“It’s important to remember how great our cinema is”: an exhibition for the centenary of Lioznova’s birth

July 20 marks the 100th anniversary of the birth of film director and People’s Artist of the USSR Tatyana Lioznova. The exhibition “Moments of Tatyana Lioznova” opened at ROSIZO.

In 1943, Lioznova entered VGIK. But after the end of the probationary semester, she was expelled. Young Tatyana Mikhailovna managed to convince the teachers by showing her coursework, and she was reinstated. And Carmen’s dance from her coursework was included in Sergei Gerasimov’s film “Young Guard” (1948) as Lyubka’s dance. Tatyana Mikhailovna herself acted as an assistant director during the production of the film.

Lioznova at work. Photo: ROSIZO

It is known that Lioznova loved morning trips around Moscow by car, especially along the Yauza. This perception of the morning capital of the director is conveyed in the film “Three Poplars on Plyushchikha”.

The director could not find an actor for the role of Stirlitz in “Seventeen Moments of Spring” for a long time, we were told at ROSIZO. At that time, she was having an affair with the actor Archil Gomiashvili (Ostap Bender in Leonid Gaidai’s film adaptation). He dreamed of playing Stirlitz, but the image of the intelligence officer was embodied by Vyacheslav Tikhonov. Lioznova offered Gomiashvili another role – Müller. But the actor, offended, refused, and later he and Tatyana Mikhailovna broke up.

The exhibition begins with early paintings: “Memory of the Heart”, “Evdokia”, “They Conquer the Sky”, and at the end – the famous “Three Poplars on Plyushchikha”, “Carnival”, “Seventeen Moments of Spring”.

– It is important to remember how great our cinema is, – said Olga Galaktionova, General Director of ROSIZO. – This cycle of exhibitions dedicated to outstanding figures of culture and art is very important for us. It is important to preserve the craftsmanship, history, let us learn from Lioznova.

The film “Seventeen Moments of Spring” is dedicated to an original installation using the technique of medieval Gothic stained glass. Photo: ROSIZO

Lioznova was called the “iron lady” of Soviet cinema. She was responsible and strict on the set. However, her adopted daughter Lyudmila Lisina says that she was strict first of all with herself, and at the same time – closed and very vulnerable.

“Tatyana Lioznova was the most important embodiment of our people – the ability to sympathize and empathize. She knew how to dig up and sing in her heroes that which is bright, that which is hidden, that which is still alive in each of us,” notes Lyudmila Lisina.

At the exhibition you can sit in a compartment from “The Undersigned”, go into a telephone booth from the film “Carnival” and even “call” from it. There are many photographs and texts from which you will definitely learn something new about the classics of Soviet cinema.

The exhibition is open at 4 Petroverigsky Lane, Bldg. 1 until August 26