Documentary films will be shown on Latvian Television Channel 1 at 9.10 pm on November 25 “Through the lens of the lens. Gunārs Cilinskis” premiere.
Its screenwriter and journalist Ilze Strenga has given it an original genre designation – a documentary melodrama, and in a conversation with “Klasika” sincerely admits: ” because the melodramas have to be watched to the end.
The director of the film is Guntis Sprendanis, but the cinematographers are Normunds Čirkste and Normunds Pavlovskis.
Liene Jakovleva: How long did you all live with Gunārs Cilinski?
It was a year of extremely careful, inquisitive and a bit of work for the archivist, because then,
When my youngest colleagues asked me where his television interviews were after watching the first small black montage, we understood one thing from director Guntis Lecani: that the younger generation doesn’t even have a vision of how the media worked.
Gunārs Cilinska has not been in this sun for more than 30 years. It was a beautiful summer day in 1992, when he was skiing in the sky with water skis. But such real television recordings have only existed since 1975, when we started storing tapes and could afford to write on other tapes. But then he had gone to the film studio and made his first film “Sonata of the Lake”. And then the work of the archivist was such that with the help of my son, with the kind support of the National Library of Latvia, I got all the interviews, articles and descriptions of Gunārs Cilinskis from his first creative days. I read them through and realized that all the interviews at the time, as we say, are exactly nothing…
Clichéd?
Yes, something about creative work, something about an emotional situation in theater or directing, but no insights, no meaningful thoughts about how he himself felt, how the world around him worked, what his interests were, except for a few “shots” beads – yes, well, there we still dedicate Line with water skis, there son Aigars. We looked very carefully at all the possible archives of film documents, the National Theater had his personal belongings, which, thank God, is available to us.
But another thing is radio recordings – you are much richer than Latvian Television: first of all, his voice recordings, interviews with Liu Gulevsky and Ruth Rickshaw. Lia brought a diamond cassette, where she, as a real researcher and archivist, collected Gunārs’ stories.
But on television, it turns out we haven’t filmed him in documentary interviews! But that was the time – the wide 16-millimeter television tape was worth its weight in gold and was written on and erased. Maybe people didn’t have a real sense of mission at the time, why you have to work in the media, why you have to keep things. The work you leave is valued by many for gold – to then take a few minutes to conjure up the image of human eternity.
Was Gunārs Cilinskis’ 90th birthday an impulse, why did you make this film this year?
Yes, but imagine how we all lived and the society lived – from one house to another, from one process to another, we have to wear a mask all the time. This does not really interfere with research, but without the responsive library, the National Theater and other archives. But somehow in these circumstances there is such a different level of consciousness and space that you just throw yourself in and do your best. Think, if Gunārs Cilinskis is 90, his contemporaries have a little less. But some of his contemporaries are like him, and many are no more. If such a film had been made 20 years ago, maybe 10, the palette of colors and people would have been more diverse, although even now it is wonderful for us, diamond!
You have created a mosaic of contemporaries, appraisers and thinkers – so there are also people’s stories, memories and thoughts about Gunārs Cilinski as a colleague, as a friend …
… And also as a deep-eyed worshiper. Because this time is beautiful. Also, knowing the lives of the actors, the personal vibrations that happen to you when you create something are extremely important. And that
personal vibrations in the life of Gunārs Cilinskis have never been revealed – the depths of their deep eyes, sights, the softness of love and the fragility of love.
Perhaps these are the liners and skins that were most interesting to address, to say if you are ready to share any of your emotional experiences with us. Of course, there were also situations when we were told “no”, because in the end we have to respect the secrets of life – there are lifelong love, there are unnamed children. All this is already, but we do not throw such provocations to these people that they should be able to reveal their most intimate corners of souls. The diamonds are the observations and opinions of film director Vara Brasla and Jānis Streičs. One is perhaps a little more restrained, as they say, even more supportive of the shoulder of an eternal friend, the other is perhaps more open, direct and evaluative in his Latgalian temperament. Mudīte Šneidere is the only classmate of Gunārs Cilinskas. Wonderful lady! So few interviewed. There were only four ladies in Gunārs Cilinskis’ brilliant course – Dina Kuple, Mudīte Šneidere, Vija Bunka and Antra Liedskalniņa. Those delicious stories of Mudīte – how Gunārs struggled with his eternal “I”: he struggled with both his personal “I” and the letter “S”, which he could not really pronounce all his life. By the way, the film will be a great opportunity to hear excerpts from the shows, because we only have one, “Lorenzo”, and the same thing is so small. By the way, he has played in the show “Blow, winds!” and duplicated with the wonderful Ģirts Jakovļevs in the role of Uldis.
There is also a “Long Tram” in which he plays with Eleanor Dude. It turns out that Stanley in “Long Tram” is completely disgusted with him, because his mentality and essence were not like that.
You must also thank your team.
You have to be patient with such jobs – marathons. But our task together with the director Guntis Sprendani was this: if we have started from Gunārs’ childhood as far as possible and infinitely beautiful love for his mother to the finals and conclusions of life, then we go through their whole cycle once in a lifetime.
Watch one show, another, third, drink your tea, drink your wine and indulge in a megastar. According to film critic Dita Rietuma, a man who was overwhelmed by the vibration of the depths of black eyes, who liked all the women who filmed with Sofia Loren, Paul Raks, who has been able to irritate beautiful viewers with his wonderful torso.
The film also features feyn theater insights from Rita Melnace, Dita Rietuma’s spectacular view of his films, where she is also quite [kristiski] says that they are actually quite different and a bit eclectic.
Exactly about Gunārs Cilinski as a director?
Yes, and I accidentally thought of the film’s genre designation – I suddenly called it a documentary melodrama. And it is already the case in the melodrama that you have to cry there, suffer the love of love from time to time. There will be all the elements of a melodrama.
Will there be music too?
Yes! Gunārs Cilinskis, it turns out, sang Gederts Raman’s song in the film “Road Signs” in 1968! Of course, he has sung in “Black Cancer Claws”, as well as something in “Rays in the Glass”. repojis a little bit.
Imants Kalniņš’s “Sonata of the Lake” reads?
Well, what a speech … Yes, but that was his choice.
At his invitation, Pēteris Vasks composed the music for the film “Werewolf’s Heiress”.
That’s not how we decipher it in the movie. The hits and waltzes of the 1920s and 1930s were also collected in “Early Rust”, which he directed. But the big surprise was about the “Road Signs”. But my mother made him play the piano, so he taught it. Imants Kalniņš is also a composer in his film “Fear”, Ivars Vīgners – in “Tarāna”.
How much was left overboard with a sore heart?
The film lasts two hours: everyone says – couldn’t you get everything you wanted?
But it really is a lot.
Yes, very much, but we are very, very happy that our leadership was welcoming. At first we thought that we would make the film in two parts, in two series, but now – we are not very disturbed, if maybe it will be more boring in the middle… But watch it to the end, because you have to watch the melodramas to the end. Either you broke out or you got clean, and then you conclude – yes, it was a man, it was a star.
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