Screening of Foreign Films in Beijing
People's Daily, April 29, 1956
The Cinematheque of the USSR Exhibition Hall in Beijing and the China Youth Art Theater in Beijing began to screen the original Soviet films The Gadfly and The Test of Loyalty, respectively, to enrich their audiences in China.
In the future, original foreign films will be shown on Saturdays and Sundays. The most recent films to be shown will be the Soviet film "Twelfth Night", the British film "Hamlet", the French film "No Address", the Italian film "No Peace Under the Olive Tree", and the French film "The Battle for the City". "There is no peace under the olive tree", "The Devil's Syndicate", "The Heart of the World", and so on.
Volksfilm, No. 11, 1956, is the equivalent of the Gadfly issue, with articles (four articles, a dedication, and two in-issue fact sheets) taking up half the magazine's space. The back cover shows a still from the movie.
Li Xifan Popular Cinema, 1956, No. 11, 4 pages
The revolutionary heroism of the main character in the novel The Gadfly had widely influenced several generations of young people in the USSR, and inspired proletarian heroes like Paul Kochagin and Zoya to carry out revolutionary battles. After the novel was translated into Chinese, it also had a great influence on the youth of China. Now, the Soviet movie "The Gadfly", which is based on this novel, is going to meet with . The Gadfly" is coming to our audience. It shows the revolutionary qualities of this heroic character in a more concentrated and generalized way without compromising the principle of the original novel. In the movie, many episodes that strayed from the expression of the essence of the Gadfly's character were deleted. In this way, the character of the gadfly is made more prominent and distinctive, which is very helpful for young comrades to further understand the character of the gadfly.
The historical era in which the gadfly lived was Italy in the 1830s and 1840s. Italy at that time was being occupied by Austria, "and he was carrying out the vile will of the Union of European Monarchs." And the Church was also a vicious ally of Austria, carrying out extremely bad spiritual poisoning and espionage against the Italian people and youth, who colluded in the persecution of Italy's patriotic aspirants. The people and youth of Italy could not endure this cruel oppression, and the flames of revolt burned fiercely on the Italian soil. The people and the Austrian rulers and the Church's conflict is increasingly sharp, many patriotic religious, and later turned into a grim atheist, the gadfly is such a childish ignorance, piety and religion, and gradually grow into a brave and resolute, abandon religion, grim almost cold revolutionaries of the typical characters.
Some young comrades, after reading the novel "The Gadfly", often ask this question: "Why is the gadfly so cold? Why is the gadfly so cold? It seems that he has strong hatred for everyone.
If we want to solve this question, we have to relate it to his early life. Young Arthur, still in the age of religious people, loved his country, aspired to the revolutionary cause, "ready to die for the future **** and the country." However, the deception of the Church and the priests comes close to destroying his ideals, and so he burns with a strong hatred for any hypocrisy and deception. The movie shows this character essence of Gadfly in a more concentrated way. Thirteen years of revolutionary struggle experience made him far more than the Young Italians he had joined in the past, closer to the people, and participated in the people's uprising, thus, he also realized more what kind of deep heat the people were trapped in under the Austrian occupation. So when he faced those big and small bourgeoisie extremely talkers, when he heard those idle lords, in the "salon" parlor, talking about "calling on the people to fight for the material happiness, it will only promote selfishness" nonsense, the gadfly is with bitter The gadfly was exposing their hypocrisy with his bitter satire. The gadfly does not hate everyone, he loves the people, he is "a good friend of the people, the people believe in him and follow him. "
Infinite love for the people, strong hatred for the enemy, this is the essence of Gadfly's heroic character.
The quality that develops in the character of the gadfly and is most worthy of our pride is his revolutionary spirit. Gadfly's infinite loyalty, enthusiasm, boldness and fearlessness for the revolutionary cause reached an amazing degree. Like Paul Kochakin. Kochakin, this heroic figure of the previous generation showed perseverance. The gadfly, who was physically crushed by the cruel reality, still burned with the flame of revolutionary enthusiasm, overcame the physical pain with amazing perseverance, and actively engaged in revolutionary activities. Just as he himself said: "I can't stop fighting for the freedom of Italy, I am living for her!" His iron oath was realized in action. The heroic gadfly, tested by battle and with the conviction of national liberation. In court, in prison, and in the execution ground, he showed the noble qualities of a revolutionary. This revolutionary fortitude is shown even more tenaciously and prominently in the few shots during the execution. The revolutionary fire that shoots out of the gadfly's character in the inauguration scene strongly mirrors the humility and insignificance of the traitors.
However, like the novel, the movie does not take a simplistic approach to the gadfly's spirituality, but rather expresses the complexity of the gadfly's thoughts and feelings. The Gadfly was y in love with his biological father, Montanieri. From many scenes in the movie, we can see that in his struggle with Montanieri, the struggle is particularly sharp, and in his heart, he also undergoes a violent struggle of thoughts and feelings. The first time he exposes Montanieri's hypocrisy in the square, he himself is strongly stimulated and falls ill. His arrest, too, was due to Montanieri's obstruction, and in the end he even fantasized about fighting Montanieri. He said to Montanieri: "Father, come with us; will you not let the dawn of freedom shine over Italy?" "Why you can't understand that God of yours, it's the dust of old times. This world is a totally wrong world. Take off your surplice and come with us!" But when he realized that Montanieri could not follow the same path as him, his stalwart revolutionary qualities at once overcame the selfishness that was contrary to the interests of the revolution. Firmly declared to Montanieri: "I will never accept a gift from a priest" and "You want me, or God." Gadfly this high sense of responsibility for the revolution, the strength to endure all the trials of the power, is what makes Paul Kochagin and Zoya and many young people love him.
Some people think that, although "Gadfly" has its merits, it has a lot of color of blind activism, and is not enough for us to follow the example of the youth in the socialist era, which is an inappropriate argument. Although the revolution in which Gadfly took part was fundamentally different from ours, and the revolutionary tactics he adopted are totally unrelated to ours. However, as Paul Kochakin said, "The Gadfly is a man of the world, and a man of the world. Kochakin said, "I am in favor of the nature of the gadfly, of his fortitude, of his infinite strength to endure trials, and of the typical man who can suffer without complaining. I am in favor of the archetype of the kind of revolutionary who thinks that the business of the individual can claim no comparison with the cause of the whole." And all this is what the youth of our socialist era should learn from.
Chen Anjing, Popular Cinema, No. 11, 1956, pp. 8-9
A surging ocean, with its roaring waves crashing against the reefs. A group of Italian revolutionaries, in a foreign land: y nostalgic for the motherland, they looked at the country that had been ravaged by the Austrian rulers, and swore silently to the motherland from afar: "My friends, there is our motherland! Through the storm, through the shots of the persecuted martyrs, I hear the agonizing voice of our Motherland ..... Her glory and strength, crushed and stripped, and she carries out the vile will of the Union of European Monarchs-that is our fatherland Italy!"
Italy in the 1830s was in such turmoil that Arthur, the university student (later the Gadfly), spent his youth in these years of hardship and struggle. A very innocent and naive young man, he was a devout Catholic and received his only "warmth" from the seminary's director, Mr. Montanieri. Arthur joined the "Young Italians", the revolutionary organization of the time, but his childish mind did not break away from the Church; in his opinion, the revolution and the Church could be separated from each other, so much so that in a secret meeting, he had an argument with another revolutionary comrade, Pollard, about this issue. In his opinion, the revolution and the Church were separate and unrelated, so much so that in a secret meeting he argued with another revolutionary comrade, Pollard, over this issue. But the harsh reality shattered his naivety: shortly after Montanieri's transfer, the succeeding Dean of the Seminary, Caldi, took advantage of his penitence to cheat him out of the secrets of the Young Italy party, and Arthur was arrested along with Polla. It was in prison that he came to his senses; it was the spy in religious garb, Caldi, who had betrayed him, and he began to recognize the Church, the priest, for what it is.
After the enemy's dastardly purpose was achieved, the gadfly was released, but the pain in his heart was not eliminated, especially his lover Joan of Arc's misunderstanding of him, and deepened his guilt for his mistake. Returning home, he learned another very painful thing from his sister-in-law, that Montanieri was his real father, and that the hypocritical priest had been deceiving him all along. By this time, the dignity of the Church had become completely bankrupt in his joint son, and with a mixture of grief and indignation, he smashed the crucifix, which symbolized the Holy Father, with a feeling of great anger. In the silence of the night, he wrote a letter of self-destruction: "Bishop Montanieri, go to the river and look for my body," and from then on, Bishop Montanieri thought that Arthur was really dead. Thirteen years later, the gadfly appeared in front of the audience as a battle-tested, scarred revolutionary warrior with rich experience in struggle. From this stalwart, grim man, no longer find the shadow of Bo Arthur's youth, he grew up in the brutal struggle, nourished by the blood of the martyrs. At this time his every word and action struck the enemy as fatally as a powerful bullet. While the Austrian generals were advocating that "the Austrian Empire alone can bring freedom to Italy," the hands of the people were reading the leaflet, "The freedom of Italy, and the Austrian Empire, are, as the saying goes, incompatible," What a powerful counter-attack! It thrills and inspires the masses with a revolutionary fervor like fire in the struggle for freedom and independence. Who was the author of the leaflet? The Gadfly. At this time, Mrs. Pola (i.e., Gadfly's youthful love, Joan of Arc) and Martini became the central figures of the Young Italy Party in the city of Florence. Influenced by the liberal politician Grassini, the Young Italy Party's struggles still stop at chanting slogans and handing out leaflets. The Gadfly, as a pretended foreigner, points out the error of this approach, and when they ask the Gadfly to help with the leaflet distribution, he says: "... Your people, what they desperately need is not leaflets, it's action."
When the gadfly lies in Joan of Arc's house with a recurrence of his old illness, Joan of Arc has begun to recognize the gadfly as the Arthur she loved thirteen years ago. But the Gadfly, no longer willing to evoke the great pain of the past, denies it. Before he had recovered from his illness, he went to the rescue when he heard that the insurrection had been defeated and that many people had been arrested and sentenced to death. This very decisive action caused the death sentence to be pronounced not on the revolutionaries, but on the invaders who had ambitiously set foot on the borders of others. Soon after, the revolutionary Domenichino set up another large-scale armed uprising, and when he did not delegate a task because he was taking care of the Gadfly, the Gadfly said, ".... I can't stop fighting for Italian freedom, it's for her that I live!" At the same time, he went to invite Joan of Arc to join the struggle, encouraging her to leave the "Young Italians" talkers and pointing out that relying on fantasies is not the same as taking action. Joan of Arc, with her help, decided to participate and arranged a meeting in the city of Briagra. The Gadfly promises to tell Joan of the past at this meeting. In the square of Briaghera, people are receiving the blessing of Bishop Montanieri, and the marketplace is crowded with people. The Gadfly and a group of insurrectionists, however, were discussing the steps and knees of the action. When they had arranged everything properly, spies discovered them, and the square was immediately surrounded by a blockade, and the Gadfly immediately ordered his comrades to break out, while he himself was arrested in order to cover the retreat of his comrades. Joan of Arc and her friends set up a plan to rescue Gadfly and help him escape from prison. The Gadfly saws through the bars of the prison window with a serious injury, but when he is just about to escape from the prison bucket, he faints because of a recurrence of an old illness and is taken back by the guards.
The bishop of Montaneri wanted to "convince" the gadfly, but the hero's heart was not to be shaken by anyone. He not only firmly refuses the bishop's persuasion, but also reveals himself to be Arthur, mercilessly exposing Montaneri's lies and impudence. At this point Arthur still hoped that Montaneri would betray his religion and follow him, but Montaneri finally chose between God and the gadfly the path he was bound to choose: to convert to God and to fight against the revolutionary cause to the end. The enemy decided to put the gadfly to death, and the slaughterer's gun was already aimed at his chest, but he still kept a full fighting spirit, and with infinite confidence in the victory of the revolution, said angrily: ...... You must remember that when our ranks move, then the cannon will speak in my place." The gadfly finally died heroically.
In these last moments, he did not get to see Joan of Arc, and only brought out a note from his prison, in which he spoke of his love for Joan of Arc, which he kept forever, and well hope that Joan of Arc would optimistically fight on for freedom.
Yes, the gadfly's patriotic spirit and strong and unyielding will to struggle will always live in the hearts of the people, inspiring more people to fight for the independence and liberation of Italy and struggle!
Zhang Bilai, Popular Cinema, No. 11, 1956
In the novel The Gadfly, and now in the film of the same name, the complex relationship between the Gadfly and the priest Montanieri is very carefully depicted. Their particular personalities show the various conflicts between them.
In terms of ideas, beliefs and life paths, Gadfly and Montaneri are in opposition, but in terms of feelings, their relationship is very uncomplicated. The character of this relationship is revealed at the very beginning of the movie: YA: I'm always happy with you, my dear priest! You know, I'm very lonely at home. I didn't like my brothers and especially my sister-in-law. After my mother's death, you are the only family I have in the world.
Mon: You know, I don't have anyone else in the world besides you. I treat you like a son! You are my light, the source of joy in my heart.
At this point in the movie, Arthur (later the Gadfly) kneels in front of Montaneri, who embraces Arthur. It can be seen that there is a deep and unusual emotional connection between them.
At this time, Arthur has just begun to contact revolutionary ideas and participate in revolutionary activities. On Arthur's side, he took part in the revolutionary activities, is to overthrow the Montaneri actually embraced the order for the purpose; Montaneri on the other hand, he defended the interests of the ruling class, walking with Arthur completely hostile to the road. But, even so, there was no direct and sharp conflict between them at that time. Arthur was very much in love with the priest. Montaneri was also very concerned about Arthur's life, and when he was about to leave for Rome, he said to Arthur: "I have a very horrible feeling. All you have to do is say to me, 'Stay,' one by one, and I will refuse to go to Rome." But then Arthur found out about the denunciation of the new priest, Culdee, in his prison cell, and his faith in God began to waver, and in fact came to realize that lie about Moncinelli.
After his release from prison, his sister-in-law Julia again revealed the secret of his birth. At this point, he sees the truth in all the intricacies of real life: Montanieri is not a holy man of high morals, but a hypocritical, despicable liar; and the Church he represents is sinful. There is a moving scene in the movie where Arthur squeezes the cross, looks at it suspiciously, and then throws it away sorrowfully and without regret. He says to the picture of Montanieri, "I believed in you as in God, but you have been deceiving me." At this point Arthur broke completely with Montanieri in thought, and in feeling . . y hated and loathed the shamefulness and hypocrisy of Montaneri. However, because of his personal involvement with Montaneri, he experiences very intense and deep pain during this change of feeling. This is where the character of Arthur is actually characterized. Voynich has mastered this, and the movie has mastered it well.
We know that Arthur's choice of revolutionary path is what Montaneri is dead set against, but on the other hand, Arthur is the closest person in Montaneri's life in terms of personal relationships. The loss of Arthur was a lifelong regret for Montaneri. Not for a single day could he forget this sorrow. His speech in the church, from the death of Jesus, suddenly and sorrowfully said "my dear son", "the darkness obliterated him" words, which reflects this mood of his. When Arthur sneered at him face to face, saying that he could not be guilty, he said, "Don't say that to those who don't know. I want to be able to change my past ... But all I can offer to the throne now ..... Only a broken heart."
Finally, when he realizes that the gadfly he is about to execute turns out to be his Arthur, he kneels in front of the gadfly and says sorrowfully, "Poor boy, I've dreamed many times of seeing you back, but when I wake up, there's an emptiness around me .... a darkness..." He wants to help the gadfly escape. At the same time, it can be seen here that the Gadfly's personal feelings for Montaneri have not completely disappeared. In this scenario, this feeling still comes back to the Gadfly, and he says, "You know how much I miss you-I'd like to see you again and touch both your hands." They embraced sincerely. The Gadfly said to him, "Father, come with us; don't you really want the dawn of freedom to shine over Italy? He asked Montaneri to choose between the two: "You want me, or you want God. Naturally, it is clear that Montaneri's reactionary class position makes it impossible for him to choose the path of revolution. The character's resolutely radical reactionary nature is also being demonstrated here. Montanieri, however, still tries to get the Gadfly to betray the revolution and turn to the Church, which is naturally impossible to realize. At this point, the last feelings for Montanieri latent in the Gadfly's heart are dead, and his fantasies no longer exist. The Gadfly then said categorically, "Go, then, to the Colonel and tell him that you fully approve of my execution." He firmly rejected Montanieri's offer to help him escape: "No, I will never accept a gift from a priest." He wanted a father who had thrown off God and revolutionized with him, but never a priest who, out of fatherly love, helped him to escape and tried to turn him politically and ideologically.
Obviously, although the gadfly once had a deep respect and love for Montaigne, but his heart was dedicated to the lined revolution, for the sake of the revolution, he resolutely resolved to cut ties with this kind of personal love. Montagnieri also has been to the gadfly with a strong special father-son love, but his soul is despicable and small, in order to the interests of the reactionary ruling class, he can abandon his own son. This constitutes a sharp and prominent contrast between the two characters. The Gadfly is sublime and great. Montanieri will always be hated.
(Wang Zai, "It is wrong to recognize The Gadfly in this way!" , Popular Cinema, No. 11, 1956, pp. 34-35, an article I can't find.)
Morning Glory Popular Cinema 1956 No. 11
Ah! Gadfly, how young and handsome you are, how pure and innocent you are. You loved the priest with such innocence that you never suspected him of being a hypocrite. But what you love more is the truth, your country and your people. You refused the priest's questioning of you in order not to break faith with your comrades.. When the brutal struggle and the priest's hypocrisy tore through your illusions, ah! Gadfly, I y understand the pain of your young and pure heart. But the heart that fights to save the suffering motherland never stops burning, and I understand with what feelings you left your country and your beloved. Thirteen years have transformed you into a different kind of person. You are not as childish and ignorant as before, but have become so old and strong. Through the scars on your face, we see how much pain and suffering you have endured during these years. But you still came back, and your will to fight for the freedom of your motherland can withstand any test. Ah! Gadfly, no matter at any moment, your deep feelings for the motherland and the people, always so deep.
The priests don't recognize you, but the motherland and the people do. They know you as their good son. The people recognized you at once as a gadfly when you shot the Austrian gendarme lord at the door of the tavern to send him back to his heavenly home. This is because you love the people, you are bound to them. Ah! Gadfly, in that dark night, in that stormy night, I saw how your limping feet, treading the muddy path, were struggling against the enemy. For the sake of Italy, you forgot yourself, you endured the torture of illness and kept running. What a heart-stopping voice you have: .... I can't stop fighting for Italy's freedom, it's for her that I'm .... live."
At the time of your unfortunate arrest, Montanieri attempted to soften your warrior's will with the feelings of father and son. But you refused the "gift of the priest" and vowed to die for the motherland. Your voice was firm, your face was calm, your position was clear. At last, you came to the execution ground, and the enemy was going to shoot you in the chest with a despicable bullet. In this last moment, you looked at the motherland with a deep gaze. You refused to repent, you were so confident of victory: when our ranks move, the cannon will speak in my place!
Ah, gadfly, I love you. You lived for Italy, you died for Italy. You gave your precious life for Italy. You have endured disasters and misfortunes with Italy***, and you have lived forever with Italy, eternally in the hearts of the people.
Popular Cinema, No. 11, 1956
After the publication of the Chinese translation of the novel The Gadfly, it was warmly welcomed by our young readers, and became one of the most favorite readings of our readers.
In the Soviet Union, the novel was also extremely popular; it was published seventy-four times, translated into the languages of eighteen nationalities, and the total number of copies published exceeded two million. As far back as 1898, the year after the novel was published in England, a Russian translation was published in Russia.
It is strange that for such a talented writer there are no books or documents about Voynich in England, not even a single line about Voynich in the all-embracing Encyclopedia Britannica. After her book was published in 1897, it was never reprinted. From what little information is available, it is known that Voynich was born in 1864 to a family of English scholars. His father's name was George Pohl. Voynich studied at the Berlin Conservatory of Music and then at the Department of Slavic Languages of the University of Berlin.
For a period she again studied in Italy, and later she married Voynich, a Pole who had escaped from exile from the tsar. In her youth, there were visits to Petersburg, where she came into contact with revolutionary groups in Russia. While living in London, Voynich joined an organization of Russian fugitives. In 1891 she was one of the founders of the Foundation for Aid to Political Fugitives and the Foundation for a Free Russian Press. At the same time she often met with Italian political exiles. At that time, these exiles were fighting for Italy together with Mazzini and Garibaldi.
In addition to translations and publications of Russian authors, Voynich wrote the novels & lt; Czech Lemond (1900), Olivia Latan (1904) and Broken Friendships (1910), after the novel The Gadfly. In the novel "The Broken Friendship" the author speaks about his past heroes and describes the Gadfly's exile in South America. In 1945, he published <Take Off Your Boots, a novel in which the main characters are the great-grandmother and grandmother of the gadfly.
Twenty-one years ago, a few years after the death of her husband, she moved to the United States. Today, Voynich is ninety-one years old.
Last year, when a delegation of Soviet journalists visited the United States, they met with the venerable, gray-haired author in New York. They would ask Voynich how the heroic image of Arthur was created, and she replied: "... It is difficult for a writer to tell someone about the image he created and the process of writing ...." She added: "When I was young, I lived in Paris. Once I saw an image of a sixteenth-century Italian teenager in the museum of the Palais Rouvre. It was a painting that I loved. Arthur's exterior features, I took from this painting."
When the Soviet delegates told Voynich how The Gadfly had been well received in the USSR and that a movie had been made of the novel, she was very moved and said, "Thank you, thank you!" （
(Another source, "They Found Happiness," in Popular Cinema, No. 11, 1956, could not be found, but a similar story was found.)
Yang Xiusi 1985 Film Review
The famous Soviet tableau artist Strelzhenov Soviet film White Nights was re-released, playing the fantasist Strelzhenov is a familiar Soviet actor to our audience. He starred in the film "The Gadfly" has been released in our country many times. In the movie "The Gadfly", he left an unforgettable impression with his vivid and delicate acting skills in the process of a naive young push youth growing up into a brave and resolute revolutionary. Strelzhenov is a famous Soviet actor in film, television and theater. Russian Federation **** and State Merit Artist. The Gadfly (1955) was the first movie he acted in and was his claim to fame.In 1956 Strelzhenov starred in the movie Forty-One He played the role of White Bandit Lieutenant Govorukha Otrok, who was captured by the Red Army. The Red Army's female war chief, Malutka, who had killed forty enemies, was escorting him by boat to the commanding officer's headquarters when a storm broke out on the way. The two of them were pushed by the waves to an isolated island, where Malutka revived the unconscious white bandit, and fell in love with him. But one day an enemy ship appeared on the sea, and the White Bandit lieutenant ran toward it in a frenzy of joy, and Malutka shot him - the forty-first enemy. Strelzhenov portrayed this complex inner character to perfection, thus gaining high acclaim both in the USSR and abroad, and in 1957 at the 10th Cannes International Film Festival, the film The Forty-First was awarded a special prize. The French audience called Strelzhenov "the Russian Chandra Philips".
Since then, Strelzhenov has starred in a series of films based on classical literature: The Captain's Daughter (based on Pushkin's book), White Nights (based on Dostoevsky's book), A Tale of the North (based on Pavlostov's book), The Queen of Spades (based on Tchaikovsky's opera), Duel (based on Chekhov's book), etc. Strelzhenov has also starred in a series of films based on classical literature. book), etc. In these films, Strelzhenov faithfully conveyed the spirit of the original work through the images he created and won the audience's praise. Strelzhenov was not only good at playing classical characters of all shapes and sizes, but also brought to life and heartfelt modern characters such as the Soviet officer Dugin in the film "Life in Your Hands" and the cosmonaut Borodin in "Roll Call". In addition, Strelzenov participated in the shooting of the film: "Mexican", "Three Sisters", "Third Youth" (Soviet-French co-production), etc., the film "Travels on the Three Seas" was screened in our country in the 1950s, Strelzenov played the image of the Russian ancient traveler Aphanasy by the audience's appreciation.
The famous Soviet actress Strychnova
All the audience who watched the Soviet film "The Gadfly" will never forget the moving image of Joan of Arc, the girlfriend of the Gadfly in his youth. It was created by the famous Soviet actress Strelzhenova. Strelzhenova fell in love with the art of theater as a child, and after graduating from high school, she went to work as a stagehand at the Moscow Art Theater. By chance, her acting genius was discovered by the leader of the Moscow Drama School, and she entered the school. After four years of hard study, she became a theater actress.
In 1950 Strychnova entered the theater, playing Oksana in the film "Summer of the Harvest", and then in the film "Ukrainian Poet Shevchenko" (as the general's wife Uskova).
In 1956, she starred in the movie "The Gadfly". In the period of cooperation with the hero of the film Strelzenov, love arose, and after the completion of the film, they were married, and from then on the woman in accordance with the Soviet custom of the man's last name, which is the origin of the surname Strelzenova.
In 1959, Strychnova and Strychnov again cooperated, performed in the film "life in your hands", Strychnov played the hero Dugin, Strychnova played Dugin's wife Polly. Since then, Strelzhenova has also participated in the performances of such films as "High Altitude", "Forma Gordeev (based on Gorky's book of the same name).