not once that my mother and i were there in their family and that they either did not have anyone living, or there were no people, or there were no children, nephews, grandchildren, brothers, cousins, and so on, that is, but that's it everything was necessary too, not every woman could stand it, yes, but marichka mykolaichuk accepted it all, first of all, she accepted the entire family of ivan mykolaichuk as her family, yes. she accepted all of his friends as her own, and she was a constant companion of the entire company, a huge company that settled in the house, and she was also very hospitable, that's what marichka is well, this is separate, of course, it was such, you know, a phenomenon of femininity and devotion, i already said that marichka had two wings, one wing is a song, and the other wing is ivan mykolavych, his her husband, ivan, she threw for him. a chorus of ropes, yes, that’s how it was, but

tell me, it’s true that she could fly from riga, she could fly from riga in order to, in order to do something, yes, for that morning she could, when in we had a free day on tour in reza, ugh, in latvia, we, marichka gets up in the morning, runs, goes to the airport and flies to kyiv, flies to kyiv in order to cook borscht at home and... wash everything, iron, kiss every shirt, it's true, she, she kissed every shirt of ivan when she folded it , and in the evening returned back, back to riga, by plane, only marichka could do that, and it was more than once, you know, she could meet him, for example, in chernivtsi, er, come on the railway. the road

station and to meet him from the train, when he did not say anything to her and did not say when he would come, marichka felt everything, marichka was his reasons, well, i don't know, she was a part of ivan, because everything that was with ivan, that ivan did in his life, could not do without marichka, you know, i remember how she told her dream about taras shevchenko, that she dreamed that... that someone knocked on the house, she opens the door, taras grigoryovych is standing there, and she, oh, taras grigoryovych, oh, it's good that you came to us, come in , come in, and here she comes in, as if she is dreaming like this, and shouts to ivan, ivan, taras grigoryovych has come to us, he well, invite, invite, and she woke up, told ivan in the morning, ivan says, maria, well, you have a dream about something, and he left, went to the film studio, dovzhenka, is coming back.

he says in the evening: you know, i was approved for the role of taras shevchenko, and he, by the way, is beautiful in this role, i watched him, that is , how organic and how, well, first of all , handsome, me and another fact that marichka , i apologize that marichka gave ivan two books, shadows of forgotten ancestors and taras shevchenko, and well, kovzar is there, and so it turned out that ivan starred in one film. we will definitely talk about shadows, now i want to go to the missing letter, i planned earlier, but because i wanted to ask you about the actual creation of the golden keys trio, and in 72 he already invites you to the missing letter, and there is a very interesting moment, unharness the horses guys, this song starts the movie with, you don't sing like marc. a song, and as

a lyrical one, yes, boys, unharness the horses, lie down to rest, and i'll kick the heart. green sotkryny bangs, here is this change from of a marching march lyrically, this is also a very mykolachuk story, how did he, how did he come up with it, that it is so, well, he asked us before the shooting, he asked the girls to sing, here for some reason we were cut out in the film... but oh,

loosen up , he says: please say, oh, unharness, boys, horses, enough fighting already, don’t fight, why do you need these wars, be, come, unharness, go home, like that... he set us up for the role, on this song, and we sang it lyrically and beautifully, and now for me this song sounds only so, that is, with his presentation with yours , now only so i hear it, it is not a derivative for me, but there was another song, already 300 years as a cossack in captivity, tell me about it, it did not enter the film, did not enter, on it’s a pity, and not only that, there wasn’t even a recording left, you know, we sang there with such... inspiration, we sang, he brought a car, this tonwagen is called, to the river above the pslo river, we sang above the river, where we no never no even they could not imagine that there could be such acoustics , something reflects off the water, they put it on the sand

microphones, and at the end this song was sung under the moscow guard in the yoke, the girls asked us, you can't, sing under the turkish guard, we would do everything only this song. sounded in the movie, and when we sang, it sounded like, er, hey-hey, in captivity, in the yoke, under the turkish guard in prison, and that hey-hey in three voices sounded so loud that we listened to ourselves , well, i've already told this joke, a funny moment, when a fourth person sang with us, that's how it was. sang, it was a dog, that is, a dog from the side, ivan, how always hospitable, at that time there were no packages, sandwiches were wrapped in newspaper and sand was buried behind, the dog dug, you ate our sandwiches and sang horribly, but she sang so well that

even the sound engineer did not understand, she ran out of the car and said: ivan vasyliovych , which you didn't say you would sing, i would put you a fourth microphone. played a small role in this in a lost document, but my mother remembered this krasnohorivka all her life, she said that these were the happiest days of her life, in general, these shootings, these shootings, who were there in the poltava region above the pslo, so... tell me what the atmosphere is like there, there is such a concentration of people and in general all this life of the cossacks. moreover, i recently read that boris ivchenko is the director, well, actually there were two directors, ivchenko and mykolaichuk, to be honest, yes, he understood that this might be the last thing that

would be allowed, and he said, get ready, guys, because it probably is the last film we are shooting about the cossacks, and so it happened, the litgazeta called it a lost letter. cossackophilism and the film was on the shelf for 10 years, but there you all experienced this colossal atmosphere, tell me what kind of atmosphere it was, there was such a creative atmosphere, not only, for example, during the filming, the whole village lived the same way when we came to the shooting , and they took us to a motel in the village, this is ukraine, at that time motels were extremely rare, but there was a motel near krasnohorivka. and besides, these are all the meadows, this is an incredible little lake, and there is a dry tree in the middle of the lake, i thought that it was all specially made, but ivan found it that way he found such a nature, as they said at the time, and we really felt somehow incredible there, fedor strygun was there,

ivan drach came to shoot there at the time, he looked, he looked at what they were doing, it was ivan drach's script, yes, he , he said, yes guys. do what you want here, i left, because they are so creative, they reworked and made everything there, and i remember that every day boris ivchenko woke up ivan, morning boy, ivan, get up, they discussed the day of acquaintance, and all that, here ivan was the only one in the group, he had a cut herring on his head, everyone else got a haircut, he got a haircut, and he proudly walked around with it, this is the 72nd year. father, look, my father was also with a settler, i remember, he came here, he slept with it, i was afraid that what was wrong with him, my father, too, i might, and he really ivan was such a creature there the atmosphere, some such cossacks, you know, and, but i the script, we didn't

read it, we didn't know, we took it on the set, this hell that was filmed, it was such a miracle, just, you know, eh, but it's interesting that this, devil, satan, who is mykhailo holubovych, he also played an innkeeper and, uh, and i wonder what exactly he is... after the start of the war, he will head the luhansk drama theater, and he actually explains it now, well, at least a few years ago it was like that, he said that he was doing it , because they are allowed in luhansk, it means to play in the ukrainian language, that is, he actually became a collaborator, could you then imagine at all what you think about it ? , she didn't know, but she was very surprised, he

was absolutely the same as such, like all the other actors, what happened to him, obviously, obviously the environment where he either, for example, or some misunderstanding, he did not understand something in this life, well, he is there with the tricolor and i've already lost my way with numbers. i got lost, but there is another wonderful memory, mrs. valya mentioned feder strygun, and there is a wonderful memory when strygun, mykolaichuk and, by the way, holubovych, they filmed this part in peterhof, where they go to kateryna, and there they are, there is a blunder from potemkino, and by the way, there is there is such a version that this film was banned because of this slap, because this slap is supposed to be a slap to the entire russian people, as if they are a fly on everyone. strygun

about how they took revenge, like mykolaichuk and holubovych and srygun, they took revenge on kateryna in peterhof, tell this beautiful story, well, i think that only strygun and ivan were there, and so of the two they were, they for filming, they were in peterhof, there are such and such palaces, such different canals, so and so, and in the breaks between filming, when it was necessary to leave this palace, they stayed, hid behind her curtains, the palace was closed, they stayed there, they prepared a drink for themselves there, they lay down on catherine ii's bed and said that we will be here for a walk, and she says, and there is a quote, strigun quotes mykolaichuk, that. .. what does mykolaichuk say so that this whore knows that satisfaction has taken place, i don’t know, this is

a beautiful story, now you have already mentioned the shadows of tangled ancestors, what do you remember about this film when you first saw it, first of all, when it was, and what do you remember about how ivan mykolaichuk reacted to this fame, because it was a great fame, international already, what do you remember about it, i remember how ivan... traveled, marichka told us that ivan went to argentina for an international festival, for a competition, and how parajanov was not allowed, because parodzhanov said, i have a one-way ticket, well, you didn’t let him go at all, he, kadochnikova and ivan mykolaychuk were supposed to go, and they already arrived with awards, ivan was already a star, but for that star, you know, ivan is a star ... was popular, he did not hang out with these stars, he remained himself,

because he was gutsu, and he knew that he, what, that he is proud like that cheremoch, as he said, my will is proud like a cheremoch, there are versions, i do not know if it is true, that paradzhanov did not even realize at first strength, talent, he first took mykolaichuk for his beauty and for the fact that he spoke hutsul, and... at first, at first priysh was supposed to be in the main role, i forgot his last name, a russian actor, i understand it, i understand it, i even know, maria mykolaichuk told me, that kadochnikova insisted that it be the russian actor and yet illenko and peradzhanov, they still chose ivan mykolaichuk, well, the same ivchenko came in a hurry and said, listen, i have a hutsul boyfriend, well, the real one is him... you don’t need to teach him, he’s hutsul, he you need to take him off, well, it’s a mockery, it’s

ivchenko or ilyenko, ivchenko asked paradzhanov to look at ivan mykolaichuk, yes, of course, yes, to try, well, paradzhanov says, the dolianka said, you ’re not there, don’t spoil him, this dear, just look at what ivan and when yuriy yelienko saw in the frame mykolaichuk, he flew out of this studio and began to catch up. paradzhanov, says: come back, look. parodzhanov returned to the studio, looked at ivan, asked him to do something, and approved him for the role of paliychuk. and we will see it now. oh, how the capes fell in love with the dry, moldy dumps, and how the sycamores were hanging, oh, marychko , sweet little aunt, the variety, if the capes fell in love at least one summer, remember me, little ivan,

twice over. and i will remember you seven times an hour, and i also believe that for me this is the strongest film, and another film that for me, well, in fact, his ivan mykolychuk is such a swan song, so it's babylon 20, babylon 20, which i consider an absolutely brilliant film, and that's all. these inventions, that, for example, when the oxen sigh, when they lie down, yes, when the cows also sing, yes, when they lie down and seem to moo like that, the stakes of the doe went, or when these boys walk in a line like that and sing, yes, yes, with such a swan wing, oh, light on the arena. it would be better for you

to marry an aryan world, live with a young wife, be lazy, here i bowed to my mother, here i bowed to my mother, earwig do you remember how you perceived it, he came up with it, that's how it was done, it's more, it's more countryman, or it's more mykolaichuk, who is it, who, who is more here, well,

the countryman himself, when he reread it... was writing a script, when a countryman read the script he said: ivan, i would rather not write it, this is ivan mykolaichuk, well , ivan could do anything, he, he was so talented that he had these different ideas, there were a million of them, and he distributed, gave advice to everyone, gave advice to everyone, did something, he also very much supported ivan gavrylyuk very much, i gave him advice, but sometimes he plays like this here. i know that ivan gavrylyuk, yaroslav gavrylyuk, well, stepankov of course, and lyubov polishchuk, like malva, and khosyukoev, you had, you meant khosyukoev, well, in one

word, it's actually, well, absolutely brilliant , they were absolutely brilliant guys. who created this film, and there it is, it was also on the shelf, that’s right, this film, i don’t know about babylon, i know that the certificate was lost, it was on the shelf for quite a long time, more than 10 years, because when its i also, i apologize i will prove, when this film went through endless cuts here, they made one out of two, almost two series, and then they took it to moscow for the commission, this film lost the certificate, and they said, well, you know, it's not bad. oh, the film, well , there is something in it with a nationalist spirit, that ’s it, huh, and then, the director boris ivchenko said, well, i can’t cut out the spirit anymore, so much so that this film really had such an inner energy, ivan mykolaichuk didn’t they were allowed to work for 10 years, i

understand correctly, but all the time they continued to apartment scripts were being written, there were some guests, there were some creative people, and osyka was a brawler, so this process was constantly happening there, he supported, the one who made the film, the old men are fighting, bykov, leonid bykov, bykov was very supportive, sometimes he brought fish, he says, here i am, well, he said in russian that i caught fish, yes, but... but, but that fish was sold under the house. and tell me, please, did you meet parajanov and osika in mykolaychukiv? yes, the wife of the mykolaychuks met couples everywhere. ugh, and which ones do you have memories of asyka, asyk, asyk is very creative, he even, when we were in the house of kanachnikova

and yury elenka, there and that's how osyk was so creative, you know, the director, that's how he is, valya, you stand here, we sang, and you stand here, and you nina, stand here, and you marichka, stand here, we already have to stand together, we are not, he set us apart, yes, i understand, he had his own vision, he had his own vision, yes, became i want to separately ask about the death of ivan mykolaichuk and about the film trizna, which was shot by vasyl viter already after already after funeral, but i want to start, there are actually opening shots showing ivan's village of chortoria, i want to talk to you separately about chortoria and the world of his childhood, with him. mother and about what this courtyard meant, we will see, and what this world of the bukovyna village of chortorija meant for him.

not high, but not low, a leaf on the viburnum, not far away, that not far away, sweet in a foreign land, will fall. don't drop a leaf from that stick, oh, come back, my little one, you are a stranger, i won't come back, my dear, it's a long way, i'll drop it hat, and i will bow, please, it’s great, many very familiar faces, we see, this is a film that was shot immediately after the death of

ivan mykolaichuk, so this is the first film, the first film about ivan mykolaichuk, and by the way, vasyl viter i was not familiar with ivan, it turned out that way, yes, because he, well, he was studying, working in a secret telefilm, and actually, i want to return to this yard, he felt somehow amazingly intuitively. that for ivan mykolaichuk there was a fourth place and actually this world of his family, please tell me about about his family, where he is from, you say an aristocrat, where did he come from, spiritual like that, well, chortoria, the very word ivan liked very much, devils, devils, devils, but it is connected with one owner, the chortoria was like that, ugh, ugh, these were his lands, yes... ivan grew up in a family with many children, of course, but this family, i once recently talked with ivanka, ivan mykolaichuk's younger sister, she

said, we, we were not so poor, you know, kind of poor, that's all, because my father worked on the railway, and he obviously, well, somehow they had their own land, they coped in this life, coped together, father and mother. marichka told me, well, that ivan's mother knew everything about kobzar and read to her children that ivan was involved in school all evenings, at carols, they caroled, but at that time it was not possible to carol, well, it was not possible, and the teachers were instruction not to allow the children to carol, but they went, and once they told me, ivan told. says that the teacher took them on the street, says the children, what are you doing, yes, here, and here comes the village council, so pay the fine, three, two,

two rubles each for the fine for going to caroling, ivan gives five, go ahead, yes, go ahead, yes, you know that, yes, no, no, i don't know, well, miroslava guessed, and he says, yes, it will be for next year, i won't take the change, so he cut it off. in a mythopoetic environment, because this mythology, you know, all kinds of legends, this pereberia in vashkivtsi, where ivan went every time, and he participated in all this nonsense, it's all this costumed , so-and-so endless performance, that even this foreign festival has nowhere to go, and... here he is in it just like this, and this whole environment of bukovyna and there the whole family is extremely like that. singers,

beautiful, very, all the mykolechuks are very beautiful, yuriy, yurko, ivanka, yanichka, all very, very beautiful, and mykhailo, and in fact, you say, here’s periberia and this kind of mystification and that’s it, he mystified the same way his birth, that he gave birth twice, you know this story, tell it like this, well, his mother gave birth to him. on june 22 in vashkivtsi, yes, and on june 22, the war began, and on that day my father was transporting my mother home in a cart, yes, and my mother was holding the baby in the cart, sitting, and the little ones were already flying over, and he tells that what the german pilot saw and and that means he did something there and over the cart where my

mother was taking me as a child. he is something like parajanov, it is not for nothing that they got along with parajanov, because all these stories are half hoaxes, half truth, and he also said that my second day birth, because he, he tells us, did not shoot, he only flew, flew around, flew around, flew around, went around, so he circled and flew, that's why ivan said that phrase, what, so that no bastard from the cinematudi. wasn't at my funeral, why did he say that, she, he said that i don't need speeches, ah, i don't need over my, over my grave, i don't need speeches, and to really, as you said that i there is no need for that, and on that day it was raining terribly, the sky was crying for ivan, and you sang then, trio of golden sticks, no, you, you they only sang, marichka could not sing.

then they themselves cried there when, when he said that so that not a single bastard was in the cinema, that means, on his shoulder, it means that he believed that exactly, this bureaucracy is party and cinema, precisely, they are not they gave him, she ruined his life and career, yes, he felt that way at the end of his life, i feel, well, 10 years of non-existence for such an actor, even when he was shooting a film, he should have

written something stolen. the script for the film stolen happiness was supposed to be shot, and it was taken away, taken away, together with that script, with everything, well, how could you survive, he was so bent, was this film, he also wrote the script uh, and there was a race, a clean slate together with a french writer, screenwriter, who also wrote such a script clean slate, well, it's about her ukrainian. a poor woman who went to america with a child, lost the child there, lost it, and because of that she, well, lost her mind and lived in an insane asylum for quite a long time, this is the scenario, you see, that woman from france came, she ivan also wrote the script wrote the script, and again, when she read ivan the script, she said: "yours

is the best, just like the land." a person like, for example, ala gorska, when virtually everything was destroyed, yes, or when mykolaichuk, he died, he was 47, yes, 46, 47, as well as shevchenko, taras shevchenko, that is, a person leaves at such a time fruitful, yes , and she realizes that she can't work, everything he did is either on the shelf, or redone, or you don't know.