Lioznova has always been particularly meticulous in showing details, and Seventeen Moments was no exception. How hellish it works to show these details is another matter. Take, for example, the part of the meeting between Stirlitz and Shlag, where our scout feeds him with soup. As we remember, Stirlitz opened the safe and a stream of steam rose, which the long-imprisoned pastor glared lustfully. So this pair of filmmakers didn’t work: either it wasn’t enough, then on the contrary, there was a lot of “blurring” the picture. And only after numerous shots they finally managed to extract the steam as Lioznova wanted.
Filming of another episode was no less curious – Stirlitz was driving a accelerating car. The second was swayed by about ten people, including Lioznova. At the same time, he could not do without jokes, jokes, but Tikhonov begged not to do this: he was unable to concentrate and make a smart face. So, now that the reader reviewing these frames, imagine what kind of work it takes for the actor to portray deep thoughts in the frame.
The director of the film was Yefim Lebedinsky, who invited acquaintances for the role of the extras – the same SS officers guarding the RSHA headquarters – and only spit out Jews. A counselor from the KGB who once came to be shot and saw these extras suddenly got angry: they say, how – do Jews take on the role of SS officers?
– No, but you yourself know what our relationship with Israel is. So, in our film we will show that the Jews were exterminated by the same Jews only in Gestapo uniform. Lioznova took the tip. He called Lebedinsky and ordered the extras to be replaced.
The director had to obey. On the same day, with the help of the same adviser from the KGB, he called the High Border School and asked him to send a dozen higher students, preferably from the Baltic countries, to be shot. They are what we see on the screen now.
There were other substitutions in the movie. So, in the frame in which Stirlitz showed his hands (when Reich pulled out his bone and placed animal figures out of matches), they shot the hands of the film’s artist Felix Rostotsky. Why are you asking? The fact is that Tikhonov had a tattoo made in his youth on his right hand – “Glory”. And no matter how much makeup artists tried to cover it up, it still stood out in close-ups. In order not to risk it, we decided to raise someone else’s hands. He wrote encrypted messages for Rostotsky, Pleischner-Evstigneev. But there was another reason: the actor’s handwriting was too bad to show him up close.
In one of the most dramatic episodes of the picture in which SS men tortured radio operator Kat’s child, not one actress as a child, but several at once – about two dozen. Newborns from the nearest orphanage were used in the shootings. They were constantly changing because they couldn’t stand the shooting that lasted a day. They can be removed for swaddling and feeding, with intervals of at least fifteen minutes, up to two hours a day.
The viewer probably remembers that the SS officials tortured the boy by putting the boy next to the open window, and according to the conspiracy, the action took place in early April. A