arrogant smile ... ", there are no memorial boards. But their shadows lay on these glasses, their speeches circled in these rooms, here, in the darkness of winter nights and the moonless splendor of summer, people of the Silver Age celebrated their lives and lived their drama. “Geography” of poetry - black and ceremonial stairs, workshops and studios, squares and embankments, outbuildings and courtyards, entrances and intersections, gardens and squares - only a canvas of a rapid, flying narrative. Each series is a story about one address, house and what happened and how it happened. Eight episodes are dedicated to Blok, five Mandelstam, and there are three northerners, but the main through plot is the connection of fishing and act, creativity and fate in the face of inexorable time. The torn rhythm of stunning everyday life, which, as Pasternak believed, is always significant. The genre of "nameless houses" is a detective of passions. To make this film, Nedoshinov radically changed his life.

- When I started in the St. Petersburg newspaper "Shift", there was one author there. He lived in Kirishah. He came to the editor, Herman Baluev, whistling, with some daddy and asked:

- Herman, what topic do your employees refuse to write on?

- How to which? About social media!

- I'll write.

And two weeks later he dragged the strip about social media. There was such a dramaturgy, passion, people! Every month he issued these stripes.

Once accidentally collided with him in the Catherine’s kindergarten. He immediately began to tell:

- You know, I came up with one thing. Our stupid Soviet system is so arranged that if the money is allocated, it cannot be returned. Imagine that they allocated the bonus, and they refused it, and there is nowhere to put the money.

- So what?!

- How do you not understand? This is a finished script!

And suddenly I find out: he left the newspaper, began to live on debt and write this very script. He had a wife, a child. I was shocked then that he was able to abandon the salary, from all the usual routes and choose freedom ...

His name was Alexander Gelman.

Leo Tolstoy believed: five different lives are given to a person. Nedoshinov’s years “plowed” in the newspapers, starting a Lithuanian employee of the famous Leningrad, a lot of Torokhodovsky worker and reaching a member of the editorial board of Komsomolskaya Pravda. Then, in the 80s, not yet knowing English, the first in the Soviet Union he transferred Orwell to the settings and defended his dissertation on antiopian novels. The revolutionary wave of 1991 brought him to the Kremlin, making it assistant to Gennady Burbulis, at that time of the second person in the state ...

- When Burbulis left Yeltsin, I was offered to stay in the Kremlin. But those people of the first wave in which I was at first in love, before my eyes turned into ordinary party officials with a string of footmen, conversations through my lip, with dinners in the "rest rooms" behind the work cabinet. They became "winners." And my beloved Orwell all my life was a fugitive from the camp of the winners.

I left the Kremlin and in a bare place created a PR agency. Then, the word "PR" knew us. Oddly enough, everything worked out. Five years worked without weekends and vacations. It was interesting. But once he stopped in the middle of his own life and asked himself: why? Well, money. But days, weeks, years are flying away, and you work for strangers - thick, well -fed, unstable ...

I threw everything from the car moved to the bicycle, went nowhere.

There were some means remained, it was possible to eat them, but you can stretch them.

I began to buy tons of books (memoirs prohibited before, published abroad, reprints from archives, from special guard) and make extracts. For what? I swear, I did not know. For yourself.

It was interesting to compare. Here is a duel between Voloshin and Gumilev ... Three people recall it, and everything is different. How was it really? When you bring everything together, a strange stereoscopic effect arises, as if you are restoring not only chronology and details, but the air itself, which you breathed in those days ...

“The first task of the poet is to invent himself,” said Innocent Annensky, the largest poet of the century. ... poets, and most Voloshin, will understand this, alas, too literally ...

In house 15 on Glazovskaya, now Zaslonov Street, in apartment 18, Voloshin, returning from Paris, will live for three months with his friend Alexei Tolstoy. Oh, who just didn’t crowd here in those days! Here magazines arose and died, literary societies, evenings were conceived. ... and came to the world of Cherubin de Gabriac, the most loud adventure of the Silver Age.

... Once, a letter signed by the letter "h" came to Apollo. In the verses, the mysterious stranger seemed to be spoken of “about his captivating appearance and his fate - mysterious and sad,” Makovsky recalled. “The impression was focused with a handwriting, extremely elegant, and the smell of spicy spirits” ...

Annensky, Vyacheslav Ivanov, Kuzmin, Gumilev - the whole editorial office decides - to print poems. When it turned out that Cherubina is a Spaniard, that she was 18 years old, that her father was a despot, and the confessor is a strict Jesuit, almost everyone fell in love with her in absentia. With special excitement, Cherubina Voloshin admired.

(Voloshin, as you know, Cherubin and “composed” and wrote poetry and called the Apollo editorial office Lilya Dmitrieva. Because of the Cherubina, in essence because of Dmitrieva, Voloshin gave Gumilyov a slap in the face, and Gumilyov called him.-M. T.)

But what about Annensky, who urged poets to "invent himself"? The "tall old man with the head of Don Quixote" will die on the steps of the station. “He fell in a smell of fur coat and with a red briefcase clamped in his hand,” his son writes.

It is believed that he died due to Cherubin. Twelve of her verses were printed in Apollo instead of Annensky. So decided Makovsky in love with her. Annensky tears with him: "I am very upset that my poems will not go. It is a pity that you want to see in my desire - a whim. I have a publisher, and I have not missed the season with my hands." And suddenly, after this letter, he finds out that Cherubina is a deception that there was a slap in the face, then a duel. What heart can withstand this? The "fiction", to which he called, defeated life. His life. The duel of the two poets with an accidentally ricochet killed their common teacher.

The name "Silver Age" was invented, Berdyaev believed. He was a witness and a participant in everything - first in the circle of "world of art", then on the tower of Vyacheslav Ivanov and in the Merezhkovsky salon ...

Everywhere the main issues of life and death were, questions of the spirit - all were united by the search for the meaning of life. Elizaveta Kuzmina-Karavaeva writes that the air of the Silver Age was unique: "We talked about the most forbidden things, we did the most forbidden things ..."

Fathers born in the last third of the 19th century were people. For the children, the era of the tragic carnival began ... Everyone heard an underground rumble, a murmur of a displeased people. For everyone - in verses, articles, diaries you can find this feeling - "We must live differently, otherwise, not like us ...". They rushed events, pushed them. Not knowing yet, only anticipating that this milk will change themselves and themselves.

The film is about how they disposed of themselves, their talent and soul. And about the inexhaustible tragedy of Russian society, where overnight the best, talented, smartest were not needed.

Gumilyov will be shot at 35 years old. According to the deaf version, he, in that August dawn, standing on the edge of the pit at the Rzhevsky training ground near Petrograd, calmly smoked cigarette, smiled. “He died gorgeously,” one poet, close to Chekist circles. “Even on the guys from a special department made an impression. An empty youth, but still a strong type. Few people die so.” He simply did not know that for Gumilyov any only “as much as a person defeats his fear”, he did not hear his words that the critic, art critic Hollerbachs: “We must always follow the line of the greatest resistance. If you accustom yourself to this, nothing will be scary.” This is the whole of Gumilyov.

He, a nobleman, a romantic, a duelist, a warrior, a tramp and a dandy, an adventurer and a hero-lover who else to look, has accustomed himself to the line of the greatest resistance. Maybe because he was born on the island in a terrible storm. The island was called Kronstadt. And the storm will become a symbol. The poet’s nanny, who knew signs, then, and will undergo “a stormy life” to him. Yes, and the pedigree predicted something: Gumilyov’s great -great -grandfather fought under Ochakov, great -grandfather - wounded under Austerlitz.

... “I wanted to always be the first,” said Odoevtseva later. “It was not easy for me with my weakness.” ... And by nature a timid, shy, painful person, Gumilev "ordered" to become a hunter for Lviv, Ulan who voluntarily went to fight and earned two George for courage, the conspirator. He and women will achieve the same way - Taran, after five of her failures and two suicide attempts. She will agree. After his duel. But not because of her.

Her name is Akhmatova. They will get acquainted with the gymnasium students yet, into Christmas Eve. She will not like him. But for her sake he will perform his exploits. Once, in Tsarskoye, where their parents lived, he will give her a bouquet for her birthday. She will sigh with a grimace: "God, because this is the seventh bouquet!" Gumilev, without saying a word, will disappear. After a while, he will appear again, with an even more magnificent bouquet. "Kolya, but this is the tenth!" - shouts Akhmatova. “Yes, I know,” he will answer, “but I just gathered it in the garden of Empress Alexandra Fedorovna.” All gasped: it was dangerous. Well, you, current boys in love, try to pick a bouquet in the Kremlin, at the president’s dacha, at worst, in the garden of the governor! But this is only the smallest feat of a small knight - to smile before the execution is more difficult.

In the Suvorov School, the glory of Nedoshivin was called Grigory Alexandrovich - like Pechorin. They considered it strange: he read, not that admired, he did not strive for that. At fifteen, he loved to go to cemeteries and read memoirs. At the end of the 60s, finding himself in Tallinn on a business trip, he found an abandoned grave of a northerner with an almost showered signs: “How good they are, how fresh the roses will be, my country thrown into the coffin,” in Tobolsk gave a hook two kilometers to find in the village of Pokrovsky Rasputin’s house, in Kyiv immediately rushed to the St. Bulgakova. I spent one night (the employees of the Museum of the History of the City allowed) in the casemate of Petropavlovka, in the camera of Decembrist Panov ...

This is not taught. Such an obsession is like an assignment, “a strange seal, as if granted from above” ... Always, even from the most remote times (such as the Iron Age, who came after the Silver), people endowed with talent, as suffered value, to feel a special “radiance of the past”.

All addresses, their dozens, glory and wife Galya went around at first on bicycles and walked. They knocked and called someone else's apartments, climbed under the roofs, went down to the basements. “You know that here in such a year there lived a block, Mandelstam, Khlebnikov? ..” Some doors were hospitably open, they didn’t want to let others into it. In some places, the signs of a haggard life - a colored stained -glass window, a bronze pen, a fireplace, scraps of old wallpapers are preserved. And it seemed - someone's shadow outside the window flickers, steps behind the door were heard. The world of the Silver Age, settling for a century, from the dusk of days arose alive, "wrapped in color fog."

... Nedoshivin has a gray head, but in all appearance something is an indestructibly boyish. I remember him shy and baggy, impressive-dereched, nervous and fenced off. Today, the main thing in it is, perhaps, concentration, absorption and - the best “fuel” for any business is the ability to admire.

The author of the "Nameless Houses", having overcome the temptations of modern times, was able to "invent himself" again. Everything in the film - both super -intense text and free image - is applied to the need to distinguish between the haze of the myth unique faces, to comprehend the nature of human size and the difficult fate of the gift. It would seem that the role of the author (Partners of Nedoshinin are the directors of M. Vishnyakov, E. Alekseeva, O. Ryabokon, R. Fedotov and the project manager Yu. Nikolaev) In this work is secondary: everything is said, written by others. But interpretation - there is a measure of understanding. And the measure of understanding - there is a measure of personality.

Two people in the life of Berberova were able to "speak with his eyes": Khodasevich and her father, who will remain on Kirochny, 17. But, imagine, with his eyes, it turns out, you can speak even over the cordons. This is a miracle, but she looks into his father's eyes, although she will not meet him anymore. In the 35th year, the famous Kozinites will be suitable for Nevsky to her father and say: "We need your type." “And the father played the role of the former person, who is fed at the end of the film,” writes Berberov. Two years later, in Paris, she will find a cinema where Soviet tapes sometimes showed, and will see his favorite “speaking” eyes on the screen. When he is arrested in the film, he will turn out, and Nina, to the goosebumps on his skin, will seem to be: he, leaving, waved his hand farefully.

The era is complex and contradictory, and the author shows fearlessness: it does not retouch, does not fog, does not hide. Everything is in the narrative - shocking circumstances, “speaking” details, gross facts and touching little things - all the “sides” from which poetry grows.

At the first meeting of the workshop of poets, Gumilev called Blok and Lyubov Dmitrievna. Everything happened on the corner of Kryukov Canal and Fontanka, in the apartment of Gorodetsky. And there was a small embarrassment. Anna Andreyevna Akhmatova, then still very young, the skirt exploded. The incision was to the knees, and broke above the knee. She did not notice this, but noticed the block. Akhmatova asked her husband at home: why didn't you tell me? He answered in bewilderment: I thought it was necessary ...

When Burbulis left the president, and Nedoshinov from Burbulis, the two “former” were together in St. Petersburg and decided to ride a yacht on the Gulf of Finland. The yacht was sailing, but in order to steal the duct quickly, the captain launched the motor. And immediately there was an explosion. The children were unharmed from the water, the wounded was taken to the hospital. After the mysterious disaster, Nedoshinovy with a broken spine lay in the hospital for three months.

- That life is finite, you understand in the tenths of the second. Gumilev once threw: death must be earned. Not just death - we are all mortal - but death is worthy. But how? An interesting question, right? And most importantly, everyone applies.

In Berlin, they squinted at Bely, counting "red." And in their homeland they squinted at the Yargoy "Belyak". В отчете ОГПУ (он опубликован ныне) цитировался дневник Белого: "Огромный ноготь раздавливает нас, как клопов, с наслаждением щелкая нашими жизнями, - пишет Белый. - Не гориллам применять идеи социального ритма. Понятие коллектива, индивидуума - "очки в руках мартышки", она "то их понюхает, то на хвост нанижет".

Он еще скажет про себя: "Я живу под хвостом". Вот когда он завоет по-волчьи. Знаете, из-за чего? Из-за 18-метровой комнаты, где он 10 лет, до самой смерти, будет жить с женой, ее матерью и бывшим ее мужем. Не комната - подвал, и в окне под потолком день и ночь были видны ноги прохожих. "Рядом, - вспоминал художник Н. Кузьмин, - "была молочная, где выдавали творог". Очередь за творогом двигалась вплотную мимо окон комнаты Белого, закрывала свет, и в комнате становилось темно". Вот когда он взвыл: "Я живу под хвостом!" "Хвостами" называли очереди. Срываясь, подбегал к окну и, задрав голову, кричал в чьи-то подошвы: "Здесь живет писатель! Вы мешаете мне работать!.. Я буду кричать, пока меня не услышат: "А-а-а-а!" По-настоящему его услышат через полвека. Через полвека после смерти.

За день до смерти скажет: "Удивительна красота мира!" А смертельный инсульт получит от угрюмого государства, от предисловия Льва Каменева к его книге. Выведенных в ней Блока, Бердяева, Сологуба, Мережковского Каменев назовет "галереей умственных импотентов, выставкой идейных инвалидов и уродов", а про Белого скажет: его идейный багаж - "муть", пережитое - "трагикомедия". Белый кинется в магазины. Он "скупал свою книгу, - пишет Эмма Герштейн, - и вырывал предисловие. Ходил, пока его не настиг инсульт".

Цветаева однажды написала: "Как мир велик в кругу рабочей лампы". Этот круг - единственное, кроме жизни, что нельзя было отнять у последних обитателей русской Атлантиды. Когда она исчезнет и берега Невы затопит совсем иное время, на стенах города проступят незримые отметки утрат "выше ординара". Петербург онемеет, будто лишится души, начнет ветшать и разрушаться. Лишь на излете ХХ столетья самый поздний из петербургских изгнанников вновь перейдет с ним на "ты" и "...эту бедную жизнь обручит с красотою твоей и посмертной моей правотою".

Еще много напишут, снимут и расскажут о Петербурге в канун его трехсотлетия. Вспомнят всех поименно и даже установят кое-где мемориальные доски. Будет отдана дань суете и пустым юбилейным хлопотам. Но одна из первых нот взята верно. Фильм "Безымянные дома", возвращающий нам Серебряный век, создан, чтобы напомнить - "...есть музыка над нами".