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Subtitles for Luminaries of Russian Animation. Film 6. Valentina and Zinaida Brumberg (2013)

English
October 04 2025 07:48:57
Created by Eus, Niffiwan, Alevtina₂
Korrifei rossiyskoy animatsii. Film 6. Valentina i Zinaida Brumberg.2013.en.1.25fps.1759564137.srt ⭳
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Originally subtitled by Eus in Jun 2015, based on Alevtina's Russian transcription. Heavily revised by Niffiwan in Oct 2025 to fix the many mistakes and missing dialogue translations. The translations of scenes from the films have been updated to use the best subtitles as of 2025.

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1 00:00:00,000 --> 00:00:04,480 Filmed with financial support of the Ministry of Culture of the Russian Federation 2 00:00:05,000 --> 00:00:08,720 Studio MIR presents: 3 00:00:22,201 --> 00:00:25,751 Luminaries of Russian Animation 4 00:00:25,881 --> 00:00:28,591 Film 6. Valentina and Zinaida Brumberg A portrait against the background of their time 5 00:00:54,042 --> 00:00:55,882 Valentina Brumberg 6 00:00:56,042 --> 00:00:58,632 I was wildly jealous: why was I not in there? 7 00:00:58,833 --> 00:01:01,683 Behind that closed door was laughter, uproar [Zinaida Brumberg] 8 00:01:01,802 --> 00:01:07,243 I thought: my God, how nice it is there, how cheerful. It was a completely different life. [Eduard Nazarov] 9 00:01:07,344 --> 00:01:08,644 Funny. [Fyodor Hitruk] 10 00:01:08,763 --> 00:01:11,343 Everyone had to go through this. 11 00:01:11,444 --> 00:01:13,444 I had the same feeling as you: 12 00:01:13,595 --> 00:01:16,445 I was wildly jealous of everyone who could enter... 13 00:01:16,563 --> 00:01:21,783 - That's right... - ...who could come in without any special reasons or occasions 14 00:01:21,883 --> 00:01:26,043 and just sit there sipping tea and bawling with Zina. 15 00:01:26,123 --> 00:01:30,884 The Brumberg sisters' room was a center of warmth and wit. 16 00:01:30,964 --> 00:01:34,724 I love their movies very much. "Little Red Riding Hood", 17 00:01:34,884 --> 00:01:38,284 "Puss in Boots" - they were, really, the first musicals... 18 00:01:38,764 --> 00:01:41,214 I still remember all these tunes. 19 00:01:41,215 --> 00:01:44,515 I even have here, I could show you, 20 00:01:44,644 --> 00:01:51,524 cassettes of them. I can sing them. Let's say, "Puss in Boots"...: 21 00:01:51,644 --> 00:01:54,965 "Let's go and take a ride, my daughter, Along the riverbank." 22 00:01:55,066 --> 00:01:57,116 No, first it was the Princess: 23 00:01:57,365 --> 00:02:02,685 "With cards I read my fortune, (and something, thing ...ty) 24 00:02:02,885 --> 00:02:08,485 I wish to ask the cards this: Who will my soul-mate be?" 25 00:02:09,125 --> 00:02:12,275 [Puss in Boots - 1938 (B&W)] With cards I read my fortune, 26 00:02:12,376 --> 00:02:15,726 Full of anxiety. 27 00:02:15,977 --> 00:02:19,627 I wish to ask the cards this: 28 00:02:19,878 --> 00:02:23,028 Who will my soul-mate be? 29 00:02:24,529 --> 00:02:27,029 Who is he? 30 00:02:29,780 --> 00:02:32,580 Let's go and take a ride, my daughter, 31 00:02:32,681 --> 00:02:34,531 Along the riverbank. 32 00:02:34,932 --> 00:02:39,482 Watch heedfully. Outwit your enemy. 33 00:02:39,583 --> 00:02:44,033 If by trickery you beat your foe, You will never be brought low. 34 00:02:44,127 --> 00:02:48,767 They were very well incorporated into that environment, into that atmosphere, 35 00:02:49,207 --> 00:02:54,447 in that activity that was typical for the 1930s. 36 00:02:54,607 --> 00:02:57,507 - Yes. - From the end of the twenties, to the thirties. 37 00:02:57,608 --> 00:02:59,408 They were part of this, 38 00:02:59,487 --> 00:03:02,387 I would even say, polyphonic activity. 39 00:03:02,487 --> 00:03:08,568 Valentina and Zinaida Brumberg were born in Moscow, to an educated Jewish family. 40 00:03:08,888 --> 00:03:13,928 Their dad, Simon, was a physician and served in the First World War. 41 00:03:14,048 --> 00:03:20,488 Their mother, Cecilia, was a music teacher. The family had four children. 42 00:03:20,688 --> 00:03:27,368 In 1898 - Valentina and Aleksandr, In 1900 - Zinaida, 43 00:03:27,448 --> 00:03:31,088 and in 1903, Daniel was born. 44 00:03:31,888 --> 00:03:36,969 At the age of 4, all the children could already read well. 45 00:03:37,089 --> 00:03:41,529 Their mother taught them drawing, dancing, German. 46 00:03:41,689 --> 00:03:44,669 The girls did brilliantly in school. 47 00:03:44,770 --> 00:03:50,970 And in 1916, graduated with diplomas of Early Childhood Educators. 48 00:03:54,289 --> 00:04:02,910 [Down with the Old Regime] The Revolution began. Valentina and Zinaida in 1918 enrolled in VHUTEMAS, 49 00:04:03,010 --> 00:04:06,610 the Higher Art and Technical Studios. 50 00:04:13,010 --> 00:04:15,010 [Faculty: Painting] [Student Record Book No.751] [Brumberg, Valentina S., 1918] 51 00:04:15,210 --> 00:04:20,710 Zinaida S. wrote about this time. "In VHUTEMAS, where we studied, 52 00:04:20,810 --> 00:04:26,251 the workshops were led by Mashkov, Konchalovsky, Lentulov, Falk. 53 00:04:26,971 --> 00:04:31,131 Our teachers were far from the academic norm. 54 00:04:31,332 --> 00:04:35,532 The Sculpture Department had lessons in Greek-Roman Wrestling. 55 00:04:35,731 --> 00:04:39,551 Mashkov began his classes with gymnastics. 56 00:04:39,752 --> 00:04:42,752 We did not have the right to use the word "can't." 57 00:04:43,101 --> 00:04:47,611 On the wall hung a poster: "Being sick is strictly prohibited." 58 00:04:50,772 --> 00:04:56,162 The play of the young Eisenstein "Enough Stupidity in Every Wise Man" 59 00:04:56,292 --> 00:05:02,012 surprised the young sisters with its free interpretation of the classics. They write: 60 00:05:02,132 --> 00:05:04,682 "It was an exciting performance, 61 00:05:04,783 --> 00:05:09,283 but to see in this eccentricity the future creator of "Battleship Potemkin" 62 00:05:09,372 --> 00:05:10,903 was not yet possible for us." 63 00:05:11,054 --> 00:05:15,804 One of the respected authorities of those years was Vsevolod Meyerhold. 64 00:05:15,893 --> 00:05:17,963 Here is the layout of the Meyerhold Theater, 65 00:05:18,064 --> 00:05:23,014 which was never built. In its place now stands Tchaikovsky Concert Hall. 66 00:05:23,143 --> 00:05:28,693 The students did not miss a single premiere. The VHUTEMASians' idol was Mayakovsky. 67 00:05:28,813 --> 00:05:34,093 He even came himself to Myasnitskaya to see the paintings of the Brumberg sisters. 68 00:05:34,293 --> 00:05:37,794 A new kind of art appeared: animated film. [China in Flames] 69 00:05:37,895 --> 00:05:41,695 Zinaida wrote: "Young artists, that is, us, 70 00:05:41,774 --> 00:05:45,234 were invited to come to the GTK, the State Technical College of Cinematography, 71 00:05:45,335 --> 00:05:47,735 to do this amazing thing. 72 00:05:47,854 --> 00:05:52,214 We went to the Leningradskoye highway, to the premises of the former restaurant Yar. 73 00:05:52,294 --> 00:05:57,334 The founders of the experimental animation workshop - Olga and Nikolay Hodatayev, 74 00:05:57,414 --> 00:06:03,095 Yuriy Merkulov and Zenon Komissarenko initiated a feature film: "China in Flames". 75 00:06:03,215 --> 00:06:06,695 This film became a kind of school for us. 76 00:06:06,775 --> 00:06:09,875 Movies counted as coursework. [China in Flames, 1925] 77 00:06:09,975 --> 00:06:12,975 We became acquainted with the technology of animation of that time: 78 00:06:13,095 --> 00:06:19,965 Out of thick paper, parts of figures were cut out, and connected with wires. 79 00:06:20,055 --> 00:06:25,885 All was painted in black & white. There wasn't a specific cameraman, 80 00:06:26,125 --> 00:06:31,056 everyone took his turn. We all filmed based on intuition. 81 00:06:31,136 --> 00:06:36,766 Later, with Olga and Nikolay Hodatayev, we made the film "Samoyed Boy." 82 00:06:36,856 --> 00:06:40,936 The plot of the film was simple: It's the story of a Nenets boy. 83 00:06:41,576 --> 00:06:46,456 The northern episodes were styled after Nenets woodcarving, 84 00:06:46,556 --> 00:06:50,056 and the Leningrad ones in the graphic style of Dobuzhinskiy. 85 00:06:50,157 --> 00:06:53,157 "Samoyed Boy" 1928 86 00:07:13,058 --> 00:07:15,258 From this icy, snowy land Chu sails off to Leningrad! 87 00:07:16,057 --> 00:07:21,738 Between them there needed to be, in some manner, 88 00:07:22,018 --> 00:07:27,038 two poles: plus and minus. Opposites. 89 00:07:27,139 --> 00:07:31,339 Strangely enough, it was precisely their character differences 90 00:07:31,498 --> 00:07:33,218 that gave them that spark. 91 00:07:33,319 --> 00:07:36,019 When they argued, everything shook. 92 00:07:36,270 --> 00:07:38,620 When they argued with each other, it was a sort of screeching. 93 00:07:38,738 --> 00:07:42,879 But when Ivan Ivanov-Vano would come, 94 00:07:42,980 --> 00:07:48,580 it now became a polyphonic quarrel - between bass and hysterical squealing. 95 00:07:49,639 --> 00:07:54,359 For some reason, all their discussions would end with disagreement. 96 00:07:54,460 --> 00:07:56,860 "Vanya, do not get angry with us please..." 97 00:07:57,461 --> 00:07:58,661 Tsar Duranday 98 00:07:59,459 --> 00:08:04,589 Together with Ivanov-Vano we made "The Tale of Tsar Duranday." 99 00:08:04,690 --> 00:08:06,890 The film was illustrated, black and white, 100 00:08:07,019 --> 00:08:09,690 based on the drawings of Pokrovsky. [Tsar Duranday, 1934] 101 00:08:09,791 --> 00:08:12,941 [Duranday's Tsardom] 102 00:08:14,292 --> 00:08:20,742 On the ocean yes on the island of Buyan 103 00:08:20,843 --> 00:08:23,743 Stands a baked bull... 104 00:08:27,270 --> 00:08:32,540 The war began. Soyuzmultfilm studio was evacuated to Samarkand. 105 00:08:32,660 --> 00:08:38,901 This doodle was drawn on the train that evacuated the studio. 106 00:08:40,451 --> 00:08:43,441 Everyone's here: the sisters, Amalrik, Atamanov, 107 00:08:43,542 --> 00:08:45,942 and inside the carriage, Ivanov-Vano himself. 108 00:08:46,701 --> 00:08:52,661 Here are the sisters with the actor Gotovtsev, who played the tsar in "The Tale of Tsar Saltan". 109 00:08:58,102 --> 00:09:05,702 The storyboard was scribbled on a map that all studied to understand what distant places they are going to. 110 00:09:17,902 --> 00:09:20,633 "In Samarkand," wrote Zinaida Brumberg, 111 00:09:20,784 --> 00:09:23,934 "at first we had things other than fairy tales on our minds. 112 00:09:24,063 --> 00:09:27,443 But it became clear that we should return to our own genre. 113 00:09:27,444 --> 00:09:31,744 The method used on "The Tale of Tsar Saltan" was "Eclair" (rotoscoping). 114 00:09:31,943 --> 00:09:36,763 In essence it meant that actors played out their scenes in front of a camera, 115 00:09:36,863 --> 00:09:39,663 often in costume and full makeup. 116 00:09:40,764 --> 00:09:43,114 A. Pushkin THE TALE OF TSAR SALTAN 117 00:09:48,084 --> 00:09:51,004 There's an island far away - [The Tale of Tsar Saltan, 1943] 118 00:09:51,005 --> 00:09:53,605 On this isle - a city gay; [The Tale of Tsar Saltan, 1943] 119 00:09:53,744 --> 00:09:59,464 By the palace grows a fir In whose shade, O royal sir, 120 00:09:59,584 --> 00:10:05,184 Stands a crystal cage; and there Dwells a squirrel, strange and rare - 121 00:10:05,344 --> 00:10:10,444 Full of frolic; all day long, Cracking nuts, it sings a song, 122 00:10:11,034 --> 00:10:16,705 Nuts, most wondrous to behold - Every shell is solid gold, 123 00:10:16,806 --> 00:10:19,906 Kernels - each an emerald bright; 124 00:10:20,345 --> 00:10:26,985 The art of animation of that era was created as an ensemble of these people. 125 00:10:28,385 --> 00:10:33,205 To leave anyone out was impossible, they had become extraordinarily close-knit, 126 00:10:33,306 --> 00:10:37,706 each creating their own niche... It was a very integrated art. 127 00:10:40,266 --> 00:10:44,016 Also, they were leveled out by the workshops (of the production pipeline) 128 00:10:44,146 --> 00:10:46,016 though Ivan P. (Ivanov-Vano) was one kind of artist 129 00:10:46,116 --> 00:10:48,466 but Lev Atamanov a completely different one, 130 00:10:48,706 --> 00:10:54,706 and the Brumberg sisters were quite distinctive - they were all very different as artists. 131 00:10:54,866 --> 00:10:59,366 But their films were leveled out because they all went through the workshops (of the production pipeline). 132 00:10:59,506 --> 00:11:01,637 Zinaida S. wrote: 133 00:11:01,738 --> 00:11:05,538 "It is now clear that a film with source material - rotoscoping - 134 00:11:05,639 --> 00:11:08,739 can only be the starting point for the imagination of the artist." 135 00:11:08,867 --> 00:11:13,907 But at first, many took the path of tracing the acted performance." 136 00:11:14,067 --> 00:11:17,387 To make the dances in "The Lost Letter" authentic, 137 00:11:17,488 --> 00:11:20,388 Igor Moiseyev was invited as a consultant. 138 00:11:20,547 --> 00:11:22,157 He said: "Let your imagination run free; 139 00:11:22,258 --> 00:11:26,508 illustrated characters have a tempo unthinkable for live humans. 140 00:11:30,578 --> 00:11:35,668 Rotoscoping only reigned briefly. That "disastrous naturalism", 141 00:11:35,948 --> 00:11:38,328 but it still put a stamp on cinema. 142 00:11:38,479 --> 00:11:40,929 Here's the film "The Tale of a Soldier" (1948) 143 00:11:41,030 --> 00:11:43,530 where the leading role is played by Mihail Yanshin. 144 00:11:43,628 --> 00:11:47,228 May I beg for a little food? 145 00:11:52,628 --> 00:11:55,889 If I give him all of it, I won't get any... 146 00:11:56,740 --> 00:11:58,290 But half would be too little. 147 00:11:58,991 --> 00:12:00,441 I'll give him all of it! 148 00:12:00,509 --> 00:12:03,669 I'll make do without, somehow... 149 00:12:08,789 --> 00:12:12,189 They hadn't forgotten their past at VHUTEMAS. 150 00:12:12,290 --> 00:12:15,190 Really, it's an interesting subject. If somebody 151 00:12:15,349 --> 00:12:19,530 one day decides to study their development, 152 00:12:19,631 --> 00:12:23,631 they should be sure to pay attention to the fact that they came 153 00:12:23,990 --> 00:12:32,310 from the very formalistic environment that reigned back then at VHUTEMAS. 154 00:12:33,510 --> 00:12:36,000 "Fyeda Zaytsev" is a landmark film. 155 00:12:36,101 --> 00:12:39,451 It broke the dominance of realistic films. 156 00:12:39,590 --> 00:12:41,861 And it was good in every aspect. 157 00:12:42,162 --> 00:12:47,262 A magnificent screenplay by Nikolay Erdman and Mihail Volpin 158 00:12:47,391 --> 00:12:52,211 wonderful music, the voices of Erast Garin and Mihail Yanshin, 159 00:12:52,362 --> 00:12:55,212 brilliant art direction by Anatoliy Sazonov. 160 00:12:55,313 --> 00:12:58,913 Period, period, and a comma, 161 00:12:59,614 --> 00:13:03,464 Minus; here's a crooked face. 162 00:13:03,871 --> 00:13:06,632 Stick one, stick two, a cucumber, 163 00:13:06,733 --> 00:13:10,033 And there's now a little man here! 164 00:13:20,982 --> 00:13:25,112 "Aesthetic contraband - that's what you're doing!" 165 00:13:25,232 --> 00:13:26,392 And right after that, 166 00:13:26,493 --> 00:13:30,793 they began fearing Goskino* more than fire. *(the State Committee for Cinematography) 167 00:13:30,992 --> 00:13:34,693 They immediately... I remember this being discussed: 168 00:13:34,794 --> 00:13:37,594 "Aesthetic contraband! You... 169 00:13:37,753 --> 00:13:41,173 And that little man! I know where his origins lie!" 170 00:13:41,274 --> 00:13:44,074 So spoke the script editor from Goskino. 171 00:13:44,193 --> 00:13:49,313 This is not fine wine; only ink, plain and simple; 172 00:13:49,414 --> 00:13:53,314 That is poured out here every morn by Gavrila. 173 00:13:53,633 --> 00:13:58,234 We will drink the ink out of these little glasses here 174 00:13:58,394 --> 00:14:03,754 In honor of clear consciences in adults and boys! 175 00:14:05,034 --> 00:14:15,554 He used to say: "I know that these fables, this Aesopian language of yours, 176 00:14:16,514 --> 00:14:20,635 is a cloak, but you won't fool me. 177 00:14:20,835 --> 00:14:24,735 I have also learned this Aesopian language. 178 00:14:24,835 --> 00:14:29,235 He warned us all the time: He was horribly scared of this Aesopian language, 179 00:14:29,315 --> 00:14:32,855 and most importantly, he was afraid he would miss something. And, of course: he did miss things. 180 00:14:32,955 --> 00:14:36,355 <i>My eight-legged horse like the wind rushes onward,</i> 181 00:14:36,455 --> 00:14:39,155 <i>I am filled with hope, and I am filled with worry.</i> 182 00:14:39,255 --> 00:14:41,975 <i>I believe that Zaytsev will not be a traitor,</i> 183 00:14:42,075 --> 00:14:44,775 <i>I believe that children are good people also.</i> 184 00:14:44,875 --> 00:14:47,556 <i>I know that Zaytsev has, despite everything,</i> 185 00:14:47,656 --> 00:14:51,456 <i>Some incipient conscience and honour, at least!</i> 186 00:14:51,556 --> 00:14:57,786 Probably, after all, our animation art also has its periods and epochs, 187 00:14:57,876 --> 00:15:01,136 when a time comes to an end, and... becomes part of history. 188 00:15:01,236 --> 00:15:06,636 "Fedya Zaytsev", I'm sure, will be eternal, like Michelangelo's "Moses". 189 00:15:06,876 --> 00:15:09,896 My acquaintance with the Brumberg sisters 190 00:15:09,996 --> 00:15:14,057 was in prehistoric times, in 1949. 191 00:15:14,157 --> 00:15:15,757 I graduated from VGIK* *(State Institute of Cinematography) 192 00:15:15,917 --> 00:15:20,157 from its Art Department, and was placed (people were given placements then) 193 00:15:20,257 --> 00:15:22,357 into Soyuzmultfilm studio. 194 00:15:22,437 --> 00:15:24,157 Artist/art-director Lana Azarkh 195 00:15:24,237 --> 00:15:30,437 Into the room where the Brumbergs sat, I was led by the head of the personnel department. 196 00:15:30,557 --> 00:15:36,597 In the narrow room sat two very similar-looking ladies, 197 00:15:36,797 --> 00:15:39,598 but one was big and the other was small. 198 00:15:39,998 --> 00:15:47,328 When the chief of personnel said that I will work for them in the role of art assistant, 199 00:15:47,458 --> 00:15:51,818 there was a harmonious shouting: "We don't want her, we don't want her!" 200 00:15:51,918 --> 00:15:56,858 So, from 1955, and 201 00:15:56,958 --> 00:16:03,839 until the death of Valentina S., I always worked with them. 202 00:16:04,599 --> 00:16:05,899 "The Island of Mistakes", 1955 203 00:16:05,999 --> 00:16:12,739 In the film "The Island of Mistakes", the cow and horse were voiced by brilliant actors - 204 00:16:12,839 --> 00:16:15,219 Serafim Birman and Vladimir Gribkov. 205 00:16:15,519 --> 00:16:18,019 Excuse me, but who are you? 206 00:16:18,669 --> 00:16:21,039 - We used... - ...to be... 207 00:16:21,139 --> 00:16:24,239 - ...a cow...and a horse. 208 00:16:27,319 --> 00:16:33,750 From task 118. But after a certain shameless boy 209 00:16:33,880 --> 00:16:36,460 Added us together, we became... what you see now. 210 00:16:36,560 --> 00:16:39,500 Many drew caricatures of the Brumberg sisters. 211 00:16:39,600 --> 00:16:44,000 Especially biting were the caricatures by artist Grigory Kozlov. 212 00:16:44,100 --> 00:16:45,100 Yeah... 213 00:16:47,440 --> 00:16:51,400 the people of our time were true warriors. 214 00:16:52,960 --> 00:16:57,961 It's very touching to remember them... Not least because they were also 215 00:16:58,081 --> 00:17:01,341 extraordinarily jealous. They really loved... 216 00:17:01,441 --> 00:17:04,941 actually, I don't know, maybe somewhere on their own, 217 00:17:05,041 --> 00:17:11,961 in the dark of night, they somehow behaved differently, but when in public, 218 00:17:12,361 --> 00:17:15,682 they just loved their work, loved their pictures. 219 00:17:15,782 --> 00:17:21,582 This is something that I don't just envy; it's something to learn from. 220 00:17:21,682 --> 00:17:28,142 Their temperaments were different: Valentina was explosive, more impulsive. 221 00:17:28,262 --> 00:17:31,942 Zinaida S. was more calm. 222 00:17:32,042 --> 00:17:36,742 Nicholas Robertovich Erdman, their longtime screenwriter 223 00:17:36,842 --> 00:17:40,002 and friend, always said: "How different those sisters are!" 224 00:17:40,202 --> 00:17:46,143 "One," (here he meant Valentina) "acts like a courtesan, bets on races, 225 00:17:46,283 --> 00:17:52,563 visits restaurants nightly, while the other, Zinaida S., sits at home and eats noodles." 226 00:17:52,643 --> 00:17:56,763 They were very cultured people and good artists. 227 00:17:56,863 --> 00:17:59,863 When Valentina S. went abroad, [Tunisia-Lybia, 1962. Tourist Notes] 228 00:17:59,963 --> 00:18:05,383 she always supplemented her travel notes with her drawings. 229 00:18:05,483 --> 00:18:06,783 These drawings were great. 230 00:18:06,883 --> 00:18:09,584 Zinaida S. was an outstanding watercolor artist. 231 00:18:09,684 --> 00:18:15,384 These sketches for the film "The Time Machine" were likely inspired by journeys in Tunisia. 232 00:18:15,484 --> 00:18:19,644 The film's art directors are Lana Azarkh and Valentina Lalayants. 233 00:18:19,884 --> 00:18:21,964 From the notes of Zinaida S.: 234 00:18:22,044 --> 00:18:26,284 By happy coincidence, before directing "The Canterville Ghost" (1970) 235 00:18:26,484 --> 00:18:29,094 my sister and I went to England as tourists. 236 00:18:29,194 --> 00:18:31,094 In Castle Menzies, in its tower, 237 00:18:31,204 --> 00:18:37,365 among its huge stones and spiral staircases, we could visualize our eccentric hero. 238 00:18:37,485 --> 00:18:39,625 When we worked we had a lot of fun. 239 00:18:39,765 --> 00:18:44,185 Valentina S. had the firm conviction that work should be fun. 240 00:18:44,325 --> 00:18:46,105 So there was a lot of laughter. 241 00:18:46,205 --> 00:18:51,205 It didn't mean we got distracted from work. It accompanied it. 242 00:18:51,765 --> 00:18:54,605 "An Hour Before the Rendez-vous" (1965) 243 00:19:04,686 --> 00:19:10,686 On the whole, it was our second home. Maybe even our first home. 244 00:19:10,846 --> 00:19:14,806 They were very kind to their artists. 245 00:19:15,006 --> 00:19:20,226 They well understood that the credit belonged to the artists and animators too. 246 00:19:20,326 --> 00:19:24,467 They very much treasured their art directors and animators. 247 00:19:24,607 --> 00:19:32,127 They were bound by certain ties of art and friendship, despite the age difference. 248 00:19:32,287 --> 00:19:35,407 I must say that the voice actors we recorded [Mihail Rumyantsev (Pencil)] 249 00:19:35,507 --> 00:19:37,407 were always outstanding. [Mihail Zharov] 250 00:19:37,567 --> 00:19:40,707 At one time Mihail Yanshin 251 00:19:40,807 --> 00:19:44,507 directed the actors. [Boris Livanov] 252 00:19:44,647 --> 00:19:47,287 He was accompanied, as I recall, by the entire Moscow Art Theatre. [Vasiliy Kachalov] 253 00:19:48,368 --> 00:19:53,438 The launch of the country's first satellite marked the era of the Khrushchev thaw. 254 00:19:53,568 --> 00:19:56,928 For a period the totalitarian regime became liberal. 255 00:19:57,048 --> 00:20:02,488 It became possible to make funny, satirical films on contemporary themes. 256 00:20:09,368 --> 00:20:14,959 The Brumberg Sisters wrote: "Big Troubles" (1961) was very dear to us, it brought us nothing but joy. 257 00:20:15,089 --> 00:20:18,669 When Slovodskoy's script was brought over, 258 00:20:18,809 --> 00:20:23,109 in the script itself lay the key to how to graphically approach this, [School] 259 00:20:23,249 --> 00:20:26,249 because the little girl was telling the story. 260 00:20:26,369 --> 00:20:33,169 So back then, I made the first sketches, like the first drawings children make. 261 00:20:33,289 --> 00:20:43,120 I made them on wrapping paper, with watercolors, added thick black outlines, 262 00:20:43,210 --> 00:20:46,010 and the characters I also made in that style 263 00:20:46,110 --> 00:20:50,510 and, incidentally, they move in an unrealistic way... because 264 00:20:50,610 --> 00:20:56,990 children draw usually in profile. So they move accordingly. 265 00:20:57,090 --> 00:21:03,311 The animators really had to deal with some technical issues here. 266 00:21:03,411 --> 00:21:05,161 This is me. 267 00:21:07,011 --> 00:21:09,761 This is my whole family. 268 00:21:10,091 --> 00:21:16,141 Papa had to carry the whole household. It wore him out and made him fold. 269 00:21:16,251 --> 00:21:19,331 So he chose to allow leftward *(to the black market) 270 00:21:19,431 --> 00:21:22,531 some refrigerators to go. *(sold them illegally) 271 00:21:27,931 --> 00:21:34,732 Well, those fridges left their places, But they later found the traces. 272 00:21:34,932 --> 00:21:39,692 And our Papa is afraid now that they'll come and sweep him up. *(arrest him) 273 00:21:41,332 --> 00:21:45,732 This subjective, non-realistic style, for me, 274 00:21:45,932 --> 00:21:49,492 who was already settled into a kind of blatant realism 275 00:21:49,652 --> 00:21:56,453 - I was not able to master this style, I flunked out, so my name is not in the credits. 276 00:21:56,533 --> 00:22:02,773 Now I'll tell you about Capa. She looks like Mama, not Papa. 277 00:22:02,853 --> 00:22:09,233 That girl Capa's a real looker, Capa need not work all-out, 278 00:22:09,333 --> 00:22:15,733 Capa need not go and study, Capa can get by without. 279 00:22:15,933 --> 00:22:19,434 The rock-n-roll scene was animated by Marina Vaskanyants. 280 00:22:19,534 --> 00:22:25,334 She danced herself and was the best at executing animated dance scenes. 281 00:22:25,534 --> 00:22:29,574 We basically had, you might say, a salon, 282 00:22:29,734 --> 00:22:34,854 because people went there with something on their mind, or without, to have their say, or a good laugh. 283 00:22:34,974 --> 00:22:37,094 So, one day, I was sitting there alone, 284 00:22:37,254 --> 00:22:41,214 the door opened quietly that evening and in came the studio director. 285 00:22:41,334 --> 00:22:45,855 Like a gray shadow. He greeted me and said: "You know, 286 00:22:45,975 --> 00:22:50,915 Lana Aleksandrovna, when it comes to all the other groups, I know what's happening inside, 287 00:22:51,055 --> 00:22:53,935 but of your group I know nothing. 288 00:22:54,215 --> 00:22:56,215 Well, I said to him... 289 00:22:56,295 --> 00:23:00,555 "How are your intra-group relationships?" "What questions come up?" 290 00:23:00,655 --> 00:23:04,015 Well, I told him that if any questions come up, we successfully 291 00:23:04,175 --> 00:23:07,815 resolve them, and our relationships are fantastic. 292 00:23:07,895 --> 00:23:13,736 And so, I never received the highest rank and left the studio. 293 00:23:13,896 --> 00:23:20,566 The sisters had close relations with the author Yuriy Olesha. [Three Fat Men, 1963] 294 00:23:22,356 --> 00:23:27,996 At that time they lived under poor conditions. Yuriy Olesha's wife, Olga Gustavovna Suok, 295 00:23:28,096 --> 00:23:34,137 (the main character was named after her) was forced to sew, and the famous writer 296 00:23:34,297 --> 00:23:36,497 appeared summer and winter at the studio 297 00:23:36,577 --> 00:23:41,057 in the same coat. But was always brilliant and witty. 298 00:23:42,097 --> 00:23:46,957 Without this fuss, this bustle, they could not live, 299 00:23:47,057 --> 00:23:50,297 for them, it was equivalent to death; I am absolutely convinced of it. 300 00:23:50,397 --> 00:23:51,297 - Absolutely, yes. 301 00:23:51,417 --> 00:23:54,657 Equivalent to physical death, and I remember it well, 302 00:23:54,817 --> 00:24:00,218 I remember, I do not recall which Tsar, that is, which studio director 303 00:24:00,458 --> 00:24:04,858 posed the question of whether to send them off to an honorable retirement. 304 00:24:05,018 --> 00:24:12,138 They broke out in tears, but who was I then? I was chairman of that creative section, 305 00:24:12,258 --> 00:24:14,158 also part of the management. - That's right. 306 00:24:14,258 --> 00:24:17,858 "Fedenka, please make them not fire us!" 307 00:24:17,938 --> 00:24:23,819 Valentina S. died precisely because they were denied work. 308 00:24:23,899 --> 00:24:28,119 They still had their strength and, to be sure, <i>could</i> have still worked. 309 00:24:28,219 --> 00:24:32,799 [About a Cruel Stepmother, 1966] <i>Holy moley, boy oh boy, Why learn Gaidar or Tolstoy?</i> 310 00:24:32,899 --> 00:24:37,569 <i>Why learn pedagogically? Why think smart or logically?</i> 311 00:24:37,659 --> 00:24:41,859 <i>Nightingale, nightingale, little bird!</i> 312 00:24:42,139 --> 00:24:46,649 Every era gives birth to its own masterpieces that will surely stay around. 313 00:24:46,739 --> 00:24:51,460 And of those, many, many will be by our dear Brumberg sisters. 314 00:24:51,600 --> 00:24:56,900 Valentina S. who knew three languages, began to study Spanish. 315 00:24:56,980 --> 00:25:01,380 When I asked: "why do you need it?" she said: "I believe in an afterlife..." 316 00:25:11,500 --> 00:25:13,561 Film crew writer, director Irina Margolina 317 00:25:13,661 --> 00:25:15,461 camera G. Lyahobetskiy sound V. Tarasov, I. Voronin 318 00:25:15,541 --> 00:25:17,461 montage D. Zhigunov, K. Lunkin ass. directors M. Vladimirova, G. Lyahovetskiy, A. Rabinovich 319 00:25:17,581 --> 00:25:19,461 production director A. Zhukov music K. Bodrov, Ye. Voronovskiy consultant Georgiy Borodin 320 00:25:19,621 --> 00:25:21,661 narrator Eduard Nazarov 321 00:25:21,781 --> 00:25:23,101 Historic material was used from Gosfilmofond, the Russian State Film and Photo Archive, 322 00:25:23,201 --> 00:25:24,501 the State Central Film Museum, and the personal archives of Mark Lyahovetskiy & Lev Atamanov 323 00:25:24,601 --> 00:25:25,601 Special thanks for materials shared by Anna Lvovna Atamanova & the Brumberg family 324 00:25:25,671 --> 00:25:26,791 Film fragments were shown from "China in Flames (Hands Off China)" (1925) 325 00:25:26,961 --> 00:25:28,441 "Samoyed Boy" (1928) 326 00:25:28,541 --> 00:25:30,541 "The Tale of Tsar Durandai" (1934) 327 00:25:30,621 --> 00:25:32,541 "Puss in Boots" (1938) 328 00:25:32,621 --> 00:25:34,661 "The Tale of Tsar Saltan" (1943) 329 00:25:34,781 --> 00:25:36,751 "The Lost Letter" (1945) 330 00:25:36,831 --> 00:25:38,752 "The Tale of a Soldier" (1948) 331 00:25:38,832 --> 00:25:40,702 "Fedya Zaitsev" (1948) "The Island of Mistakes" (1955) 332 00:25:40,782 --> 00:25:42,682 "Big Troubles" (1961) "Three Fat Men" (1963) 333 00:25:42,792 --> 00:25:45,582 "The Hour Before the Rendez-Vous" (1965) "About a Cruel Stepmother" (1966) 334 00:25:45,662 --> 00:25:47,582 "The Canterville Ghost" (1970) 335 00:25:48,942 --> 00:25:51,462 executive producer Irina Margolina 336 00:25:52,222 --> 00:25:53,642 The End Film produced by Studio MIR 2013 337 00:25:53,742 --> 00:26:00,092 Subs by Alevtina & Eus, Apr-Jun 2015, revised by Niffiwan, Oct 2025