Category: Film

Translation. Region: Russian Federation –

Source: Mosfilm Film Concern – An important disclaimer is at the bottom of this article.

February 16, 2026

News editorial office

26

The Mosfilm. Golden Collection television channel presents the special project "Golden Legends of Mosfilm." Its protagonists are Mosfilm "stars" living in St. Petersburg. Host Dmitry Kharatyan meets legendary actors who, over the years, starred at the country's premier film studio and contributed to the "Mosfilm Golden Collection."

Together with the project's host, we visited Igor Sklyar, Sergey Migitsko, and Mikhail Boyarsky. These were extraordinary encounters filled with sparkling acting stories, memories of Mosfilm, their youth, first impressions of the studio, and filming films that have become classics of Russian cinema.

The documentary series "Mosfilm. The Golden Age" also continues to air on the Mosfilm. Golden Collection TV channel. The program has been airing since 2024. The first season premiered in the year of the film studio's 100th anniversary and tells the story of Mosfilm. Each episode (8 minutes long) is dedicated to a single topic: legendary directors, cinematographers, and actors; the history of beloved films; the studio's architecture, technical equipment, film genres; and the work of the studio's departments today. A total of 49 episodes have already aired! Filming of new programs is currently underway.

Watch the "Mosfilm. Golden Age" series weekly on Saturdays at 9:20 PM on the "Mosfilm. Golden Collection" channel. The program is hosted by People's Artist of the Russian Federation Dmitry Kharatyan.

On February 17, as part of the National Award in the field of multichannel digital television "Big Digit", an award ceremony will be held for the special project of the Mosfilm channel. Golden Collection – the program "Towards Victory" (2 episodes).

The program explores Mosfilm's war films shot in the Kaliningrad region, including "Meeting on the Elbe," "Spring on the Oder," "Liberation," "Shield and Sword," "The Fate of a Man," and others. Dmitry Kharatyan also hosts the project.

Please note: This information is raw content obtained directly from the source. It represents an accurate account of the source's assertions and does not necessarily reflect the position of MIL-OSI or its clients.

Translation. Region: Russian Federation –

Source: Mosfilm Film Concern – An important disclaimer is at the bottom of this article.

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The "Into the Space of the Russian Soul" Festival at Mosfilm

The "Into the Space of the Russian Soul" Festival at Mosfilm

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The "Into the Space of the Russian Soul" Festival at Mosfilm

The "Into the Space of the Russian Soul" Festival at Mosfilm

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The "Into the Space of the Russian Soul" Festival at Mosfilm

The "Into the Space of the Russian Soul" Festival at Mosfilm

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The "Into the Space of the Russian Soul" Festival at Mosfilm

"Into the Space of the Russian Soul" Festival at Mosfilm

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The "Into the Space of the Russian Soul" Festival at Mosfilm

The "Into the Space of the Russian Soul" Festival at Mosfilm

February 13, 2026

News editorial office

22

Since December, the main exhibition "Into the Space of the Russian Soul" has been open at the National Museum of Art and Photography at Mosfilm. This is the first and, so far, only exhibition to travel aboard the International Space Station. Among the works on display are photographs taken from the ISS by cosmonaut and photographer Oleg Kononenko.

The exhibition "Into the Space of the Russian Soul" is a conversation not so much about physical space as about humanity. It's about the values we share, about love and faith—the faith of man and the faith in humanity—and about the memory preserved by the peoples of our country. And yet, the project also has a direct connection to the real world.

The gallery presents unique photographs from the historic exhibition on the ISS—the very same set of 12 photographs that was being prepared for space travel to unite art and space. The project was curated by Hero of Russia and cosmonaut commander Oleg Kononenko.

Exhibition "Into the Space of the Russian Soul" on the ISS

Within the museum's halls, the exhibition organizers unfolded an entire artistic galaxy before viewers. Stavropol artists Natalia Litosova ("Russian Space") and Oleg Kalaytanov ("High Pulse") engaged in a dialogue of forms and energies—from figurative cosmic utopias to condensations of pure pictorial force.

A special dimension to the exhibition is provided by the legacy collection of Saratov collector Igor Askasev, "Worlds of Saratov Artists" (or "Galaktikon"). Ten spherical planets from his legendary collection have become a visual embodiment of the idea of the comprehensiveness and diversity of Russian art. The exhibition is complemented by works from the museum's main collection—"Symphony of Light" by Samat and "Bulgakov Canvases" by Igor Bulgakov. The festival logo, "Into the Cosmos of the Russian Soul," was designed by Oleg Korytov, chief artist at the ProLab center.

The project's organizers emphasize that the exhibition "Into the Cosmos of the Russian Soul" is more than just a cultural initiative. It is a manifesto and research program, the goal of which is to use art, photography, and poetry to embark on the most captivating journey of all: into the infinite depths of the national spirit, where dreams of space and the shared future of humanity are born.

We invite you to the National Museum of Art and Photography at the Mosfilm Gallery to see authentic space photographs and more. Peer at the Earth from orbit, sense its fragility and grandeur, and experience the beauty of our world as part of an infinite universe. Space is closer than you think.

Moscow, Mosfilmovskaya St., 1s18 Every day except Monday 11:00–20:00

Please note: This information is raw content obtained directly from the source. It represents an accurate account of the source's assertions and does not necessarily reflect the position of MIL-OSI or its clients.

Translation. Region: Russian Federation –

Source: Mosfilm Film Concern – An important disclaimer is at the bottom of this article.

February 12, 2026

Press service

27

A quarter of a century later, a plaster cast of the marble statue of Empress Catherine II, created by renowned muralist Alexander Opekushin, has been given a new lease on life. Sergei Nikolaev, a sculptor at the Mosfilm House of Costume and Props, transformed the damaged fragment, which had been gathering dust in warehouses for decades, into a fully functional exhibition bust. The restoration not only revived the cast but also sparked interest in the forgotten craftsmanship of Russian classicists—a style that is now enjoying renewed appreciation in the world of great art.

Mosfilm's workshops house many legendary objects, whose stories are sometimes more captivating than the script of a historical blockbuster. One such story is the bust of Catherine the Great, which until recently was in a deplorable state, but is now ready for filming and exhibition.

HISTORY OF THE EXHIBIT

The exhibit's journey to the film studio was long and winding. For a long time, the original three-meter marble statue of Catherine the Great, commissioned by the Moscow City Duma in the late 19th century, was kept in the vaults of one of the capital's museums. The artist behind the "Catherine the Great" composition was Alexander Mikhailovich Opekushin, an academician, a "star" of his time, and the creator of the Pushkin monument on Tverskoy Boulevard. For his work, he chose superb Carrara marble—a noble, grayish hue, with the finest sparkles that make the stone seem alive even centuries later.

A.M. Opekushin's sculpture "Catherine the Great" at the Tsaritsyno Museum-Reserve

After the October Revolution of 1917, the sculpture was removed to the State Museum of Fine Arts. It was repeatedly threatened with destruction. It was saved by the director of the Pushkin State Museum of Fine Arts, sculptor S. D. Merkurov, who "hid" it with his friends in Armenia. At the turn of the 2000s, artisans from the Vuchetich All-Union Art and Production Combine removed the mold from the sculpture and cast a copy. But this cast's life was difficult from the very beginning: it lacked a coherent composition and was stored for many years as an unaccounted element. When the Vuchetich Combine ceased operations due to the impossibility of maintaining its vast space, a series of arduous relocations began. The collection was transported from place to place, and this plaster "shard" migrated along with other exhibits, gradually falling into disrepair. Several years ago the exhibit was transferred to Mosfilm.

RESTORATION

"The bust was just like a splinter, cut off at an angle," recalls sculptor Sergei Nikolaev, showing photographs from his archive. "It was completely filthy… There were chips, scuffs, and dirt. Imagine, plaster—it's fragile!"

Bust before restoration

Bust before restoration

The work began with a diagnostic. To determine how to complete the fragment, sculptor Sergei Nikolaev traveled to the Tsaritsyno Museum-Reserve, where Opekushin's original statue now resides. He specifically wanted to photograph the details—the "fur," the texture, the logic of the clothing's cut. The sculptor notes that the quality of the original is astounding: despite the matte, unpolished surface typical of gray marble, the detailing on the figure is executed at the highest academic level.

Returning to the workshop, the restorer began to precisely recreate the missing parts of the bust. He constructed special frames and anchors for the missing fragments, onto which he glued the logically completed elements of the bust. Particular attention was paid to the finishing coat. The surface was treated with an alcohol-based varnish based on the natural resin of Indian trees. This technology, derived from old restoration techniques, not only protects the plaster but also creates an ideal primer for subsequent tinting. On top, Nikolaev applied oil paints to create the subtlest depressions and highlights, allowing the relief to "emerge" and create a sense of volume.

"Of course, this is a very pleasing piece," says Sergey. "It's clearly visible: from just fragments and shards, the sculpture has become a true exhibition piece! Moreover, it's a work of high craftsmanship."

The sculptor laments the long-undervalued legacy of Opekushin, Volnukhin, and other Russian classicists. The Soviet period, with its expressiveness and grotesqueness, relegated psychologism and detailed elaboration of form to the background. But today, the situation is changing. A new generation of artists and viewers is once again learning to appreciate the "quiet" perfection of classicism. And, as Sergei Nikolaev admits, replicating this level is extremely difficult today. Even professional academic sculptors cannot always achieve the subtlety that 19th-century masters imbued in their works.

Currently, a plaster copy of a fragment of Opekushin's work adorns the hall of Mosfilm's main building. Also on display on the ground floor is the composition "Wrestlers"—a plaster cast of a marble sculpture (2nd century BC)—and "Aphrodite (Venus) de Milo," also a plaster cast of an original sculpture by Agesander (2nd century BC).

Sculptor Sergei Nikolaev and his works

CURRENT WORK AND PLANS

Restoring the sculpture of Catherine II is only part of a larger plan to restore props. In the last year alone, Sergey Nikolaev has restored 24 pieces: busts, vases, and decorative elements. Furthermore, a significant portion of his work involves providing prompt, first-aid care for props returning from filming. Colleagues acknowledge that not all renters handle plaster with care: despite instructions, there are always random people on set who, through carelessness, could damage fragile compositions. Therefore, the sculptor often personally handles particularly sensitive pieces.

Plans for this year include an equally exciting project. A bust of Nicholas I was discovered in the DKR collection. The piece was thought to be painted plaster, but upon closer inspection, it turned out to be old bronze, heavily painted over multiple times. This summer, Sergey plans to remove centuries-old layers of paint from the original, make a mold, and cast it. One example—a plaster, marbled version—will be retained for filming. Attempts will be made to restore the original to its original appearance: patination may be commissioned to restore the bronze's noble appearance. Concurrently, curators will attempt to establish its authorship: perhaps the cleaning process will reveal traces of a workshop or the detailing typical of famous 19th-century sculptors.

Please note: This information is raw content obtained directly from the source. It represents an accurate account of the source's assertions and does not necessarily reflect the position of MIL-OSI or its clients.

Translation. Region: Russian Federation –

Source: Mosfilm Film Concern – An important disclaimer is at the bottom of this article.

By the beginning of the 21st century, it seemed that cinema had said everything about the Great Patriotic War. From the child's view of the war in "Ivan's Childhood" to the epic scope of "Liberation," from the trench naturalism of the 2000s to Hollywood special effects. The subject, it seemed, had been exhausted. But Karen Shakhnazarov, a philosophical director, found a new, in many ways unexpected, perspective—he looked at the war not as a historian, but as a mythmaker. He moved beyond chronicles and documents into the realm of mysticism, metaphor, and the eternal struggle of the spirit. And it was precisely this perspective that was capable of discerning not the past, but… the future.

His war film "White Tiger" (2012) is perceived today, a decade later, not only as a mystical allegory of World War II, but as a prophecy of Russia's clash with the modern West. Formally enlightened and technologically advanced, but deep down obsessed with the same ancient hatred for the "incomprehensible Russian soul." Back then, in the year of the film's premiere, society was unwilling to grasp the director's message. Or rather, the "progressive" part of it, which conveys the thoughts of any great auteur "to the masses," was preoccupied with something else entirely familiar—just recall the state of socio-political life in 2011-2012… (Although even if everyone had understood, they probably would have remained silent!)

Meanwhile, the film, despite its apparent mysticism and enigma, went far beyond the usual "war" genre, clearly and unambiguously articulating crucial meanings. "White Tiger" is a film about Europe's great, eternally recurring anti-Russian campaign. It's about the infernal, impersonal malice that the white "master" feels toward the world in the East, which he has already cursed. This malice is embodied in the elusive Nazi ghost tank—an unmanned machine of hatred. A hatred that has long been reflexive, in a certain sense even irrational. It's curious that both then and now the average viewer is outraged: Nazism was defeated! Why then does the film's hero claim at the end that "the war is not over"? Because, as was confirmed ten years after the film's release, this metaphysical plague cannot be killed with a single shot. It is part of the soul of Europe. Its best oracle in the film was Hitler himself, cynically declaring: "We simply found the courage to realize what Europe dreamed of. They have always disliked the Jews and have always feared this dark, gloomy country in the East. I simply said: let's solve these two problems once and for all."

Today, the realization of this eternal European "dream" has been taken on by our once fraternal neighboring country, becoming a veritable "anti-Russian" battering ram. With the active support of virtually the entire Old World, all masks have long since been dropped. So the "Tiger" lives. And as before, only a Russian warrior—gunner Ivan Naidenov—can stand against it. He is the antithesis of evil, albeit mentally "damaged," but clearly sees the essence of the threat and is ready for eternal battle.

It seems that the mythical path blazed by Karen Shakhnazarov will not be without followers. "White Tiger" has defined a territory where the history of war is transformed into an eternal archetype, where the "war of engines" gives way to a battle of far more powerful forces. This is a metaphysical realm, where the forces of Light and Darkness converge in their timeless confrontation. It may sound a bit grandiose, but such an artistic approach has the potential to create something truly new in war cinema, or at least something unexpected, something that transcends conventional boundaries.

It's also worth noting that Karen Shakhnazarov is one of the few Russian directors possessing such artistic (and political!) farsightedness. This is his second prophetic film; the first was "City Zero" (1988), a masterpiece that for decades the same "progressive" critics stubbornly dismissed as some kind of "parody of the Soviet Union." Nonsense! It was a subtle satire on perestroika itself. The director's elegant, witty, and at times caustic attack, also shrouded in a mystical haze like a smokescreen, is aimed at the triumphant advance of primitive life, not at the shamefully (alas!) departing socialist system.

At all times, whether the country rejoices or rebels, a curious phenomenon arises: only a few, looking beyond the momentary noise, discern the true threats. Karen Shakhnazarov belongs to this cohort. He is a director with a rare gift: to see Russia's eternal, archetypal challenges beyond the horizon of current events. In 2012, he heard the dull rumble of the "White Tiger" and warned: the monster of Nazism has not been slain. It waits and will surely crawl out. And so must our tanker Naidenov—sensitive, scorched by war, and always ready for a new encounter with infernal evil. And as long as this confrontation—strange, metaphysical, logically inexplicable—lasts, Russia will continue its path, guarded not only by missiles and tanks, but also by this special clairvoyant anxiety of its artists.

The film "White Tiger" is available for viewing on all Mosfilm online platforms – YouTube, RUTUBE, VK-video.

Please note: This information is raw content obtained directly from the source. It represents an accurate account of the source's assertions and does not necessarily reflect the position of MIL-OSI or its clients.

Translation. Region: Russian Federation –

Source: Mosfilm Film Concern – An important disclaimer is at the bottom of this article.

February 9, 2026

News editorial office

30

A large-scale recording session for the A.V. Alexandrov Academic Song and Dance Ensemble of the Russian Army took place at Mosfilm's 1st Music Studio—the only one in the world capable of simultaneously accommodating and recording a combined choir and a full symphony orchestra.

The musicians and vocalists of the renowned ensemble, under the direction of artistic director Colonel Gennady Sachenyuk and principal choirmaster Vladimir Krotov, worked to expand their "golden collection." The program included both the ensemble's classics and new works created in a contemporary context. This recording, made possible by the unique technical capabilities of Mosfilm Studio One, will become a cultural legacy for future generations.

Studio work for the Alexandrov Academic Ensemble is always a special occasion. Unlike a concert performance, where the energetic exchange with the audience creates a unique yet momentary magic, a studio recording is a permanent record of sound. As the ensemble's principal choirmaster, Vladimir Krotov, emphasized, such work requires maximum concentration, inner energy, and a deep immersion in the essence of the work.

"Here, we need maximum energy, maximum attention, maximum content, maximum character in the song," Vladimir Krotov noted. "Here, there's more internal content; the performers must have this internal energy!"

Around 70 choir members were involved in the recording process at Mosfilm Studio 1. As Vladimir Krotov noted, all the performers in the ensemble are top performers, and the lineup varies depending on the tasks and locations.

The session's program was packed, featuring both time-tested classics and new works. One of the key pieces of the first day was the celebrated "Ballad of a Soldier," a piece that has become a hallmark of the Alexandrovtsy since Soviet times and is a treasured possession of the ensemble. This deeply lyrical and patriotic composition, crafted in the ensemble's unique style, remains undiminished by the years, according to the ensemble. As the ensemble notes, the power and relevance of this music and its lyrics, which tell the story of a soldier's fate, love for the Motherland, and sacrifice, have not diminished.

The second set of recordings, on February 9, was dedicated to a monumental work—the finale of Pyotr Ilyich Tchaikovsky's cantata "Moscow." This work also has a rich history within the ensemble: its arrangement for the specific "Alexander" lineup was created under Alexander Vasilyevich Alexandrov. The original score for symphony orchestra, mixed choir, and soloists (baritone and soprano) was masterfully re-orchestrated to accommodate the ensemble's unique timbres—balalaikas, domras, and button accordions—while retaining the classical brass section.

Opera stars were invited to perform the solo parts: the soprano part was performed by renowned singer Agunda Kulaeva, and the baritone part by the Ensemble's own soloist, Maxim Maklakov. This large-scale recording involved approximately 90 male choir members, 20 female choir members, and approximately 50 orchestral musicians.

"Working at Mosfilm has become a good and fruitful tradition for our team. We always feel very comfortable, happy, and warm here," noted the ensemble's artistic director, Colonel Gennady Sachenyuk.

The ensemble's management and performers expressed special gratitude to the sound engineering team at Studio One. Working with such a large and acoustically complex ensemble, where the choir, soloists, and dozens of folk and wind instruments must be perfectly balanced, is a task of the highest professional level. Mosfilm's sound engineers, and in particular Gennady Papin, who has collaborated with the ensemble for many years, possess invaluable experience and a deep understanding of the specifics of the "Alexandrov" sound.

"There are amazing professionals here," noted Gennady Sachenyuk. "They know the ropes, how to record us… You don't need to explain anything to them anymore; they know everything perfectly, they hear perfectly, it's wonderful."

As choirmaster Vladimir Krotov noted, by recording classics and creating new works dedicated to contemporary events, both lyrical and patriotic, the Ensemble continues to chronicle its history. And it does so in a venue that, in its technical and acoustic qualities, is unparalleled anywhere in the world.

Mosfilm's 1st Music Studio is the only one in the world capable of physically accommodating and accurately recording over 160 performers simultaneously: a full symphony orchestra and a combined choir. Its unique dimensions, specially designed architecture, and premium equipment allow for unrivaled clarity, depth, and spaciousness of sound. Only here can such a large-scale recording be accomplished without sacrificing quality, while preserving the vibrant, unified spirit of the ensemble.

Please note: This information is raw content obtained directly from the source. It represents an accurate account of the source's assertions and does not necessarily reflect the position of MIL-OSI or its clients.

Translation. Region: Russian Federation –

Source: Mosfilm Film Concern – An important disclaimer is at the bottom of this article.

February 6, 2026

19

Mosfilm is bringing one of the pinnacles of world cinema back to the big screen – Andrei Tarkovsky's legendary film "Andrei Rublev." The film will be released in the public domain in a state-of-the-art digital restoration format with 4K image quality and restored sound.

The first screening of the updated masterpiece will take place on February 21 at the Cinema Center (Mosfilm Cinema Park). The following day, February 22, the film will begin its tour of cinemas across the country. Audiences in Moscow, St. Petersburg, Novosibirsk, Perm, Rostov-on-Don, and other cities will have the unique opportunity to see the film as its creator intended – in the latest quality and on the big screen. The screening geography will expand.

To commemorate this event, Mosfilm is releasing the official poster and trailer for the restored version, which offers a first glimpse of the scale of the work and the new quality of the visuals and sound.

The painstaking work of restoring the film to its original splendor was carried out by specialists at PK Telekino. The frame-by-frame digital restoration process resembled a delicate work, with each frame requiring an individual approach.

The restorers faced a critical task: not only to clean the image, but also to carefully preserve the authentic film texture—the soul of the film. They had to manually align long, fluid shots where density and brightness could vary. Scenes featuring fog and rain posed a particular challenge—they had to preserve their airiness and depth without losing detail.

Working with numerous shades of gray, the filmmakers meticulously balanced the black and white to preserve Tarkovsky's signature black-and-white aesthetic. The unique age-related defects of the source material—the intermediate positive—presented a particular challenge. Networks of fine cracks in the emulsion, reminiscent of the craquelure on old canvases, required lengthy and meticulous retouching to harmoniously connect all the planes within the scenes. The result is impeccable quality, in which technology serves art rather than replaces it.

ANDREY RUBLEV

Genre: Historical drama, biography Director: Andrei Tarkovsky Screenplay: Andrei Konchalovsky, Andrei Tarkovsky Cinematography: Vadim Yusov Composer: Vyacheslav Ovchinnikov Production designers: Evgeny Chernyaev, Ippolit Novoderezhkin, Sergei Voronkov Starring: Anatoly Solonitsyn, Ivan Lapikov, Nikolai Grinko, Nikolai Sergeev, Irma Raush and others Year of production: 1966 Studio: Mosfilm, Creative Association of Writers and Filmmakers

A parable film, a reflection on the fate of an artist during a time of great change, "Andrei Rublev" has long since become not just a classic, but a cultural treasure. The return of the restored version to screens is a gift both for connoisseurs of Andrei Tarkovsky's work and for a new generation of viewers, who will see this film in the highest possible quality.

On February 9, Mosfilm.ru will launch a series of publications dedicated to the history of the famous film's creation, based on archival documents. Don't miss out!

Please note: This information is raw content obtained directly from the source. It represents an accurate account of the source's assertions and does not necessarily reflect the position of MIL-OSI or its clients.

Translation. Region: Russian Federation –

Source: Mosfilm Film Concern – An important disclaimer is at the bottom of this article.

February 5, 2026

News editorial office

42

The Mosfilm film company continues its extensive work to study and systematize its priceless archive. This work has resulted in another significant discovery: three authentic bogatyr helmets created for the filming of the first Soviet widescreen fairytale, Ilya Muromets (1956), directed by Alexander Ptushko, have been discovered and officially attributed in the collections of the House of Costume and Props.

TARGETED SEARCH AND UNIQUE FIND

Identifying objects approaching 70 years old is a painstaking and complex process. The discovery of the helmets was the result of systematic work and the professional memory of the staff—in particular, Alla Oleneva, the leading costume designer at the House of Costume and Props, whose experience at Mosfilm spans decades.

Two helmets worn by Boris Andreyev as Ilya Muromets in the film, and one helmet belonging to Sergei Stolyarov's character, were found. As the artist emphasized, each helmet is unique, as it was created specifically for each character, taking into account their image and status. It should be added that the Mosfilm museum collection already holds the headdress—a princely crown—and the dress of Vasilisa, the wife of Ilya Muromets (played by Ninel Myshkova), which had previously been attributed. Therefore, five authentic items from the famous film are now known.

PRESERVATION, HISTORICAL ACCURACY AND CREATIVE SEARCH

The helmets, exemplary of the craftsmanship of the Mosfilm costume department in the mid-20th century, were made of metal. As Alla Oleneva explained, brass and aluminum (or duralumin) were commonly used at the time. The metal base was then skillfully painted to resemble gold, creating the effect of precious antique objects. The prince's crown, more complex in design, is adorned with brass plaques and beads and exemplifies the exquisite craftsmanship of the craftsmen.

Stills from the film "Ilya Muromets" (1956)

Despite their venerable age and extensive use during filming, experts consider the finds to be in a very good state of preservation. Alla Oleneva regrets that during the Soviet era, there was no deliberate effort to preserve costumes and props after filming was completed. Everything was often "consumed," used for other films or stored in storage. Therefore, any such find today is a great success.

Despite its fairytale genre, the film "Ilya Muromets" was distinguished by its commitment to historical and ethnographic accuracy in every detail. This credit goes, in part, to the outstanding costume designer Olga Semyonovna Kruchinina. According to Alla Oleneva, Kruchinina was a master craftsman who approached her work with the utmost responsibility.

"She took the production of her work very seriously. Before making anything, she studied historical materials… In other words, she was a true artist who couldn't afford to do anything roughly or 'by eye,'" Oleneva emphasized.

Thus, the heroic helmets are not simply a product of creative imagination, but the result of a deep study of ancient Russian art, traditions, and archaeological finds, filtered through the prism of cinematic vision.

SPECIAL STATUS: TRANSITION TO A PERSONAL FUND

All discovered items will be designated museum exhibits and will be kept under special control in a specially created character costume collection by Mosfilm. Collection curator Tatyana Stepanova provided detailed information about the new status of the finds and the principles of their management.

"These items are under special control. They are stored in a special way in a separate room… They are already of museum value because they are memorabilia – associated with the actors, directors, and costume designers. Items that have passed through the film set always retain the energy of the era, the talent of the artisans, and the memory," explained Tatyana Stepanova.

This means that the helmets from "Ilya Muromets," like other rarities in the collection, will no longer be used in current production. The priority now is preserving them for history, studying them with specialists, and displaying them to the public at themed exhibitions that offer a behind-the-scenes look at the making of famous films.

The work of identifying rarities in the extensive Mosfilm collections is ongoing and yielding new results. In addition to helmets, other iconic costumes and props have recently been identified. These include a vest and dress from the comedy "The Marriage of Balzaminov" (1964), trousers and several tailcoats worn by Sergei Bondarchuk's character in the epic film "War and Peace" (1966-67), and shirts worn by Aleksandr Demyanenko (Shurik) in the films "Operation Y and Shurik's Other Adventures" (1965) and "Ivan Vasilievich Changes Profession" (1973). Many of these costumes will also be added to the character collection.

Discovering and preserving material evidence of the filmmaking process is a crucial part of Mosfilm's cultural mission. Each such item becomes a link connecting modern viewers to the history of Russian cinema, allowing them to better understand the scale and meticulousness of the work behind the scenes. And today, anyone can see the result of this labor—Alexander Ptushko's legendary film "Ilya Muromets"—in all its epic grandeur.

The restored digital version of the film in 4K format is available for viewing on all official online platforms of the Mosfilm film concern (YouTube, RUTUBE, VK video).

Please note: This information is raw content obtained directly from the source. It represents an accurate account of the source's assertions and does not necessarily reflect the position of MIL-OSI or its clients.

Translation. Region: Russian Federation –

Source: Mosfilm Cinema Concert – An important disclaimer is at the bottom of this article.

February 4, 2026

News editorial office

Filming of the Podcast.Lab show at Mosfilm has been ongoing since 2024. To date, the Podcast.Lab team has aired over 1,200 podcasts, 400 of which were filmed at the studio. During this time, Podcast.Lab's guests at Mosfilm have included Karen Shakhnazarov, Emir Kusturica, Andrei Konchalovsky, Yevgeny Vodolazkin, Alexei German Jr., Valeria Gai-Germanika, Nikita Vysotsky and Ilya Lebedev, Alexander Rosenbaum, Yulia Peresild, Sergey Bezrukov, Nikita Kologrivy, and many others.

Podcast.Lab features intellectual discussions after midnight with the most knowledgeable experts and cutting-edge speakers on Channel One. These include the most prominent figures from film, theater, music, literature, philosophy, and even astronauts! Astrological forecasts, advice from psychologists, recommendations from financial analysts, reminiscences from film and pop stars, and the latest music. This is a large-scale project with a diverse cast of hosts, including experts and showbiz stars. Key hosts include Karina Cross, Anton Lavrentyev, Valya Karnaval (Non-Format), Dmitry Dibrov (Anthropology), Larisa Guzeeva (Letters), Leonid Yakubovich, and Denis Kazansky (Football Is Not Hockey).

According to the show's producers, Mosfilm's Pavilion 12 offers optimal conditions for the project's implementation, including dimensions, ceiling height, soundproofing, set installation, and technical equipment, including for musical numbers.

Podcast.Lab on Channel One airs nightly, typically starting at 12:00 AM–1:00 AM and later. The exact time depends on the program schedule for the day, but new episodes and archived content can be viewed 24/7 on the website 1tv.ru.

For questions about renting pavilions at Mosfilm: Head of the Central Production Department Lyudmila Olegovna Shavelkina

Tel.: 7 (499) 143-9891

e-mail: cpy@mosfilm.ru

Please note: This information is raw content obtained directly from the source. It represents an accurate account of the source's assertions and does not necessarily reflect the position of MIL-OSI or its clients.

Translation. Region: Russian Federation –

Source: Mosfilm Film Concern – An important disclaimer is at the bottom of this article.

The meeting at TASS was informal and lively. Competition winners—future directors, journalists, and media professionals from Tambov, Voronezh, Tula, Kalmykia, Krasnoyarsk Krai, and many other regions—asked questions without regard for age or status. Karen Shakhnazarov, for his part, answered sincerely, at times philosophically, and at others with paternal concern and a touch of irony. It was not a master's monologue, but a genuine dialogue between generations about what matters most: meaning, values, and the future.

A FILM FOR THE CENTURIES AND THE EPHEMERALITY OF CINEMA

The first question from the young audience was somewhat provocative: if in 100 years only one film remained of Karen Shakhnazarov's entire oeuvre, which one would he want to preserve? The director's answer was unexpectedly modest and thoughtful. He questioned whether anything at all would remain of contemporary cinema in a century.

"Cinema is a beloved pastime, but it's much more ephemeral and quickly becomes outdated than, say, literature. Film is technology. And technology changes rapidly. The younger generation always watches what's available to them here and now."

However, Karen Shakhnazarov still suggested that the film "Courier" might have a chance. The theme of growing up, finding oneself, and conflict with the world of elders is timeless and relatable to any generation.

"This is a film whose theme, I believe, is relatable to any generation. Young people always come into life with their own perspective and want to find their place. I hope humanity will still exist in 100 years. That's the most important thing. And in many ways, this will rest on your shoulders."

Should We Believe in Youth? The Main Deficit Is Reading

The next question logically followed from the first: does the master believe in modern young directors, or is good cinema impossible without extensive life experience?

"Of course I do!" Shakhnazarov replied without hesitation. "I myself came to filmmaking without any particular life experience." However, he immediately identified what he considered a disturbing trend:

"There's one problem I'd like to draw your attention to. You don't read enough. In general. I'm not talking about you personally, but today's youth reads rather little. And that's a big disadvantage. Literature is knowledge. It helps a person, increases their level of education and erudition, and helps them find their place in life."

A director who dedicated his life to cinema unexpectedly placed literature above all else: "When you read, you transform letters into images in your head. This requires intellectual effort. In film, you're presented with a ready-made visual image. Therefore, with all my reverence for cinema, I believe literature as an art form is superior. Make time to read."

When asked to name specific young directors, Shakhnazarov diplomatically responded that he would not single out individuals so as not to offend anyone, but he was confident that talent exists and will continue to exist.

Liliya from Voronezh asked how the director believed modern youth differed from those depicted in "Courier." Shakhnazarov was convinced that there were no fundamental differences in human behavior.

"When you're 17, a three-year difference seems enormous. But when you've lived a long life, you realize that 20-30 years are still very close generations. The main difference is technology. There were no cell phones or internet. And, of course, young people read more back then."

The meeting's moderator suggested that the current generation is more straightforward and fearless. Shakhnazarov disagreed, noting:

"That generation was perhaps more naive. And today's generation, while they read less, knows more. The amount of information on the internet is colossal. But that's also a dangerous thing—the endless stream of news clogs your head, preventing you from developing your own perspective. A person burdened with such information is sometimes less free than someone without it."

SUPERSTITIONS AND RITUALS IN CINEMA

Darya, a future film editor from Krasnoyarsk Krai, asked about professional rituals and superstitions. Shakhnazarov smiled and admitted that he follows old film superstitions, adopted from Soviet cinema.

"I believe in them absolutely. For example, if a script falls or is placed on a soft chair, you must put it on the floor and sit on it. I always do this, even if it seems strange. Otherwise, everything will go to hell."

He shared other rules: whistling and eating sunflower seeds are prohibited on set. And at the beginning of each film, there's a special ritual.

"When you take your first shot, before you say 'stop,' you should smash a plate against the camera's tripod. Then you take the fragment as a souvenir. I advise you to observe these signs, just in case!"

ARTIFICIAL INTELLIGENCE – A DREAM FACTORY OR THE END OF A PROFESSION?

One of the most pressing questions concerned the future of cinema in the era of artificial intelligence (AI) and short formats. Irina from Kalmykia asked whether cinema risks becoming an elitist art form, like opera. Karen Shakhnazarov believes that this isn't the main danger.

"Artificial intelligence is a serious challenge. It could replace human directors. Humans will remain programmers. I've seen AI generate actors—indistinguishable from real ones. Everything—sets, worlds—could be created on a computer. Then our profession would be in question."

According to the director, a division could occur: there will be mass-market, factory-produced "cinema" from AI that everyone will watch, and there will remain "human" auteur cinema for connoisseurs.

"Cinema isn't exactly 'high' art compared to ballet or literature. It's a mixture of art and industry. And with AI, it could become a mere commodity churned out on an assembly line. That's dangerous. I'm unlikely to live to see it, but your generation will be wondering what to do about it."

When asked if creators would still exist, Shakhnazarov responded skeptically: "Who knows?" He drew an analogy with chess: once upon a time, everyone was sure a machine couldn't beat a champion, but now it's the norm.

"AI will never write The Brothers Karamazov. But the bulk of literature isn't The Brothers Karamazov. AI can write average literature better than most people. If it captures the audience, it will be like humans being educated by machines. That's the real story!"

Canon: Which Books and Films Shape a Person's Personality?

The question of the top five must-read books turned into a veritable lecture on the importance of Russian classics. Shakhnazarov began with the aforementioned The Brothers Karamazov by Dostoevsky ("a book that transforms the mind"), then recommended all of Chekhov ("astonishingly laconic and imaginative") and Tolstoy's Sevastopol Stories, which Hemingway held in high esteem. He also named Pushkin, Lermontov, and Gogol as essentials.

"Russian classical literature is the pinnacle of world literature! It's a tremendous asset to our civilization. By reading, you gain the experience of the greatest minds, become stronger, and navigate life more easily. It's not just a pastime; it's good for you."

When asked about the advantages of Russian literature, Shakhnazarov answered exhaustively:

"No literature has posed such burning, eternal questions as Russian literature. It's more than just literature. It's history, philosophy, and our national epic. Why do we live? What is the meaning of the world? Foreign literature doesn't pose such questions with such depth. Painting and architecture—there were other leaders in that regard. But literature is our unconditional priority."

Regarding cinema, Shakhnazarov, as one of the authors of the list of films for the school curriculum, explained the principle behind its formation: 50 classic directors, two key works from each.

"We chose those who have been 'proven' by time. Very diverse: Gaidai, Tarkovsky, Ryazanov, Mikhalkov, Zarkhi. Their films are already national classics. Watch them all—you won't regret it."

Karen Shakhnazarov also announced the upcoming theatrical release of Andrei Tarkovsky's "Andrei Rublev." Restored by Mosfilm specialists, the famous film will hit theaters in 4K format on February 22.

"THIS DIALOGUE ENRICHED ME"

Concluding the meeting, Karen Shakhnazarov thanked the children not as a mentor to the students, but as a conversationalist.

"Believe me, I'm very grateful. I don't know how useful this was for you, but for me, the meeting was invaluable. Dialogue always enriches both parties. Thank you for your insightful questions and your approach!"

The meeting at TASS was not just an insight into the world of cinema, but also a bridge between eras. Between classic books and artificial intelligence, the experience of masters and the fearlessness of newcomers. The main outcome was the confidence that the conversation will continue. This will be reflected in new films, articles, and media projects by talented young people who, like the protagonist of "Courier," are searching for and will surely find their place in life.

Please note: This information is raw content obtained directly from the source. It represents an accurate account of the source's assertions and does not necessarily reflect the position of MIL-OSI or its clients.

Translation. Region: Russian Federation –

Source: Mosfilm Film Concern – An important disclaimer is at the bottom of this article.

One of the first significant Soviet films produced by Goskino, "Wings of a Serf" by director Yuri Tarich, enjoyed great popularity in the late 1920s. It became a link in the chain of pre-revolutionary and Soviet cinematic images of Tsar Ivan the Terrible: "Song of the Merchant Kalashnikov" (1908), "The Death of Ivan the Terrible" (1909), "Tsar Ivan Vasilyevich the Terrible" (1915), Sergei Eisenstein's famous film "Ivan the Terrible" (1944–1945), Leonid Gaidai's comedy "Ivan Vasilyevich Changes Profession" (1973), and the ballet film "Terrible Century" (1976) by V. Derbenev and Yuri Grigorovich. Some scenes from "Wings of a Serf" inspired Sergei Eisenstein. Of course, the great director created a fundamentally different film—both in its interpretation of Ivan the Terrible's reign and in its visual style. However, the dance scene in the second part of Ivan the Terrible (1945) recreated the same key elements as Tarich's film. And the comedic scenes of feasting and dancing in Ivan Vasilyevich Changes Profession allude to Sergei Eisenstein's celebrated film.

The image of the “wings of a serf” as a symbol of the creative potential of the people is further developed in A. Tarkovsky’s film “Andrei Rublev” (1966).

Stills from the films "Wings of a Serf" (1926), "Andrei Rublev" (1966)

The plot of the film "Wings of a Serf" is based on a medieval legend about a talented craftsman named Nikishka, who dreamed of flying and fashioned wings. For this, he was accused by Ivan the Terrible of conspiring with evil spirits and sentenced to death. For cinematographers of the 1920s, this was not just a pretext for creating a spectacular film with plenty of intrigue, but also an opportunity to reflect on historical material.

Filming of "The Wings of a Serf" began at the Third Goskino Factory, but the film was released under the Sovkino label, founded in 1926. Considering the factory's operating conditions—minimal resources, "micro-studios," and a small backlot—it's hard to imagine how such a complex production was possible. (Grigory Roshal, "The Film of Life." Moscow, 1974, p. 292)

Wings of a Serf: [libretto for a film]. – Moscow, [1926]

The concept of the film

The original script for "The Wings of a Serf" was based on the novella of the same name by K.G. Shildkret. However, the filmmakers, Viktor Borisovich Shklovsky, Yuri Viktorovich Tarich, and Leonid Mironovich Leonidov, had to significantly rework the novella to create an innovative film that upends theatrical notions of the reign of Ivan the Terrible. Work on the film was carried out under the slogan of the Goskino Artistic Council, "Beat the Swans." A striking symbol of 16th-century theatrical imagery was K. Makovsky's painting "Boyar's Wedding Feast" (1883), whose central element was a beautiful platter with a swan. The filmmakers set themselves the task of stripping away this festivity and pomp and moving toward what they believed was a more accurate depiction of the modest medieval lifestyle of the tsar and his entourage. (see Soviet Screen. – 1926. – No. 2. – p. 11; Cinema. – 1926. – No. 1. – p. 3).

A tour of Aleksandrovskoye Village revealed low, vaulted, seemingly crushed rooms where Ivan the Terrible feasted. Simple chairs, meager furnishings, the austere Russian Middle Ages. This is not at all the Russian style we know from Makovsky. Prince Serebryany, Ilovaisky, Vereshchagin, the Peredvizhniki, and even Roerich—all of these are not material for a film director, but enemies to be destroyed. (Shklovsky, Viktor. "Not Ivan, but Ivan" // Sovetsky Ekran. – 1926. – No. 2. – p. 11). Until now, I knew only two settings for this era: Tsar Feodor at the Moscow Art Theater and those countless cardboard swans depicted in Makovsky's paintings and the Bolshoi Theater's productions. I had to approach the image by overcoming theatrical cliches that had long ago become encrusted with barnacles. (Leonidov L. M. My work on “The Terrible” // Soviet screen. – 1926. – No. 45. – p. 4).

L.M. Leonidov, who played Ivan the Terrible, didn't want to simply play a cruel tsar; he sought to expand his character, for example, by adding businesslike qualities. Living in an era of growing importance for the proletariat and industry, the filmmakers decided to complicate the plot with themes of industrial relations, making the tsar the owner of a linen factory and a shrewd merchant who traded in linen.

V. Shklovsky recalled: "So, from the Flax Center, I knew about the importance of flax, about the flax trade during the reign of Ivan the Terrible, about the 'white treasury,' as linen was then called. Historically, I made a mistake of about thirty years when I gave Ivan the Terrible Flemish wheels for processing flax, but I think this error is debatable and not absolute. When Ivan began keeping his own cash books and bargaining with foreigners, the actor Leonidov had the opportunity to play the role." (Shklovsky, V. Forty Years. Moscow, 1965, p. 64)

But, first and foremost, the film's goal was to show the Russian Middle Ages without embellishment, with all the cruelties and passions inherent in the tsar, boyars, and oprichniks.

Still from the film "Wings of a Serf"

Preparation and filming locations

To research historical material, the film crew traveled to the Alexandrovskaya Sloboda, Ivan the Terrible's residence from 1564 to 1581, from where he ruled the country. They examined household items, weapons, and tableware in the Historical Museum and the Armory Chamber. The album "Wings of a Serf" contains photographs of selected locations, architecture, and interiors of the Alexandrovskaya Kremlin and its surroundings, as well as 16th-century props. Developing such albums has become standard practice during the pre-production stage of any film.

The complex props for the film are partly authentic and museum-quality, and partly made in the factory workshops (weapons, saddles, riding equipment, riding horse equipment, etc.) based on samples in the Armory Chamber. (Yuri Tarich. "The Wings of a Serf." – Soviet Screen. – 1926. – No. 14. – p. 7).

"Choice of Scenes." Alexandrov, 1925; Historical props

In addition to the Alexandrovskaya Sloboda, the location was chosen for various reasons in Peredelkino—the former Bode-Kolychev estate (the village of Lukino), now the country residence of the Moscow patriarchs. The album features photographs of the estate's ancient entrance, the fence with towers, the so-called "Boyar Gate," and buildings of unknown purpose. The photographer was likely A.D. Grinberg, a photographer and cameraman for Goskino and Sovkino. His works, including similar shots of the village of Lukino in Peredelkino, are held in Multimedia Art Museum

"Choice of Nature"

Filming itself took place on the grounds of Kolomenskoye and the former 1923 Agricultural Exhibition on Sparrow Hills (now the Gorky Central Park of Culture and Leisure). According to Khrisanf Nikolaevich Khersonsky, a contemporary of the making of "Wings of a Serf," screenwriter and critic, Yuriy Tarich facilitated the restoration of the 1532 church in Kolomenskoye. (Khersonsky, Kh.N., "Pages from the Youth of Cinema: Notes of a Critic." Moscow, 1965, p. 199).

"Choice of Scenes". Kolomenskoye. 1925.

Nikishka's flight was filmed in Kolomenskoye; due to its complexity, six camera operators were used. For the "Sovereign's Linen Yard" and "Boyarin Kurlyatev's Estate," characteristic buildings from the former All-Russian Agricultural and Handicraft-Industrial Exhibition of 1923 were used (Yuri Tarich. "The Wings of a Serf." – Sovetsky Ekran. – 1926. – No. 14. – p. 7).

On the set of the film "Wings of a Serf." 1925. In the background is the main entrance building of the former Agricultural Exhibition of 1923.

Artistic design

V.E. Egorov, film artist

The set designer for the film "Wings of a Serf" was Vladimir Evgenievich Egorov (1878-1960), one of the founders of film set design. This was not the first time V.E. Egorov had worked on a historical film. Even before the revolution, he had designed such films as "Ponizovaya Volnitsa" (1908) by V. Romashkov and "Tsar Ivan Vasilyevich the Terrible" (The Maid of Pskov) by A. Ivanov-Gai (1915). In 1925, the preparation of "Wings of a Serf" coincided with Egorov's work on Ya.A. Protazanov's film "Stepan Razin," which, unfortunately, was never made. The historical interiors for both films were similar, so "Wings of a Serf" partially utilized sketches of the sets for "Stepan Razin" (photographs of which are presented in the album). The artist subsequently continued the theme of "Stepan Razin" in 1939, for a production by O. Preobrazhenskaya and I. Pravov. However, some of the sketches, erroneously dated 1939, were actually created in 1925. This was revealed thanks to the album "Wings of a Serf" from the Mosfilm-Info Information Center.

Sketches by V. E. Egorov

G. Roshal recalled: "Yegorov was the artist for Tarich's painting 'The Wings of a Serf.'" The soundstages of the 3rd Factory could easily be called micro-soundstages (nowadays, they'd say mini-soundstages). And yet, Yegorov had a unique way of widening walls, raising ceilings, and, moreover, capturing wide shots of nature with churches and bell towers within them. When I examined these sets, I saw that the domes were simply standing on the ground and that they were shorter than me. But from the camera's perspective, they were astonishing. The camera's perspective! It was a sacred point of view for Yegorov. He always constructed a set so that it could only be filmed from the angle he had in mind. Not a step to the right, not a step to the left, neither forward nor backward… Yegorov – tall, with a stick in his hands, in a sealskin hat, somewhat resembling Leonidov and Ivan the Terrible, whom Leonidov played in "The Wings of a Serf" – strode around the pavilion like Peter the Great in Serov's painting. (Roshal Grigory. Filmstrip of Life. – Moscow, 1974. – p. 262)

Authentic historical costumes were used to portray the boyars in the film "The Wings of a Serf." The actors grew beards especially for the film. According to the film's screenwriter, V. Shklovsky, the costume designer was [Konstantin] Vorobyov (Shklovsky, Viktor. Over 60 Years: Works on Cinema. Moscow, 1985. p. 12). However, it's more likely that Vorobyov was simply the costume designer, and V. E. Yegorov made all the decisions, as K. Vorobyov is known specifically as a theatrical costume designer.

Ivan Pyryev

I. Pyryev

Another noteworthy fact is that Ivan Aleksandrovich Pyryev worked as an assistant director on the film "Wings of a Serf." Pyryev began his film career as an assistant to Yuri Tarich during the production of "Morok" and "First Lights." The Russian State Archive of Literature and Art holds a statement from director Yuri Tarich to the RSC of the 3rd Goskino Factory:

"The RKK's decision to lay off my artistic assistant, Comrade Pyryev, in the midst of preparatory work on the film 'Wings of a Serf,' places me, as director, in the position of someone whose right arm is being torn off. Without delving into the reasons for Comrade Pyryev's dismissal, I believe it fundamentally disrupts the calm and businesslike pace of the work and is based on an absurd misunderstanding. Comrade Pyryev is my assistant, with whom I have worked closely on two films ('The Darkness' and 'Lights'), to whom I entrust the preparation and development of scenes with the actors, and whom I consider absolutely indispensable, especially since he is currently deeply involved with the overall progress of the film." (Ivan Pyryev: The Truth of Creativity / Altai Territory Administration for Culture and Archaeology, State Museum of the History of Literature, Art and Culture of Altai; [compiled by: Korotkov I. A., Ogneva E. V., Fomin V. I.]. – Barnaul: GMILIKA, 2011. – p. 42)

Yuri Tarich and Esther Shub

In his work "Pages of the Youth of Cinema," Kh. N. Khersonsky outlined the specifics of the work on "Wings of a Serf," including the directing and editing components. According to him, Yuri Viktorovich Tarich conceived a film entirely different from the one that ultimately emerged. The reason for this was the "American jagged editing" employed by the experienced editor Esfir Ilyinichna Shub. Tarich advocated a calm, contemplative tempo: "The slow pace of life in Rus', movement in long-skirted caftans and long-sleeved fur coats, the sedate nature of gestures and speech do not allow people to flicker on the screen." However, Shub insisted on the then-fashionable dynamic editing. (Khersonsky, Kh. N. Pages of the Youth of Cinema: Notes of a Critic. Moscow, 1965. p. 196).

Criticism

Contemporaries reacted to "The Wings of a Serf" with mixed reviews. Most reviewers praised Leonidov's outstanding performance, but criticized the film for its lack of national character, its inaccurate portrayal of the Tsar, and its commercial bias, with an excess of "love," violence, and adventure, while lacking historical accuracy. I. Urazov:

"If we were to remove the title, the names of the actors, and the director, the general public might mistake the film for a foreign one. Everyday life and certain moments are smoothed over and perceived aesthetically. The Russian elements are softened… Ivan the Terrible and his time, as interpreted in Wings, are unexpected for the general public. Ivan the Terrible is not only a sadist but also a cunning merchant. (Kino. – 1926. – No. 47. – November 20).

The album contains some photo tests.

Photo proofs for the film "Wings of a Serf." 1925.

The film featured:

Screenwriters: V.B.Shklovsky, Yu.V.Tarich, K.G.Shildkret Director: Yu.V.Tarich, Co-director: L.M.Leonidov Director of photography: M.I.Vladimirsky Production designer: V.E.Egorov Editing: E.I.Shub Assistant directors: I.A.Pyryev (uncredited), N.Armenev Assistant director: V.V.Korsh

Cast: Nikishka, serf – I. S. KlyukvinIvan the Terrible – L. M. LeonidovFima, Nikishka’s bride – S. N. GarrelIvashka, Fima’s brother – M. KotelnikovMaria Temryukovna, Ivan the Terrible’s second wife – S. AskarovaTsarevich Ivan – V. V. KorshFyodor Basmanov – N. P. ProzorovskyMalyuta Skuratov – I. KachalovPrince Drutskoy – N. M. VitovtovPrince Kurlyatev – I. ArkanovLupatov – V. MakarovVaska Gryaznov – A. I. ZhukovAfanasy Vyazemsky – V. KurganovPrincess Kurlyateva – K. ChebyshevaPrincess Kurlyateva – V. VirskayaKhayat, Circassian – A. DzyubinaMetropolitan – K. Efimov Hay Girl – T.S. Barysheva In episodes: V. Snezhinskaya, V. Savitsky and others

Please note: This information is raw content obtained directly from the source. It represents an accurate account of the source's assertions and does not necessarily reflect the position of MIL-OSI or its clients.