The Report From The Land Of Love
The text for a tranclator from russian into english
(the beginning of the film):
You see a well-known Soviet writer Andrey Bitov most of whose major works were not published until the last years. He's surrounded by students of the Literary school. Thirty years ago - in 1961 - Andrey Bitov wrote a story about a teenager who fell in love with an adult woman. He wrote: "The boy was ashamed of his years ashamed of his blushes, and the tought that there he was, just a boy, blushing, mude him blushe all the more. Still there was no sight of her..."
captions: Report from the Loveland
captions: a film by Peter Pospelov
Narrator:
The first secretary of the Soviet Writers's Union Vladimir Karpov said in one of his interviews: "Nowdays, when the reader's interest in the printed word is so great, literary criticism ought to concern itself not with the satisfaction of personal goals and the settling of account, but with a profound dialectical analysis of our multinational literature and society". We would like to ask the following question of Larissa Shulman: is it possible for a scholar in his professional capacity to reflect reality, or is this the privilege of the writer? Larissa's voice: "The scholar is also a writer, or a writer in another form. But at the same time he is a philosopher, historian and a sociologist. The writer has at his disposal the material of everyday reality; there is that rather silly theory of Stendahl - the theory of the mirror reflecting the road. My personal belief is this: the scholar has many advantages, over the writer. He can address himself directly to reality or use the same material which is reflected in writer's work. So it seems to me that, for a scholar, there are more possibilities, more choice of manners, and styles, more diversities of opinions and points of view, and therefore his task is more varied and more interesting than that of the writer, as is relationship with real life."
Narrator:
The events and facts of our film relate to the year 1987 and are laid out in strict chronological order.
Conversation:
- Why? After my political indoctrination class at 2.35 I can get away.
- What are you trying to say?
- How about tomorrow?
- Tomorrow's the start of my period.
(rest)
- Who is she?
- A literary scholar.
- How do you now her?
- She gave a lecture at our technical colegge about Sholokhov. I even asked her a question.
- Hey, if she recognizes you, why don't I go away and leave you to chat with her?
- Sure, why not?
(rest)
1
A factory; voice-over telephone conversation:
- Hello, can I speak to Larissa please?
- Who's calling?
- My name Farid Alyautdinov. She knows me.
- She's not here.
- Could you tell me when she'll be back?
- She said she will be at the departament until one thirty, and then, I suppose, she'll come.
Narrator:
Farid waited for Larissa Shulman near the entrance. The pizza restaurant at same building was closed for repairs; something to do with preparations for seventieth anniversary of the Great Oktober Revolution. Farid had decided to get Larissa, as a philologist, to settle a question which had been preoccupying him: should the word be pronounced "pizzeri'a" or "pizze'ria".
Voice-over conversation:
- Do you know how long it takes for a letter to get to Barnaul?
- Larissa, I've got a hang-nail and all you can think about is your letter!
Conversation as they walk
(do not translate the several first sentenses):
- I used to draw pictures. But then I got bore of that, so I stopped. I wanted to draw a cup, or rather, light falling to a cup. But somebody stood by the window and blocked out the sunlight. I wanted to draw the light not after it had disappeared, but just at the moment it begins to disappear.
- You think, that's possible?
- I also wanted to buy a motor-cycle, because a bycicle, when you grow up, just isn't the same thing.
- Wait a minute, you were saying something about going somewhere this summer.
- Yes, I think Eldar Ryazanov will take me to the film school because he is a Tartar like me.
(do not translate TV-over)
Narrator:
Farid spent the 7-th and the 8-th of October bying motor-cycle. But his friends let him down and he couldn't get one. And this time Larissa went away on business while Farid didn't even know.
(rest)
Narrator:
On the 25-th October Larissa flew back to Moscow.
Random comment from the sreet:
- One of my friend called me and said I've simply got to go and see this film.
Narrator:
On her trip Larissa met some Buryat writers. She concieved the idea of forming a round table dedicated to the literature of ethnic minorities, especially to the problems of bilinguism. During that days Farid changed his job place.
(rest)
2
Narrator:
The day before the holiday Farid could not meet Larissa as he was on duty. He made himself a copy of the key to a flat he hadn't yet been to with Larissa. It was an ampty flat and was kept for Larissa with an eye to her future. Farid asked Larissato come the next day for their first real rendez-vous. Larissa said that if she could to skip the meeting in the hall of columns of the Palace of Unions, she would come.
(do not translate TV-over)
(rest)
Narrator:
Winter came. Some important events occured in the lives of Farid and Larissa. Larissa finished the main part of her doctoral Thesis. Further more, she was expecting to see her publication appear in the magazine "Novy Mir" the following January. This publication was the result of her major research on diaries of the northern writer Boris Shergin. Noty since she had given up figure skating had Larissa worked so hard. Farid was due to be called up to the military service that autumn and most of his time was therefore spent in the regional registration and enlistment office. This office wasn't far from where the literature critic Benedict Sarnov lived. Farid's medical testimonies were deemed insufticient and he found himself faced with the prospect of spending two years in the air-defense regiment stationed near Murmansk. Farewells were said, and Farid set off tj the KPP (the collection point for enlisted recruts). There his head was shaved, and the then, at the last minute, the army didn't take him. He was reassigned for guard duty at the main hall of the concervatoire, an occupation which afforded him the opportunity to aquaint himself with classical music. Farid had every reason to believe that by the next summer he would be able to distinguish the different styles of various composers.
(rest)
the word "βρΈ" close-up: That's all.
Narrator:
This story took place in 1987, a year full of strange and absurd chance happenings, all occuring in tragic confornity with the normal order of things - the order of things of that year, 1987. In that year those who fed on hopes, saw them crushed, and those who gave hope lost all convictions. Those who were blessed with their own fantasies committed petty incignificant acts, while those inclined to dry analysis were going mad. Friends became disloyal and parents disowned their children. Respected elderly people made themselves ridiculous, while the young were simply dying. Those with a sense of purpose and direction became disillusioned. Those who worked hard did so in vain. But in that very year, 1987, the story of these two people took place. Those two people who found they could share what little was left to them.
translate several captions:
The main heroes: Larissa Shulman, Farid Alyautdinov
Directed by Peter Pospelov
Original music by Sergey Zagny
Narrator: Boris Youkhananov
REPORT FROM THE LOVELAND
the end