What Sharapov played on the piano. Murka: who was the heroine of the criminal song in real life. Facts about the film

“Murka” - the most popular of all songs in the chanson genre - had a very specific author. It was created by Odessa satirist and songwriter Yakov Petrovich Yadov. He also wrote other popular “folk” songs: “Bagels”, “Fried Chicken”, etc.

The heroine of "Murka"
The plot of the song “Murka” is perceived by listeners as a conventional, as if collective story from the life of criminals. At the same time, Murka, or, as specified in the song itself, Marusya Klimova, actually existed. Yadov wrote this song about the realities of the 20s, when the country was going through the era of the New Economic Policy and the criminal element literally multiplied in all cities.

Maria Prokofievna Klimova was a real woman. She was born in 1897 in the city of Veliky Ustyug. A copy of the document has been preserved, which accurately indicates this data. The most interesting thing is that Klimova’s occupation is also listed in the same document. Many listeners familiar with the song “Murka” may mistakenly decide that this lady was the lover of some repeat offender and therefore moved in a criminal environment.

Prototype of the famous thief
Historical truth testifies that Marusya Klimova was in fact a captain of the NKVD (originally the Cheka). The legendary Murka was a secret agent, a kind of “sent Cossack” in the criminal world. The woman worked in a special secret unit that fought organized crime in the new, young Soviet state.

Yadov wrote the song “Murka” about the secret operation of the Cheka, in which Captain Klimova was involved. For obvious reasons, the author of the hit could not write directly about this, so he slightly romanticized the laws adopted in the criminal environment. As a result, it turned out that the song was not about the operation itself, but about the frivolous girlfriend of a criminal who “surrendered” the gang to the MUR.

The song contains many hints and references to that time. For example, it is mentioned that a large gang in Odessa was “followed by the GubChK.” Documents preserved in the archives of the NKDV indicate that the Odessa ports in the 20s of the 20th century presented a great temptation for the criminal element, which was actually monitored.

In the finale, the thief meets his dear Murka in an elite restaurant wearing a “leather jacket.” This is exactly how employees of the Moscow Criminal Investigation Department and the Cheka dressed at that time. Maria Klimova herself introduced herself in the gang as Margarita Dmitrievskaya. She “confidantly” told gang members that this was her real name.

Further fate
After the criminal group was captured, the woman served in the Cheka for some time. Then her traces were lost. All documentation about the Odessa special operation and Murka who participated in it were classified. There were various rumors about the real Dmitrievskaya, whose surname Klimova appropriated for herself.

They said that she was in Makhno’s group and emigrated somewhere to Romania. According to another version, the girl lived for some time in Odessa, then was raped and, unable to bear the shame, committed suicide. Many Odessa residents believed that Klimova and Dmitrievskaya were doubles.

Zheglov and Sharapov

Immediately after the premiere, reviewers formed a rare consensus regarding the controversial figure of Captain Zheglov. And this was not a definite plus. Everyone recognized the image’s bright individuality and extraordinary charisma, coming directly from the actor Vysotsky, but in the personality of Gleb Zheglov, reviewers saw, first of all, a reflection of the character of the post-war time, difficult and difficult. Zheglov’s fury was too striking, it was impossible to ignore, miss, or attribute it to his difficult character, because it led to official excesses and reminded the older generation of the heavy hand of the punitive authorities in the Stalin years. And yet, in the opinion of film critics, this quality of Gleb Zheglov was justified by the fact that the character did not fit into simple schemes. He was alive, real, the viewer believed in him as a genuine hero, made not of literary formulas, but of nerves, torn veins, a hoarse voice, of audacity (sometimes in the face of his superiors), of ingenuity and life experience. Thanks to these qualities, Vysotsky’s Zheglov looked head and shoulders above his colleagues, an almost outstanding person, and at the same time he surprisingly fit into the era, he was the very “cog” of the justice machine. It is impossible to remove at least one of the features from the image of Zheglov, as Vysotsky played him. Gleb Zheglov is both dangerous and attractive with his pressure, sweeping away everything superficial and small. The phrase “a thief should be in prison!” in the mouth of the actor became a crowning one - almost a popular slogan that could be written on a red red banner for Police Day. But its continuation – “...and it doesn’t matter how I hide it there” – is not acceptable for everyone.

This is Captain Zheglov, head of the anti-banditry department of the Moscow Criminal Investigation Department of the 1945 model. It is difficult to imagine a police detective more organic to his time, despite the fact that Zheglov was born not on the pages of post-war prose, but decades later in the novel “The Era of Mercy.” In theory, such a bright detective should seem like a black sheep - criminal investigation workers appeared on the Stalinist screen in a tightly buttoned jacket. He looks like something out of a gangster film noir - he sports a leather coat, a wide-brimmed hat, a striped jacket and civilian trousers tucked into chrome boots. And his casually dropped phrase about the dress uniform: “These are like home pajamas for me, I’ve never worn them, and I probably won’t have to,” can be taken as frontiersmanship. Gleb Yegorych Zheglov is too informal, he is not for the podium, he is all in menial work - he cleanses Moscow from gangs of robbers and murderers, and he has no time to show off with gold shoulder straps.

The trick is that Zheglov’s image is half woven from a seventies-era retrospective view of the post-war period. Soviet cinema of the so-called era of “stagnation” suddenly discovered the other side of things: it turned out that the Stalin era (like any other) has its own “background”, not only monochromatic - romantic, tragic or comic, but also purely everyday, that heroes are people who also live in modest apartments and communal apartments, overcoming daily difficulties.

We do not see any varnishing in the image of Zheglov, although panache, posing, and a kind of artistry are very characteristic of him. In this he is close to the English detective Sherlock Holmes, who preferred to put on a show instead of catching a criminal. Captain Zheglov is also not averse to playing on the nerves of the antisocial element, “morally crushing” (as the critic V. Mikhalkovich put it) - let them know what Gleb Zheglov’s principles are. Therefore, we cannot explain the performance staged by Zheglov in the Bolshoi Theater administrator’s office using operational ingenuity alone. Here, take it higher, social pedagogy!

Zheglov is a convinced man; in his daily and often dangerous work, he sees his social mission. It seems that he is a team man - his task force works so harmoniously, but by his character he is a typical lone wolf. Of all the criminal investigation officers who are shown to us in the film, he is the most “charged” person. The most purposeful and emotionally involved. Sometimes it seems that Zheglov revels in single combat with bandits. He, so to speak, keeps a personal score with the underworld - here's another parallel with Sherlock Holmes.
It is not surprising that fate presented such an extraordinary personality with its own “Doctor Watson”, who is not inferior to his boss either in emotional charge or in personal motivation, although in a completely different way. I don’t know whether the Weiner brothers consciously came to this decision - to repeat Conan Doyle’s formula, create a duet of detectives, choosing a demobilized officer to play the role of the detective’s friend.

Unlike Zheglov, the image of Lieutenant Sharapov provoked controversy among reviewers.

The debate about Sharapova went beyond the discussion of one character, and especially the performing actor. The image of Lieutenant Sharapov, performed by Vladimir Konkin, turned out to be something of a cornerstone for the film, or, if you like, a stumbling block.

One can argue whether Konkin played well, whether he had enough skill, especially in the scenes in the thieves' raspberry - audiences are still scratching their heads about this topic. In my opinion, he played well. Dissatisfied critics, giving the actor a “failure,” confuse two different concepts, two different games, two different performances, when they claim that Konkin’s performance was unconvincing, that with such a performance he would inevitably fail in front of seasoned repeat offenders. But the artist Vladimir Konkin actually played not for them, but for us, fulfilling the task set by the director - to reveal all the precariousness of the inner position of his hero. The task was to broadcast to us Sharapov’s game on the verge of a foul: the hero is pierced by the thought that he is on the verge of death, and the operation is one step away from failure - and life forces him to improvise, to play an unprepared role. It is in such moments that the most unexpected reserves of the personality are activated.

We know the whole truth about Sharapov, but the bandits are only guessing about this “big-eared fellow.” Unlike Zheglov, a man of mystery, Sharapov is extremely clear to us from the first second of the film. He is, so to speak, transparent to us. As a behavioral model - in what his character really is, his attitude towards the world, what his potential is. And this circumstance is both inherent in the plot and justified by the choice of actor Konkin for this role, who previously played one of the most iconic roles in Soviet drama, the role of Pavka Korchagin. Sharapov is straightforward, sometimes tearful, but this is due to the fact that his character was formed suddenly, overtaken and hardened by the war, to which he went almost from his school days. It is very possible that when asked about his favorite literary work, Volodya Sharapov will honestly answer: “How the steel was tempered” by N. Ostrovsky. Therefore, when Zheglov tells him, fearing to send him on a mission: “Volodya, you have ten classes written on your forehead,” this is not a figure of speech.

How many times has it happened that people who went through the front, who showed unparalleled courage and extraordinary ingenuity in the war, found themselves with no destiny in peaceful life. They showed their inability to cope with civil life and acted naively and absurdly. Life after the war is also a test. But Volodya Sharapov is again at the front, mobilized for the war against crime. He did not have time to become confused in peaceful life. “Eyes are burning” - this is about him, he also has the passion for fighting. Having survived and won, returning from the human meat grinder young and healthy, ready to build a new life, Lieutenant Sharapov personifies the generation of winners. It’s as if the bright side of existence—the hope of a generation—looks into his face, while Zheglov’s face is darkened by close acquaintance with the dark sides of human nature. Together, both heroes are like two sides of the same coin.

When critic V. Revich writes that Sharapov, as played by Konkin, is timeless, equally suitable for both the 50s and the 70s, this, oddly enough, may testify in favor of the accused. It is clear that the critic wanted to stigmatize the hero played by Konkin, accusing the image of stiltedness and schematism. A clear allusion to the type of “fiery Komsomol member” popularized in Soviet literature and cinema. But here, it seems to me, it’s different. Sharapova's integrity may be naive, but it is sincere. His social optimism beats in unison with his youth and the historical moment in the life of the country. Both, as time shows, are transitory, but this does not mean that they are not real.

Writers the Weiner brothers and director Govorukhin laid down a kind of Ariadne thread of idealism in the image of Sharapov, stretching it from the victorious 1945 to the late 1970s. In the late Brezhnev USSR, there was a shortage not only of fashionable wardrobe items, but also of this type of hero. This greatly explains the internal affinity of the film’s viewers, and initially the story’s readers, with Volodya Sharapov. The hero performed by Vladimir Konkin - with his idealism and doubts, with sincere impulses and disappointments - seemed like a man in his place. And at the same time he was read as “one of our own,” as a “transparently understandable” hero, impressive with his not always appropriate directness, similar to very, very many, and by no means unique.

It is well known that when the film episodes were shown, trams and trolleybuses ran almost empty, and crime in the country decreased. Its creators told us how the film masterpiece was born.

The mustache “didn’t take root”

“The Era of Mercy” was first supposed to be filmed by Alexey Batalov, who, as they said, wanted to play the main role in the film,” recalls Galina Lazareva, former editor-in-chief of the script and editorial board of the Odessa Film Studio. - But he didn’t show up at the studio. We invited the young director Yuri Novak. He and the Weiners began writing the film script. And at the same time, director Stanislav Govorukhin read the published novel in Moscow. He was friends with Vysotsky, called him and encouraged him to go visit the Weiners. On the way, Govorukhin recounted the contents of the novel to Vysotsky. They dined at the Weiners, Vysotsky praised the novel, which he had not read. They agreed, called us at the Odessa studio and asked to approve them in this composition. Director Novak did not object and left the film.

The Weiners themselves recalled that Vysotsky impudently told them: “I came to stake a claim on Zheglov!”

The authors imagined their Gleb as broad-shouldered, tall and with a mustache. But for the sake of Vysotsky, they agreed to change the appearance of the movie character. At the first auditions, Vysotsky was filmed with a mustache. However, then they decided to give up the mustache.

Photo: Nail VALIULIN

Vladimir Konkin: “I’m glad for the happy ending”

Each episode of the film was cleaned not only by the director, but also by the management,” Vladimir Konkin, who plays Sharapov, told KP. - Every two weeks, Govorukhin and I flew from Odessa to Moscow. The television management of that time treated me favorably (not long before that, Konkin played Pavka Korchagin, received the Lenin Komsomol Prize and was loved by the nomenklatura. - Ed.), so Stanislav Sergeevich took me with him in the hope that they would torture me less. But editor-in-chief Heysin exhausted the entire scenario. But it was he who owned the title of the film “The Meeting Place Cannot Be Changed,” which we screened under the title “Era of Mercy.” I know that on television they immediately said that there would be no death for Varya Sinichkina. They said: “We need these two heroes to stay.” I then thought: Lord, what a cranberry! But over the years, especially now, when violence is rampant everywhere, I realized that this was the right decision. A wonderful fairy tale, a chimera - but you cannot live without this chimera. And the fact that Sharapov comes back from the mission alive, but the baby he wanted to take in is no longer in the orphanage. He comes to his home, and at the window, like Madonna, stands Sinichkina with her foundling. Such a good happy ending - two young people are happy! I love this episode. It's tiny, but accurate. And then, when I was young, it seemed too syrupy...

Photo: Nail VALIULIN

My wife asked me to take care of Vysotsky

Few people know that we filmed a prologue - an episode from Sharapov’s military life, in which Marina’s son Vladi Pierre Hossein played,” continues Vladimir Konkin. - They filmed how Viktor Pavlov’s hero Sergei Levchenko (who would later end up in the Black Cat gang, but would not betray Sharapov) and I were climbing across the front line for the tongue at night. He was played by Pierre. We tie him up, put a gag in his mouth, and drag him away. The Germans spot us and shooting begins. We run to the lake where we have a boat. There are explosions all around. Our boat really leaked, and during a take we started sinking, not according to the script. It was shallow, but Pierre was tied up and couldn’t swim. Either Vitya or I lift the guy so that he doesn’t choke. For two nights we filmed all these “bangs”, horrors in the mud and water... When Vitya Pavlov took off his tunic, I saw red circles on his back. It turned out that two days ago he was given cupping because he suffered from pneumonia. But he came for this terrible shoot...

Then Govorukhin cut out the entire military prologue. Vladi's son remained only in the credits. I didn’t immediately realize that the director was right - this kept the intrigue. Sharapov sees Levchenko’s face in the “Black Cat” gang and tenses up. What "Why? Only later does it become clear that this is his comrade in arms...

No, the real reason why the prologue was cut out was different, stuntman Vladimir Zharikov told KP. - I was on these filmings. In the shot, Konkin had to draw tongues. But he can’t do it - he’s physically weak. We show him how to throw a person - on his back. And he drops it on his head! In general, we suffered a lot with Konkin. Replacing him with a double would have made the editing noticeable. So we decided to abandon the prologue. In general, Volodya Konkin had a hard time. He came to the shooting as a star, and Vysotsky, despite his fame, was not an honored artist. Konkin was not liked in the group. Off-screen, Vysotsky and Konkin did not speak at all. But they worked efficiently on the set.

Photo: Nail VALIULIN

By the way, Marina Vladi dissuaded Vysotsky from playing. She asked Govorukhin not to touch Volodya: they say, he is sick, let him take care. Vysotsky himself said that he did not know how much time he had left and whether he should spend a year on cinema when he could write... And yet he could not let his friend down. Often the director turned to him for tips and advice. It was Volodya who, already during the dubbing, after the director complained that the shot with Sadalsky was somehow boring, suggested that Kirpich should have a lisp. Moreover, the artist began to lisp so zealously that the director even shook his head: as if the management would not find fault. “And you tell me that this is an actor who talks like this in real life,” Sadalsky found himself.

Armen Dzhigarkhanyan: “Humpbacked is my child”

-Are you satisfied with your role? - we asked the actor playing the role of the bandit Hunchback Armen Dzhigarkhanyan.

I love my hero because I invented him myself! This hero is my life. And I’m already 80. Well, the “child” is growing up. For some reason, the director offered to make me a wig, which I struggled with. We had to re-shoot takes many times: the wig came off, resulting in a defect. They made a hump out of cotton wool for me, and it was quite comfortable for me.

- Rolan Bykov refused your role. I was afraid: they say, he’s already small, and then there’s a hump.

I'm not afraid of anything! The main thing is that I did not intend to play evil. I hope my hero is still charming.

- Larisa Udovichenko admitted that after the role of Manka Bonds, she received letters from the zone: criminals offered her marriage. Did the crime bosses appreciate your game?

Don't know. But when my car was stolen, certain people came to me and promised: if the car is not yet outside Moscow, we will find it. Not found.

Photo: Nail VALIULIN

- Did you notice the confrontation between Vysotsky and Konkin on the set?

It's none of my business. Having gotten to know Konkin better, I noticed that he was a good guy, intelligent, vulnerable. And why now tell us how many times Vysotsky bit him?! You know, Vysotsky is a phenomenon, but from a professional point of view he is a rather average actor. And in this film he acted, in my opinion, averagely. There are other artists there who played better and more subtly.

- Who?

I ( laughs).

STORIES ON THE SET

A blotter was mistaken for a real hooligan

Initially it was planned that Sharapov would play “Murka” on the piano in the “Black Cat” gang. Konkin promised to learn the composition in a week. “We need to film it today - then the scenery will be dismantled,” Govorukhin snapped and looked at the hands of the film’s music editor. He ordered her to put Sharapov’s coat on her and play something. She, to demonstrate her skill, played Chopin. "Amazing!" - the director was delighted. So what's in the frame when Sharapov plays isn't actually his hands.

Ivan Bortnik, who played Blotter, during the filming of the scene when the criminals come out of the basement, came up with a way out with a criminal song

“And on the black bench, in the dock...” And then he took it and impromptu spat at Zheglov. Vysotsky was taken aback. The police officers in the crowd immediately, out of character, attacked Bortnik and twisted his hands, deciding that he was some kind of hooligan who had sneaked into the filming.

Photo: Nail VALIULIN

PERSONAL VIEW

By the tail and to the ceiling

Denis GORELOV

By the way. With his tomboyish behavior and sheriff's ways, Zheglov ruined the investigation; with his anger towards the intellectual arrogance, Gruzdeva almost broke the thread to the gang, and it was Sharapov, not he, who brought the ghouls under the rifles of the convoy. And the glory was his, and the love of his nation, and the passion for the erotic black raglan. For they love the commander, not the commissar, courage, not rightness, Chapai, not Furmanov. So from the novel about Sharapov “The Era of Mercy” the film about Zheglov “The meeting place cannot be changed” came out. As he himself said: “The era of mercy will come soon.”

BLOOPS

1. At the very beginning of the first episode, after Sharapova’s shoes have been shined, a spotlight is reflected in the window of a passing car.

2. When Blotter draws a black cat on the wall during a store robbery, it is noticeable that the outline of the cat is already on the wall. They were drawn by Govorukhin himself.

3. In the scene of the interrogation of the accused Gruzdev, Sharapov’s hairstyle changes (from smoothly combed back to a parted hairstyle).

4. In the episode with the foundling, Sinichkina first wears the shoulder straps of a private, but swaddles the child with the stripes of a junior sergeant.

5. When a car with Fox hits a traffic police girl, one person falls under the wheels, and another person rolls on the asphalt (black knee pads are visible on her legs, which the girl was not wearing).

Vladimir Konkin in the film “The Meeting Place Cannot Be Changed” got the role of an ideal policeman who, like a young pioneer, “does not smoke, does not drink, does not bite seeds,” rarely uses weapons and does not allow himself any liberties. Disputes about whether he coped with the role or not, whether he looks like a front-line reconnaissance soldier, etc. are still going on. But many people can no longer imagine another Sharapova.

Photo tests for the role of Volodya Sharapov

The Weiner brothers, in their novel The Age of Mercy, had their exact description of Sharapov: Sharapov is blond with very thick hair, one of his front teeth is chipped or missing, he has a snub nose and small eyes. During the filming of the film, Konkin had one tooth specially made up to make it look like it had been chipped off. But were there any other common features between the artist Konkin and the man from whom the Weiner brothers based their Sharapov?

Vladimir Konkin with his wife Alla in the courtyard of the Odessa film studio. May 1978 Photo from the personal archive of Vladimir Konkin

The director of the film, Govorukhin, did not immediately imagine his Sharapov. He chose from many candidates. We can clearly talk about three - Sergei Shakurov, Evgeniy Gerasimov and Evgeniy Leonov-Gladyshev. Sergei Shakurov notes that the role of Sharapov is, of course, interesting, but he and Shakurov would hardly work well with Vysotsky

The head of the USSR State Television and Radio Broadcasting Company Sergei Lapin wanted Konkin to be Sharapov. That's all! In fact, if it weren’t for Konkin, the film might not have been allowed to be filmed at all. The Weiners and Govorukhin had to agree

The debate on the topic “whether Vladimir Konkin is suitable for the role of Sharapov” has not subsided for almost 40 years. Opponents say that Konkin's Sharapov is too intelligent and gentle for a reconnaissance company commander. Supporters - that there were many such pure Komsomol members among the front-line soldiers. The Weiners saw their hero as "a convincingly strong man." Konkin does not fit this description. So how did it happen that Vladimir Konkin played Sharapova?

There are many stories from different journalists about this. And the majority say that Konkin was “imposed from above.” That the creators had no choice.

But I would like to know about this, so to speak, first-hand, from the creators. And the phonogram of the creative evening of the Weiner brothers, held in Leningrad in 1983, came to my aid. There was a lot of interesting stuff there about the filming of the film “The Meeting Place Cannot Be Changed”

Here's what Arkady Weiner said:

"...The screen tests began. The main actors were presented. One undeniable hero is Vysotsky for the role of Zheglov. The second is his constant partner, his second “I” in this film is Sharapov. Suddenly Govorukhin tells us: “I propose Vladimir Konkin ". We say: “Who is he?” He says: “He played Pavka Korchagin.” I can honestly admit to you that we didn’t watch that picture, but one day I saw something like that out of the corner of my eye on the box, and I didn’t like the performance. I somehow always imagined Pavka Korchagin differently, not the way Konkin imagined him.

Govorukhin said: “He’s wonderful! This is what Sharapov needs. You haven’t seen his eyes, his face is pure, noble.”

We did screen tests and watched it. We definitely didn't like him. And not because he is a bad artist or an unimportant person... We didn’t like him on screen in the form of Sharapov. We imagined Sharapov, and then described him in our very large novel, and then in the script, as a front-line intelligence officer who walked across the front line forty-two times and returned with a “tongue” on his shoulder.

You don’t have to be a front-line soldier yourself, you don’t have to be a veteran and have seven spans in your forehead to imagine that a scout who captures a fascist on his territory and drags him on his shoulders across the front line must be a convincingly strong man. Volodya Konkin could not look like such a man; he was not born one.

When these tests were shown on Central Television, it turned out that our opinion was fully shared by the artistic council - not a single vote was cast for Konkin, and the director was officially asked to look for another artist...

A few days later he calls: “Please, come, we will test candidates for the role of Sharapov in front of you. I found ten people.”

We arrive at the studio, he introduces us to the dressing room, where the future “Sharapovs” are putting on their makeup. We saw these eight or nine “Sharapovs”, fell to the floor and started crying and laughing. All the signs of hysteria were there.

He brought us ten more Konkins, only worse and thinner. Where he was able to get them in a week is incomprehensible to the mind, but he is generally a very energetic comrade. When we saw this, we said: “Slava, stop. No need to waste the film, no need to do screen tests. Apologize to people, pay them what they are supposed to.”

We realized that in some kind of directorial twist, the image of Konkin stuck with him forever as Sharapov, and if we start to break it, we can break his creative spirit. So the question was closed and, in fact, they didn’t give it to us, but we ourselves took Konkin. The very first material began to show that our fears were not in vain, but there was nowhere to go..."

Here is an interesting excerpt from Stanislav Govorukhin:

"...Konkin played well, who can argue, but I saw a different Sharapov. I intended to call Gubenko first. And then Vysotsky argued: where, we will paint with the same paint... Indeed, it would be Sharapov to match Zheglov , himself with some sneaky cunning. And I needed an intellectual. And only when half of the picture was shot, I remembered Filatov. They would have worked well with Vysotsky, and this would have been the Sharapov I wanted from the very beginning. strength, who does not give in to him. Only the strong are suitable for a mate..."

Sources

www.v-vysotsky.com/Vysotsky_v_Odesse/tex t06.html
www.vysotsky.ws/
www.fotki.yandex.ru/users/sura-sid2010-a/a lbum/199624/
www.lgz.ru/article/-48-6489-3-12-2014/iz menit-nelzya/
www.msk.kp.ru/daily/26372/3253655/
www.blog.fontanka.ru/posts/182583/
www.aif.ru/culture/movie/43178
www.1tv.ru/sprojects_edition/si5901/fi23 536

"Meeting place can not be Changed"- a Soviet five-part television film directed by Stanislav Govorukhin based on the novel by the Weiner brothers “The Era of Mercy” (the title of the film coincides with the title of the novel in the first publication in the magazine “Smena”, 1975, No. 15-23).

The premiere screening of the film took place on the First Program of the USSR Central Television, for 5 days, in the period from November 16, 1979.

Encyclopedic YouTube

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✪ The meeting place cannot be changed (1979) crime detective

✪ The meeting place cannot be changed. Episode 1

✪ Stanislav Govorukhin (The meeting place cannot be changed) history of creation

✪ The meeting place cannot be changed. Episode 3

✪ Ella Katsenelenbogen

Subtitles

Plot

The film takes place in post-war Moscow in August - November 1945.

On the first day of Sharapov’s service in the MUR, operative from Yaroslavl Vasily Vekshin, summoned to Moscow to infiltrate the gang, goes to a pre-arranged meeting. MUR employees are watching him from a hiding place. As the bandit leaves on a tram, the comrades discover that their colleague has been killed with a shiv.

At the same time, department employees are investigating the murder of a certain Larisa Gruzdeva. The main suspect is her ex-husband, an elderly doctor, in whose apartment the murder weapon was found - a pistol. However, Sharapov, seeing inconsistencies in the evidence and testimony of witnesses, doubts Gruzdev’s guilt and seeks to unbiasedly understand the circumstances of the case.

Department employees respond to a call to a warehouse that is being robbed by an armed gang. Sharapov encounters one of the bandits, but he, posing as a former front-line soldier, deceives Sharapov and disappears.

During a citywide operation, while checking documents, a woman runs away from the restaurant. Sharapov returns her, and Zheglov recognizes the fugitive as a girl of easy virtue by the nickname "Manka-Bond", on whose hand they find a bracelet from the murdered Gruzdeva. During interrogation, investigators establish that the bracelet was given to her by a repeat offender nicknamed "Smoked".

Detained in the billiard room, Smoked, a professional catala, reports that he won a bracelet at cards from a pickpocket nicknamed "Brick". Brick is caught stealing a wallet on a tram, and although he gets rid of the main evidence, Zheglov puts the wallet in his pocket. Brick is detained. During interrogation, he admits that he won a bracelet “at cards” from a certain Fox at the apartment Verki-milliners, who lives in Maryina Roshcha and is engaged in buying stolen goods. During a search in this apartment, other things of the murdered Larisa Gruzdeva are discovered.

At a subbotnik at the Moscow Murmansk Criminal Investigation Department, Sharapov meets with a junior sergeant again Varvara Sinichkina, a policeman with whom he had previously taken a foundling baby to an orphanage. Sympathy arises between young people; they start dating.

Meanwhile, operatives set up an ambush at Verka’s apartment. But due to the cowardice of operative Solovyov, Fox manages to escape. The second operative, Toporkov, is seriously wounded.

Verka reports that fashion designer Irina Sobolevskaya introduced her to Fox. She describes Fox's appearance, and Sharapov recognizes from the description the bandit whom he missed while trying to detain a gang robbing a warehouse. It turns out that Sobolevskaya and Gruzdeva were friends and that Fox was Sobolevskaya’s lover, from whom he left for Gruzdeva. Sharapov rechecks the evidence against Gruzdev and proves his innocence. Sobolevskaya reports that Fox is acquainted with thief in law Pyotr Ruchnikov, nicknamed "Ruchechnik". Zheglov and Sharapov catch Ruchechnik and his accomplice Svetlana Volokushina in the theater after the thief steals a license plate from an employee of the English embassy, ​​and Volokushina receives the foreigner’s wife’s fur coat using this number. Volokushina is then used to lure Fox to a meeting at the Astoria restaurant.

The operatives set up an ambush in the restaurant. Fox, sensing something was wrong, breaks out the window and runs in the Studebaker waiting for him. During the car chase, a shootout ensues, during which Zheglov kills the truck driver, the car falls from the bridge into the water, and Fox, who got out of it, is detained. Using fingerprinting, it turns out that the murdered driver is the same bandit who stabbed Vekshin to death.

During interrogation, Sharapov tricks Fox into writing a note to his mistress. But not: Through her, the operatives plan to transfer Fox’s “release plan” to the gang. Zheglov and Sharapov are trying to figure out a possible Anya. Sharapov is ready to infiltrate the gang himself, but Zheglov, who received a strict order to this effect from his boss (“don’t meddle in the gang!”), Lieutenant Colonel Pankov, forbids Sharapov to do this.

Sharapov calls the phone number found in Ruchechnik’s address book and makes an appointment with Anya. But the “fake” Anya appears at the appointed place. She makes an appointment in Sokolniki. The real Anya comes to the second meeting. The bandits kidnap Sharapov and take him in a van outside the city, to “raspberry”. The operatives' pursuit of them yields no results.

The bandits suspect Sharapov to be a MUR employee and threaten him with death. During a conversation with "Humpbacked"(the leader of the gang named Carp), Sharapov manages, although with great difficulty (having shown extraordinary acting talent and thanks to a well-written “legend”), to convince him of his non-involvement in the Moscow Criminal Investigation Department.

The created “legend” that Volodya Sharapov (according to Sidorenko’s “legend”) worked as a driver almost fails: Gorbaty’s mistress, one of the kept women of the gangster Khaza, was aroused by suspicion of his overly “intelligent” hands. Vladimir has no choice but to try to pass himself off as a restaurant musician. He masterfully performs a Chopin etude on the piano and (at the “request” of the “six” thief, nicknamed "Blotter") the melody of the famous Odessa song “Murka”. As a result, the bandits believed that their “guest” was “not trash, but an honest fraer”; and “Brokeback” decides to help Fox out - but warns that a “messenger” from Fox will go with them.

A man with the same last name accidentally ends up in the gang Levchenko, former fighter of the penal company, one of Sharapov’s subordinates. He does not betray his former commander and even helps him “justify” himself before the bandits.

Meanwhile, at a meeting at the Moscow Criminal Investigation Department, Zheglov decides to continue the operation and sets up an ambush in the store, bringing Fox there “for an investigative experiment.”

Having gone down to the basement with the bandits, Vladimir discovers a photograph of Varya on the closet door and guesses that the operatives thus gave him a sign about the place of shelter from imminent reprisals.

Zheglov, through his bullhorn, invites the bandits to surrender, warning that, otherwise, “Due to the special danger of your gang, I have instructions from management not to take you alive!”. After this, the bandits, realizing that there is no way out, decide to surrender to the police. Levchenko, not wanting to end up in prison again, tries to escape, and is forced to be killed by Zheglov.

Sharapov, depressed by the death of his former front-line comrade, asks Kopytin to take him to the maternity hospital to which he and Varya took the foundling. But there he is informed that the child has already been adopted. Vladimir comes to Varya’s apartment and sees her and the baby she adopted. This is the key difference between the film's storyline and the book: in the novel, Zheglov kills Levchenko, after which Sharapov refuses to work with him and learns that Varya has died.

Cast

Starring

• Vladimir Vysotsky - Gleb Zheglov, police captain, head of the homicide department of the Moscow Criminal Investigation Department
• Vladimir Konkin - Vladimir Sharapov, senior lieutenant, former front-line soldier (reconnaissance commander), sent to work at the MUR

• Vsevolod Abdulov - Pyotr Solovyov, MUR employee
• Andrey Gradov - Nikolay Taraskin, MUR employee
• Alexander Milyutin - Ivan Pasyuk, MUR operative
• Lev Perfilov - Grigory Ushivin, photographer at MUR, nickname “Six by Nine”
• Alexey Mironov - Kopytin (in the novel - Ivan Alekseevich Kopyrin), driver at the MUR

• Natalya Danilova - junior sergeant Varvara Sinichkina(voiced by Natalya Rychagova)
• Evgeny Leonov-Gladyshev (credited as Evgeny Leonov) - Vasily Vekshin, operative from Yaroslavl
• Evgeniy Shutov - Sergei Ipatievich Pankov, police lieutenant colonel, head of the MUR
• Pavel Makhotin - Pavel Vladimirovich, investigator of the prosecutor's office
• Heinrich Ostashevsky - Major General giving a presentation at the club
• Vladlen Paulus - Rodionov, MUR expert
• Evgeniy Stezhko - Lieutenant Toporkov, mortally wounded by Fox in an ambush

• Zinovy Gerdt - Mikhail Mikhailovich Bomze
• Nina Kornienko - Shura
• Igor Starkov - Semyon, a disabled person and Shura's husband

• Sergey Yursky - Ivan Sergeevich Gruzdev (in the novel - Ilya Sergeevich Gruzdev), doctor and ex-husband of Larisa
• Juno Kareva - Galina Zheltovskaya, common-law wife of Gruzdev
• Svetlana Svetlichnaya - Nadya, Larisa's sister
• Nikolay Slesarev - Fyodor Petrovich Lipatnikov, neighbor of the Gruzdevs
• Natalya Fateeva - Ira (Ingrid Karlovna) Sobolevskaya, Larisa's friend and Fox's ex-woman

• Armen Dzhigarkhanyan - Karp ("Humpbacked"), gang leader
• Alexander Belyavsky - Evgeniy Fox
• Tatiana Tkach - Anna Dyachkova, Fox's friend
• Victor Pavlov - Levchenko, gang member, fellow soldier of Sharapov
• Ivan Bortnik - "Blotter", thief "six"
• Alexander Abdulov - bread truck driver
• Vladimir Zharikov - bandit with a knife (in the novel - “Cast Iron Face”)
• Valeria Zaklunnaya - Claudia, friend of "Humpback"
• Oleg Savosin - Tyagunov killer
• Oleg Fedulov - driver Yesin, killer Vekshin
• Natalya Chenchik - fake "Anya"
• Rudolf Mukhin - car driver

• Evgeny Evstigneev - Pyotr Ruchnikov, thief in law nicknamed “Ruchechnik”
• Ekaterina Gradova - Svetlana Petrovna Volokushina, accomplice and assistant of “Ruchechnik”
• Leonid Kuravlev - "Smoked", thief
• Lyudmila Davydova - Verka the milliner, buyer of stolen goods
• Stanislav Sadalsky - "Brick", pickpocket
• Larisa Udovichenko - "Manka-Bond", prostitute

• Natalya Petrova - Marianne, a restaurant waitress who was thrown out the window by Fox
• Nina Ozornina - Nyura, a buffet worker in a restaurant
• Sergey Mazaev - saxophonist in a restaurant and cinema