Dinara Avaz: Kazan Tatars and Crimean Tatars are one nation.

Dinara Asanova was born on October 24, 1942 in the city of Frunze, in Kyrgyzstan. The girl's father, Kuldash Asanov, died at the front that same year. The mother of the future famous director worked tirelessly in the textile industry and dreamed that her daughter would subsequently take up the same work, providing for her financial wealth and organizing your life.

However, to an unusual girl a completely different fate was in store. Her grandmother played a significant role in ensuring that Dinara grew up to be an outstanding person. It was she who taught her granddaughter to communicate with people, to find mutual language, understanding what they need and helping them are skills that no good director can do without.

Young Asanova was, on the one hand, a quiet and self-sufficient child. On the other hand, it didn’t cost her anything to gather a group of guys and organize some kind of activity for them. For example, in her house she organized a common library, in which new book They were given out only after the old one was retold. Dinara often played football with the boys, organized a school game, acting as a teacher, or even inspired everyone with the idea of ​​​​drawing movie posters for the local theater.

By the time she graduated from school, the girl was already firmly aware that she wanted to devote herself to the film industry. Contrary to the plans of her mother, who still intended to send her daughter to a textile factory, Dinara headed to the Kirgizfilm film studio. She directly stated to the management: “Take me as anyone, even a janitor!”

Eastern nationality of the girl, her short stature, a chiseled smile and, of course, complete absence experience were not very powerful arguments for hiring, but they took it anyway.

Carier start

Asanova did not work as a janitor, but she changed many professions during the time she spent at Kirgizfilm. She started by being in charge of the props. When director Larisa Shepitko was filming her film “Heat,” she managed to work as her assistant. And in 1960, Dinara even acted as an actress on the set of the film “The Girl from the Tien Shan.” Her youth, petiteness and oriental face type came in handy in this film.

After a certain period of time, the film studio wrote out a direction for the hardworking worker, along which she went to get acquainted with VGIK. The unique creative atmosphere of the theater university literally bewitched Dinara, and she firmly decided that she definitely had to enroll here. The girl applied to the directing department, but failed.

Asanova is not used to giving up, so she decided to fight to the end in this case too. VGIK succumbed to her on the third try: the girl ended up in the workshop of Stolpner and Romm. That year, Mikhail Romm recruited a very strong and predominantly male class. Dinara was shy in the company of confident classmates and for a long time was sure that she was taken only because of the need to confirm the “friendship of peoples” of the Soviet space.

During noisy parties and drunken get-togethers, Dinara sat as if she had filled her mouth with water and tried to leave as early as possible. However, those who began to communicate better with Asanova recognized her as an interesting, attentive and caring person, and became strongly attached to her. While studying at VGIK, during a normal vacation in the dormitory, Dinara’s heart stopped. Luckily, her roommates quickly called an ambulance and the girl was saved.

Directing

After graduating from VGIK, Dinara decided to move to Leningrad. Her first independent film was filmed in 1970. It was a short film “Rudolfio”, based on the short story of the same name. The film told about the difficult relationship between a teenage girl and an adult man.

Main role Yuri Vizbor played very convincingly and talentedly in the film, and the film itself was a rather subtle and original disclosure of the theme of the formation of a person’s personality in adolescence. However, the film was accused of imitating Lolita, which was objectionable to the authorities, and the young director was deprived of the opportunity to practice his craft for five whole years.

Asanova’s creative idleness ended simultaneously with the change of management of the Lenfilm film studio. In 1974, Dinara’s first full-length film, called “The Woodpecker Doesn’t Have a Headache,” finally came out on wide screens. It's about a boy who really loves jazz and his process of growing up. At the same time, the film is not heavy with reflections on the topic of proper upbringing, but rather focuses on the issues of finding oneself, inner loneliness, and first love.

In 1976, the director filmed her most famous painting– “The key is not transferable.” The viewer is told either about the method of free teaching that a young teacher is trying to test, or about schoolchildren who open their souls to adults or, on the contrary, close their hearts from everyone with a deafening crash. Improvisation was widely used in this film, and the roles became not so much roles, but rather twists of fate for the actors themselves.

The film was truly brilliant, unusual and, most importantly, extremely sincere. It was appreciated by both the public and professional critics. Subsequently, this picture received the Lenin Komsomol Prize.

This was followed by the little-known film “Trouble,” pessimistic and sad, filmed by government order as part of the anti-alcohol campaign. An uninteresting and prim story about the moral degradation of an alcoholic could not be saved even by Dinara’s directorial talent.

The big breakthrough was the film “The Boys,” which was released in 1983. The film is about a camp where troubled teenagers are kept. The children themselves, whose destinies did not turn out as smoothly as we would like, took part in the filming. The film again turned out to be incredibly poignant and sincere, and a couple of years later it even received a State Prize.

Personal life

During the very period when Dinara Asanova was forbidden to make films, she married her lover, graphic artist Nikolai Yudin. Soon the couple had a son, Anwar, whom the director subsequently often featured in her films.

During a period of creative stagnation, Dinara found solace in writing fairy tales, parables and poems, and the growing Anvar always willingly helped his mother in this matter. When Dinara died, the boy was 13 years old. Perhaps a small consolation for him can be the eternal fruits of his mother’s labors and the way she died: quickly and easily, as if she had fallen asleep.

Death

During preparations for the filming of the film “The Stranger,” Dinara Asanova, as if anticipating her imminent death, warned her loved ones about her imminent departure, paid off her debts, and one day, just sitting in a chair, she died.

The cause of death was the same heart problems. Dinara was only 42 years old. The director's grave is located at the Ala-Archa cemetery in Bishkek.

Filmography

• 1964 – film “Everyone has their own way”
• 1965 – film “PSP”
• 1969 – film “Rudolfio”
• 1974 – film “The Woodpecker Doesn’t Have a Headache”
• 1976 – film “Untransferable Key”
• 1977 – film “Trouble”
• 1979 – film “The Wife Gone”
• 1980 – film “Useless”
• 1981 – film “Which Would You Choose?”
• 1983 – film “The Boys”
• 1984 – film “Children of Discord”
• 1984 – film “Dear, dear, beloved, the only...”
• 1985 – unfinished film “The Stranger”

On the eve of the demonstration on the Kazan screen of the first Crimean Tatar film “Haitarma” - one of the most anticipated screenings within IXInternational Muslim Film Festival editorial officeIslam- today. ruvisited by members of the film's film crew. Actress, TV presenter Dinara Avaz and producer, creative director of the ATP channel visited us Aider Muradosilov.

Islam- today: How did the idea of ​​making the film come about and how did it become possible?

Aider Muradosilov: The idea of ​​​​creating this historical film has been long overdue in Crimea. On the one hand, the management of the ATR TV channel had no doubt that the first Crimean Tatar film should be made on the topic of deportation, no matter how hard it is for us, whether we want or don’t want to remember it, but we must pay our debt to the memory of history and our ancestors. On the other hand, the idea came to the mind of director Akhtem Seitablayev, who has already directed about a dozen films. And there was a meeting between these parties, as well as the general producer of the film, Lenur Islyamov, who allocated money for the creation of the film. Preparing for filming and writing the script took about a year. It was quite fast, there was an abundance of material, and we threw those numerous eyewitness stories, like firewood, into the furnace of screenwriting work.

Islam- today: Dinara, please tell us about your role in “Haitarm”.

Dinara Avaz: This is my debut in cinema, and I play Feride, the bride of Amet Khan Sultan. She appears in the plot as a kind of muse, only a few times, and the heroine can be called collectively. It is assumed that main character and Feride were familiar with early childhood, and having entered adult life, fell in love with each other. I must say that when I came to the casting, I did not expect that the role would go to me. And when they told me that I had passed, I admit honestly, I was a little scared, because participating in the first Crimean Tatar film in history, especially on the topic of deportation, is, of course, a huge responsibility. Of course, it is a great honor for me to take part in this project. When I was working, I imagined not so much the heroine Feride herself, but my grandmother, who was also deported that night and who more than once shared with me her memories of these tragic events.

Islam- today: What was the atmosphere like during the filming of the film, since older people who themselves experienced the events described were also involved in the work?

Dinara Avaz: The situation was really very difficult psychologically. Of the one and a half thousand people who participated in the filming, more than half were our elders who survived deportation to real life. Sometimes they forgot that what was happening was just filming. I remember how one grandfather began to resist and even hit the actor who played the role of a soldier pushing people into the carriages, saying: “You can’t push me into this carriage a second time! Nothing will work out for you!” However, they all had a great desire to take part in the project, and they refused to rest, even, for example, during the rain. When there were breaks, everyone told the story of their life. By the way, all the names of the extras are listed in the credits at the end of the film.

Islam- today: Participating in the filming were: Russian actors, what experience did they have?

Aider Muradosilov: Yes, we invited several to the shooting Russian stars, including actor Alexey Gorbunov, who in our film played the role of the NKVD agent Major Krotov. This is a serious, responsible role negative character, which, it would seem, is trying to destroy the main character Amet Khan and at the same time trying to somehow warn him. And Gorbunov coped with it perfectly. Yuri Tsurilo and Guram Bablishvili took part in the filming, as well as such “top” young actors as Dmitry Surzhikov, Andrei Saminin, Lesya Samaeva and others. Of course, it was difficult for many to play cruel characters, and this cost the actors enormous efforts and once again confirmed their professionalism. But I had to play reality - I note that behind every story in the film there are real, written facts.

It is worth especially noting that the role of Amet Khan’s father was played by Valery Viktorovich Shitovalov, an Honored Artist of Russia and Ukraine, a teacher at Crimean theater universities, and a month and a half ago, unfortunately, he passed away. He played his role in “Haitarm” so organically that after the release of a story about his death on our ATR channel, many were surprised to learn the fact that the actor was not a Crimean Tatar. Valery Viktorovich grew up in Crimea, and also to some extent remembers the events described in the film.

Islam- today: Is the theme of faith and Islam somehow reflected in the film?

Aider Muradosilov: First of all, naturally, Amet Khan’s family is a Crimean Tatar Muslim family. There is a scene at the very beginning of the film when an old man buries his wife, and, of course, the funeral takes place according to Islamic traditions.

Dinara Avaz: There is a very vivid scene in the film when a soldier breaks into his grandmother’s house at night and informs her that she has 15 minutes to get ready (as was the case in history). Then people grabbed for something - some for bread, some for warm clothes... The described grandmother first of all took the Koran and tasbih, wrapping it in a tiny bundle along with a piece of bread.

Islam- today: What message did you come to Kazan with and what do you expect from the Tatarstan audience?

On May 29, the Crimean Tatar Youth Day (Kyrymtatar yashlar kunyu) was celebrated at the Crimean Tatar Academic Music and Drama Theater. The event was organized by the Crimean Tatar Youth Center. As part of the program, gifted youth were awarded in various categories. Previously, on the Center’s website (http://kmc.in.ua) voting took place for the best youth representative in a certain area. The winner in the “Art” category was the Crimean actress and TV presenter Dinara Avaz.

Dinara Avaz played the role of the bride (Feride) of the main character (Amet Khan) in the first Crimean Tatar film “Haitarma”. She also worked at Radio Meydan, hosted the program Lezzetli Sofra, and now hosts the morning program Saba Erte ATRde on the ATR TV channel.

“This is my first award. People voted for me. But in fact, the first reward is working in the Asia-Pacific region. And if another nominee had won, I would only be happy for him, because I know them all and have a good attitude towards them,” Dinara said about her award.

That same evening, The Day decided to get to know the young and promising Ukrainian actress better.

- Dinara, what interested you in the “Haitarma” project? How did you get on set?

I passed the casting, of course. And a few days later our director invited me (of the APR TV channel - Author), general producer film Lenur Islyamov. At first it was even scary - such a serious role. I agreed, probably, first of all, because this is the story of my people, in particular, my grandmother, because she and my grandfather were deported from this very station (Siren station. - Author). Therefore, this topic is very close to me. This is the first Crimean Tatar film about deportation. It was an honor for me to act in such a film.

- Why this particular role?

My task was to get into character. The organizers said that I was suitable for this role. But even if they didn’t take it, I would still like to star in some episode, crowd scenes, with the people, for support...

How do you feel about the statement of the Russian Consul in Simferopol Vladimir Andreev about the ban on pilots living in Russia to attend the premiere of the film?

In fact, they were invited by the ATP, and this is a personal opinion individual person. Without watching the film, without knowing the history, you cannot do this to an entire people, generalize and say that this is Russia’s position. It's offensive, it's offensive, but I still think he'll watch the film. I don’t hope that this person will change his opinion, but I would like him to watch it more than once, to study the history of the Crimean Tatar people, and not only ours, but also the history of his people.

- Did your experience on television somehow influence your work in cinema?

In fact, it influenced, and sometimes it even got in the way. I'm used to working in live. You constantly communicate freely with the viewer, although the camera is standing, you feel that the viewer is watching right now. You can receive calls and give answers, express emotions at the same second. And in the film there is a responsible, serious role, and this had to be shown not only with words, but also with facial expressions and acting. First you need to feel it, get into it.

- And in the APR, especially, do you have the main role?

Yes, the presenter (smiles. - Author). But there were similar moments there too, I was also the presenter there, calming the children in the frame. When my grandmother told me about her experience, I felt that it was difficult, but when I got to the site on the first day, I realized that my grandmother did not tell me even one percent of everything that happened. I really hope that the film will have a sequel. You can talk about this topic for hours and make a million more films.

- Are you ready to star in the sequel, maybe it will be a whole saga?

In fact, I can’t say that I’m ready, because when I was filming, I realized that it was very difficult. To feel and play in such a way that people believe you is very difficult. But I doubt it not because I had difficulties. I doubt that I can justify the trust as an actress. I would like professionals to do this. I am very grateful for the trust the director and producer have in me. And to be honest, I still couldn’t imagine my role in the future.

By the way, in the conversation Dinara spoke very positively about The Day. “Having become acquainted with your newspaper, I realized that there are such wonderful people who support us and are interested in our culture, I hope we will cooperate,” the girl said.

For me, everything she says is clear - without translation word for word...

Society
Big politics interfered with the Kazan Film Festival
11.09.2013
HOW SECRET STALINISTS FROM MOSCOW AND KAZAN “RULE” THE MUSLIM FILM FESTIVAL

The resonant film “Haitarma” about Stalin’s deportation of the Crimean Tatars was not included in the competitive screening of the Kazan International Muslim Film Festival following a call from the Russian Foreign Ministry - such a sensational statement was made today by the chairman of the selection committee Sergei Lavrentyev. Meanwhile, it was originally planned to open a film festival with this film. The reasons why the film, which provoked a scandal during its screening in Simferopol, was not evaluated in Kazan, the BUSINESS Online correspondent, together with experts, tried to find out.

Sergey Lavrentyev: “If “Haitarma” had been subject to competition, it might not have received Grand Prize festival"

“AND THEN SOMEONE COULD DECIDE THAT POLITICS ARE INVOLVED HERE...”

Inviting the chairman of the selection committee to the final press conference - there have never been such precedents at the Kazan festival. But the case is extraordinary. Perhaps the most anticipated festival film, “Haitarma,” about the deportation of the Crimean Tatars, did not make it into the competition screening. As it became known from sources, the visit of the chairman of the selection committee Sergei Lavrentyev to the press conference was also called in our publication, where specific questions were asked to the festival organizers on behalf of the public.

Lavrentiev said that at first he was informed that “Haitarma” would open the Kazan Film Festival. After watching the film on disc, the expert gave a verdict: the film is truly worthy. Moreover, a film about a tragic historical moment, which has not yet been given a clear assessment, should not be hushed up.

But, having arrived in Kazan in early August, Lavrentiev was surprised to learn that “Haitarma” was not included in the competition screening. As the festival organizers explained to him, a call came to Kazan from the Russian Foreign Ministry. It seems that “Haytarma” was not recommended to be shown in competitive screening. As a film expert suggested, this happened because a scandal occurred during the screening of the film at a festival in Simferopol. Russian pilots were “not recommended” to come to Khaitarma. The fact is that the plot of the film is connected with the pilot-hero of the Great Patriotic War Amet Khan Sultan, whose family was deported from Crimea. In our case, according to Lavrentyev, the Russian Foreign Ministry played it safe. However, the Ministry of Culture did not confirm the fact of the appeal from Sergei Lavrov’s department.

Perhaps this is better. If “Haitarma” had fallen into competition, it might not have received the main prize of the festival. There were stronger films in the competition screening. And then someone might decide that politics was involved. And so the film caused a stir; yesterday two halls could not accommodate everyone,” Lavrentyev said.

Let's leave it to the distinguished jury to judge who deserves the main prize. But at the Kazan Film Festival there is also a prize from the President of the Republic of Tatarstan, which is awarded for humanism in the art of cinema. “Haitarma” had every chance to get it.

Answering a question from a BUSINESS Online correspondent about the chances of “Haitarma” for the prize of the President of the Republic of Tatarstan, Lavrentyev answered in the affirmative.

The most anticipated festival film “Haitarma” about the deportation of the Crimean Tatars was not included in the competition screening

THE HALLS COULD NOT ACCOMMODATE EVERYONE.

This year's festival can perhaps be called the most attended since its inception. The halls at almost every screening could not accommodate everyone. One of the jury members even suggested at a press conference at the future festival to find larger halls and allocate a special room for the jury, who had to work in cramped conditions with people standing in the aisles.

Perhaps the festival organizers should also think about accredited journalists, because many of them, although accredited, were not included in some of the screenings. At international festivals, there is actually a practice - several rows are reserved for the press, which comes to the cinema to work. Our festival should think about this tradition...

As Vladimir Batrakov, director of Tatarkino, told a BUSINESS Online correspondent, according to preliminary estimates, more than 20 thousand spectators attended this year’s festival screenings.

“THE DECISIONS WERE MADE UNANIMOUSLY”

According to the chairman of the jury, film director and producer who heads the Mosfilm film concern, Karen Shakhnazarov, the jury worked harmoniously, and everything important decisions were passed unanimously.

I must say thank you to the selection committee, they chose films that could become an adornment for many international festivals. Spectators went to the films, there were great amount. I sometimes wonder: did I choose the right profession? But, seeing the interest of the public, the packed halls, I understand that there is something in this strange art“Cinema,” said Shakhnazarov.

Jury member from Tatarstan, poet and public figure Razil Valeev emphasized that festivals in Kazan help the development of professional cinema in the republic.

Look good films“This is already a school,” Valeev commented.

The same topic was touched upon by Vera Langerova, a jury member from the Czech Republic. According to her, firstly, it is worth working to improve the class of our film festival, observing certain criteria. Let us remind you that all film festivals in the world are divided into groups - classified in terms of prestige. And secondly, to stimulate Tatarstan filmmakers, perhaps within the framework of the festival it is worth establishing a special competition only for Tatarstan films.

The main question of journalists, who received the festival prizes, remained unanswered. The jury decided to keep the intrigue until the evening, before the award ceremony. But the commission members assured: the main criterion for awarding awards was serious analysis in the film and deep characters.

Society
“Haitarma” – unabated pain
11.09.2013
A FILM THAT COULD CLAIM FOR THE GRAND PRIZE OF THE KAZAN FILM FESTIVAL WAS “HIDDEN” IN AN OUT OF COMPETITION SHOWING

The film “Haitarma” was shown as part of the Kazan International Film Festival of Muslim Cinema. When the public went to the festival screening, everyone understood that the film was going to be difficult, but they did not understand to what extent this severity would reach. The BUSINESS Online correspondent also saw a terrible picture of the deportation of the Crimean Tatars, the pain from which still does not go away.

DANCE WITH DEATH

Director Akhtem Saitalbaev filmed scary film. “Haitarma” is a dance of the Crimean Tatars, a dance that everyone dances. This is the joy that overwhelms people, and it is embodied in general dance– tender and passionate. In the film, the whole street dances this dance, in honor of the return of the Hero for three days. Soviet Union, ace pilot Amet Khan Sultan.

Saitalbaev showed us that there is pain in his soul and there is a theme. The street dances, raises glasses in honor of Comrade Stalin, and a couple of hours later the NKVD, the bodies that carry out the orders of Comrade Stalin, break into the houses and deport everyone.

They shoot old people, lock babies in cradles in houses, dooming them to starvation and death from thirst, humiliate and destroy everything around them. Sitting in the hall, when your heart is squeezing to the limit, ready to burst, you think only about one thing: “Why?”

There is a scene in the film when at the station deported Crimean Tatars are put into carriages to be taken to places not so remote. There are guards, there are dogs ready to attack anyone. How do these images differ from those when the Nazis drive Russians into camps? Nothing. Totalitarian regime, it is always the same.

There is no point in retelling the film; you have to watch it, watch it, muster up the courage. Her level of frankness is so high that it simply goes off scale. possible options. In essence, we were offered documentary cinema in its artistic version.

If we talk about the plot, it is simple. Hero of the Soviet Union, pilot Amet-khan Sultan, a native of Alupka, liberating Crimea, receives three days of leave. And it is during these three days that the deportation of his people takes place. His parents, his sister and fiancee. He saves everyone (except for his beloved girl), but at what cost...

NOT SUITABLE FOR COMPETITION SHOWING?

Strange things happened with the film “Haitarma” at the festival. Of course, its format was suitable for a competitive screening, because its artistic merits should not be questioned. But it was shown only in a non-competition screening.

The hall in which the film was supposed to be shown is overcrowded, there are not even free standing places left in it. We had to open another room next door. After the film was shown, the audience waited to communicate with the film crew, but everyone was quickly escorted out of the hall. Why? The question hung in the air.

After watching, I was able to talk with the producer of the film, who said that Amet Khan Sultan is a real person, twice Hero of the Soviet Union. After the war he lived in Moscow and in a strange way died in 1966. And before that he fought for the right of the Crimean Tatars to return to their homeland, even came out with posters on Red Square. And suddenly in 1966 - a car accident. Pathetic funeral at Novodevichy Cemetery. This is all strange and thought-provoking.

Perhaps “Haitarma” with its poetic video sequence, abundance of beautiful faces, with its tragic plot based on real events, with its powerful direction, behind which lies not a desire to become famous, but sincere pain, could be a contender for the main prize of our film festival. Did not happen. It's all strange. Are we still afraid of the truth?

The film gives scary numbers. Almost 200 thousand Tatars were deported from Crimea. Half of them died on the road. Do their ashes knock on our hearts, like Klaas's ashes?

Tatyana Mamaeva