Seventeen moments of spring

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For more advice, visit Wikipedia: Translation. Seventeen Moments of SpringRussian DVD CoverGenreEspionage Thriller Created by Julian Semenov Based OnProfile Moments Springby Ulyana SemenovaScreenplay by Julian SemenovTatyan LioznovaDirect tatiana LioznovaStarring Vyacheslav Tikhonov Joseph KopelyanLeoneid BronevaCaterina GradovaRostislav PlattNared by Joseph KopelianTemsky composerMikael TariverdievCountry of originSoviet UnionOriginal language (s) RussianNet. episodes12ProductionProducer (s)Efim Lebedinsky zinovich GenzerCinematographyPyotr KataevEditor (s) Ksenia BlinovaUnning time840 minutesProduction company (s) Gorkovskaya Film StudioReoriginal NetworkProgram OneOriginal release 8 July (1973-1973-1973-1973-1977 August 24, 1973 (1973-08- 24)External referencesWeses Seventeen Moments of Spring (Russian: 1973- semnadtsat' mgnoveniy vesny) - Soviet twelve-night television series 1973, directed by Tatiana Lioznova and based on the novel of the same name by The Name. The series depicts the exploits of Maxim Isaev, a Soviet spy acting in Nazi Germany under the name Max Otto von Stirlitz, as Vyacheslav Tikhonov. Stirlitz was planted in 1927, long before the Nazi takeover of pre-war Germany. He is then recruited to the NSDAP and rose through the ranks, becoming an important Nazi foreign intelligence officer. He recruits several agents from the dissidents of the German intelligentsia and persecuted clergy, and operates through an agency network. Stirlitz discovers, and then schemes to thwart, secret negotiations between Carl Wolfe and Allen Dulles taking place in Switzerland aimed at forming a separate world between Germany and Allies. Meanwhile, the under the leadership of Heinrich Mueller is looking for an unidentified Soviet resident spy and his ring. To avoid the capture of Stirlitz, cunningly maneuvers among the powerful Nazis and pulls the strings of his network. The series is considered the most successful Soviet spy thriller in history and one of the most popular television series in Soviet history. Two songs from the series, Moments and Song of the Distant Motherland, became very popular. Plot February 12, 1945, Germany. Max Otto von Stirlitz, a respected SS-Standardenfuhrer in the Ausland-SD, is actually a Soviet spy Maxim Isayev, who infiltrated the German institution many years ago. Although is determined to continue world War II, Walter Schellenberg convinces Heinrich Himmler to negotiate secretly with the Americans, hoping to reach a separate peace agreement that would allow the Germans to concentrate all their forces on the Eastern Front. Meanwhile, Ernst Kaltenbrunner is suspicious of Stirlitz and orders Heinrich Mueller to launch a secret investigation against him. ordered Stirlitz to find out whether the Americans and Germans have a backdoor channel, and if so, to derail any possible agreement. His mission is complicated when the house of his assistants, radio operators Erwin and Catherine Kinn, bombed. Erwin was killed and his pregnant wife was taken to the hospital, threatening to compromise Stirlitz. He recruits two new aides - Professor Pleishner, a former member of the German Resistance, and Pastor Schlag, a cleric who disapproves of the regime. All the while Stirlitz must enter into a battle of minds with Mueller, who seeks to expose him as an enemy agent. It must also maneuver between the warring factions within the Directorate General of Security, as various high-ranking officials are fighting for power. Realizing that Himmler and Schellenberg sent Carl Wolff to negotiate with Allen Dulles in neutral Switzerland, Stirlitz, playing on the rivalry between The Nazi captivity, succeeds in leaking details of negotiations conducted under the code name Operation Crossword, both Hitler and Stalin. The councils that now have evidence are demanding that these contacts be terminated, and President Roosevelt must oblige them. Himmler narrowly convinces Hitler that this was just an attempt to sow distrust among the Allies. On March 24, 1945, Stirlitz, who managed to clear up all suspicions against him, returned to his duties. The Red Army is steadily approaching Berlin. Starring Vyacheslav Tikhonov - Max Otto von Stirlitz Evgeny Evstigneev - Professor Pleishner Lev Durov - Klaus Svetlana Svetlichskaya - Gabi Nabel Nikolai Volkov - Erwin Kinn Ekaterina Gradova - Ekaterina Kinn Oleg Tabakov - Walter Schellenberg Leonid Broneva Emilia Milton as Ms. Saurich Otto Mellis as Helmut Calder Olga Soshnikova as Barbara Krein Nikolai Prokopovich as Heinrich Himmler Evgeny Kuznetsov as Friedrich-Wilhelm Kruger Edward Izotov as Rudolf Smundt Vladimir Udalov as Wilhelm Burgdorf Rostislav Platt as Pastor Fritz Schlag Diez - Adolf Hitler Vasily Lanova - Karl Wolf Valentin Gaft - Gavernitz Vladimir Koenigson - Krause Eleanor Shashkova - Wife of Isaev Alexey Safonov - Wilhelm Burmeyer - Hermann Goering Jan Janakiev - Evgeny Dollmann Vyacheslav Shalevich - Allen Dulles Alexey Eibozhenko - Vladimir Guzman Speer Production Von in the late 1960s, After became chairman of the 's State Security Committee, he launched a campaign to improve the image of the service, which was primarily related to his role in the political repression carried out by the government. Andropov encouraged a series of novels, songs, films and other works glorifying KGB agents, focusing on those who serve abroad - mainly in the hope of attracting young and educated recruits to the organization. The television production of Seventeen Moments of Spring was part of this trend. In 1965, the author of books on espionage, the author of books on espionage, wrote the novel No Password Required, in which he first introduced the character Vsevolod Vladimirov - a young agent Chek, who penetrates into the headquarters of Admiral Alexander Kolchak under the pseudonym Maxim Isayev. No password Required has become successful with readers. It was adapted for the screen in 1967, and the film of the same name attracted more than 20 million viewers. In the same year, Semenov published the sequel Major Whirlwind. In 1968, he was invited to a meeting with Andropov, who told him that he did not read the password and enjoyed it. The third novel with Isaev's Seventeen Moments of Spring was inspired by the chairman's proposal; Semenov recorded it in less than two weeks. In the new book, Isaev was - for the first time - the main character working inside German intelligence under the guise of an SS Stirlitz officer. Already in 1969, even before publication, it was decided to turn it into a television series. Stirlitz's character reflected Andropov's own conception of the ideal Soviet spy: he was a calculating, modest, devoted to his country and above all an intellectual who fulfilled his mission by outsmarting his enemies. He was first of all, though not exclusively and in free form, the Gestapo officer turned Soviet agent, Willie Lehmann. The U.S.-German negotiations thwarted by Stirlitz were modelled on the real agreement reached by Allen Dulles and Carl Wolf in 1945, which led to the surrender of the Wehrmacht in northern Italy on May 2, 1945. The show's creators may have known about the 1958 film Two-Headed Spy, in which a high-ranking German general is indeed a British spy, and he has a performer who encodes secret messages into piano accompaniment. The film also features Ernst Kaltenbrunner and Heinrich Mueller, whose interactions with the spy are reflected in Seventeen Moments of Spring, in a rather surprising resemblance. Tatiana Lioznova, director of development of the Gorky film studio, encountered Seventeen Moments of Spring after reading an excerpt from it in the magazine Banner; she decided that she would adapt it for the screen. By that time, Semenov had already successfully agreed with Lenfilm to produce the series. Lioznova put a lot of pressure on him and eventually convinced the author to terminate the contract with the Leningrad company. Semenov wrote a letter to the chairman of the State Committee on television and radio Sergey Lapin and asked to allow Gorky's studio to take over the project. Lioznova made several changes to Semenov's material: she was referring to the character of Ms. Saurich, an elderly German with whom Stirlitz had to talk from time to time to make him more accommodating; the author hesitantly dragged her and wrote several such scenes. Actress Faina Ranevskaya, to whom the director offered the role, refused to perform it, saying that it was terrible nonsense. Eventually, Lioznova decided to improvise during filming and gave the role to Emilia Milton. The work on the series was overseen by the KGB: Deputy Andropov, Colonel-General Semyon Tsvigun served as the main consultant along with other high-ranking officers of the service. They called on Lioznov to make further changes to the script: it included a flashback from Stirlitz's last meeting with his wife. The director insisted on keeping the six-minute wordless scene, despite objections from other producers who claimed it was too monotonous. This scene later became one of the most memorable parts of the series. The first contender for the role of Stirlitz was actor Innocent Smoktunovsky, who withdrew his application after learning that he would have to leave his home for more than two years for filming. After that, Archil Gomiashvili auditioned, but left the project, getting the role of Ostap Bender in the upcoming film adaptation of Twelve Chairs by Leonid Hayday. As a result, Vyacheslav Tikhonov was chosen for the lead role Leonid Kuravlev was one of the first candidates for the role of Hitler, but instead received the role of SS officer Eisman; East German actor Fritz Diez portrayed the dictator, making his fifth appearance as such on screen. Oleg Tabakov physically resembled Walter Schellenberg, whom he played in the series - the latter's niece, who lives in , even wrote a letter to the actor in which he appreciated his work; At the same time, the producers did not have a single photo of Heinrich Mueller, and thus he chose Leonid Bronyov, who was quite different in appearance. Lioznova's filming began in March 1971; the first part of the filming took place in East Germany, mainly in Berlin. The crew remained there until the end of the summer. The scenes in Bern were filmed in Meissen. The film crew returned to Moscow for further work at the Gorky film studio. In early 1972, they went to the Georgian SSR, using the mountains near Tbilisi as a replacement for the Swiss Alps featured in the series. After returning to Moscow to complete several more sessions, the shooting ended in the fall of 1972. The film crew faced several problems: the actor Lev Durov ridiculed the members of the travel permit committee, as a result of which he was denied permission to leave the USSR. Scenes with his character were to be filmed in Moscow, not East Germany, as planned. In Berlin, Tikhonov donned a suit before leaving the hotel; he was almost arrested by the People's Police. Actor Laurentius Masoha, who played chief adjutant Mueller Scholz, died of a heart attack on June 20, 1971, before work on the series was completed. The head of the Soviet Composers Guild Mikael Tariverdiev initially refused to write the score, but after reading the script changed his mind. He wrote the lyrics for ten different songs to be featured on the soundtrack; since it was later decided to base it mainly on instrumental music, only two of them were included in the final version - Somewhere Far and Moments. The first singer invited to vocalize them was Vadim Mulerman, but he was blacklisted and banned from performing in public in 1971, after the Yiddish song was included in his repertoire, a move that was frowned upon by the authorities after the Six-Day War. After Mulerman's disqualification, Muslim Magomayev was considered for the role and recorded his version of the text; However, the producers decided that his voice was not suitable for the atmosphere of the plot of the series, and chose Joseph Kobzon. Although he was allowed to perform songs, the latter was also the subject of an anti-Jewish establishment campaign; so it wasn't mentioned in the credits. Despite this, Kobzon subsequently received great recognition for singing the score of the series. Approval In early 1972, after the installation, Lioznova's materials were demonstrated to a committee of high-ranking television officials. The series was met with much criticism; many of those present were outraged, claiming that this gave the impression that the Second World War had been won by several spies. To meet their demands, the director added a large number of wartime videos about the battles of the Red Army. Another show was held for Yuri Andropov. The Chairman made two requests: to remove from the credits the names of KGB consultants who were on active duty, and to replace them with pseudonyms - Tsvigun, for example, became General S.K. Mishin. He also asked to mention the German communist movement and its leader Ernst Tulman. A short scene in which Stirlitz remembers seeing Thielmann and was impressed by the fervor of the Red Front Fighters Association. Reception Broadcasts Episode Original Date Air Length in 1972 version Length in 2009 color version Material Cut (%) 01 11 August 1973 01:08:42 51:21 25% 02 02 August 12 1973 01:09:01 51:37 26% 03 13 August 1973 01:06:10 51:2 22% 04 14 August 1973 01:15:20 51:50 32% 05 16 August 1973 01:05:32 51:58 21% 06 August 1973 01:12:1 5 52:22 27 % 07 18 August 1973 01:10:29 51:13 No27 % 08 19 August 1973 01:05:1 3 51:24 -21% 09 20 August 1973 01 :18:49 52:32 33 % 10 21 August 1973 01:07:38 51:39 24% 11 August 23, 1973 01:04:50 51:12 No21 % 12 August 24 1973 01:06:11 51:56 22% Public Reaction Broadcast at 19:30 on Channel 1 between July 8 and August 24, 1973, Seventeen Moments were extremely popular in the Soviet Union: Klaus Mehnert reported, that during its initial launch, the estimated audience for each episode was 50 to 80 million viewers making it the most successful television show of its time. Ivan Sasursky described the reception of the series by the audience: During the first show the city streets were deserted. It was a hit bigger than life, attracting more spectators than hockey matches. The crime rate decreased significantly during broadcasts; Power plants were supposed to increase production at the same time, as the activation of many televisions caused a surge in electricity consumption. Oleg Harkhordin wrote that Seventeen Moments of Spring became a cult series, and Richard Stites added that it was a television blockbuster. According to his personal assistant Alexei Chernaev, Leonid Brezhnev was a devoted fan of Seventeen Moments of Spring and watched the entire series about twenty times. Author Anthony Alcott claimed that, according to rumors, Brezhnev postponed the meetings of the Central Committee of the Communist Party of the Soviet Union in order not to miss the episodes. Seventeen Moments of Spring remained very popular after its first launch in 1973. This is it was broadcast annually before the collapse of the Soviet Union, usually on Victory Day, and subsequently continued to be broadcast on Russian television. In 1983, the writer of the Polish magazine Kultura in Paris called Seventeen Moments of Spring the most successful television production in the history of the Soviet Union. In 1995, after another re-run, Russian commentator Divanov noted: As 20 years ago, during the show the streets of the city were empty ... The drop in crime rates to almost zero has been observed in cities, reflecting the popularity of Seventeen Moments. David McFadyen called it the most famous Russian spy drama. In 1976, director Lioznova, cameraman Petr Katayev, leading actors Tikhonov and Leonid Broneva received the State Award of the RSFSR Brothers Vasilyeva of the RSFSR for their work on the television series. In 1982, after watching the next re-run of all episodes, Brezhnev was extremely moved: his bodyguard Vladimir Medvedev recalled how the head of the Soviet state for several days asked about the true identity of Stirlitz and wanted to name the agent of the soviet Union, the version of events confirmed by Chernayev; The latter added that when the head of state learned that Stirlitz was a fictional person, he ordered to award Tikhonov a parallel civil order, Hero of Socialist Labor. The composer's wife, Mikael Tariverdieva, said that Brezhnev had decided to award other crew members and actors; Nine years after the first broadcast of the series, her husband received the Order of the Red Banner of Labour for his contribution to it. In the same year, director Lioznova and actor Rostislav Platt received the Order of the October Revolution; Oleg Tabakov, Leonid Broneva and Yevgeny Evstigneev were awarded the Order of the Red Banner of Labour, and Ekaterina Gradova was awarded the Order of Friendship of Nations. On December 23, 2009, two weeks after his death, Tikhonov was posthumously awarded the Russian FSB Medal for his support in the battle in honor of his portrayal of Stirlitz. Interpretation by Richard Taylor and D.W. Spring noted that Seventeen Moments of Spring was the only real modern spy hit; while the topic of espionage was not uncommon in the country's film and television, it was usually set in a pattern corresponding to the concept of class struggle: honest Councils confronted corrupt capitalist Americans, who themselves always included at least one low-level operative of humble origin who would have some sympathy for communism. Lioznova's series was released when the ideological foundations of the genre were already thali and practically did not differ such a political message. Richard Sakwa noted that Stirlitz had seen acting more out of love for his than because of socialist beliefs reflecting the gradual embrace of the Soviet public and the government of local patriotism, which replaced the international proletarian solidarity emphasized in the past. Ekaterina Nepomniachtchi noted that on another level the story emphasizes that the outcome of the Second World War has already been resolved, and the Allies are preparing for the Cold War; Seventeen moments present Americans as adversaries, while the Germans were disassembled by the good and the bad, in keeping with the political atmosphere of the 1970s: in addition to presenting a few positive Germans such as Schlag and Pleishner, even Heinrich Mueller is portrayed almost amicably. James von Geldern noted that the Nazi leaders were depicted with sympathy unknown to Soviet audiences. Vladimir Schlapentokh believed that the series had achieved its popularity by depicting an exciting spy story for the masses while at the same time luring the intelligentsia, making weakly disguised parallels between Nazi Germany and Stalin's Soviet Union. Von Geldern wrote that Semenov used Nazi Germany to offer a dedicated critique of Soviet society. Konstantin Saleski also noted that the German state apparatus depicted in Seventeen Moments is a little like reality, but rather resembles the Stalinist system and the Soviet system as a whole. Nepomniachtchi also concluded that the series offers an analogy between Hitler's Germany and the Soviet Union and interpreted Stirlitz as a paradigm of the survival of an honest intellectual in a totalitarian state... Hiding his true face from the inhumane state bureaucracy. However, writing that there was a subversion inherent in the Seventeen Moments, Nepomniachtchi was unsure whether it was intentional or not. Rule. Being supposedly loyal to his superiors, Stirlitz is their hidden enemy and constantly fights with the huge bureaucracy, which he supposedly serves. The show also offered other messages the young intelligentsia could identify with, including an ideal picture of the West as orderly and prosperous, although Lipovetsky also stressed that this landscape was a largely Soviet concept as foreign land looks. Stephen Lovell wrote that the series was a completely orthodox piece of Cold War culture that centered on an American conspiracy to make a separate peace with the Germans, which is thwarted by a man who fits the model of socialist realist positive hero and also suggests view of the rich, imaginary West where private auto ownership, cognac and imported coffee were abundant, making it a classic document of Soviet ambivalent fascination by the West. Lovell described it as Urtext of late Soviet civilization. The cultural impact of the Character Stirlis was already recognized as the most famous fictional spy in the USSR before the broadcast of Seventeen Moments of Spring and then popularized. Time magazine reporter John Cohan identified him as a Soviet James Bond, a comparison also made by Vladimir Schlapentoch, David McFayden and others. Ivan Sasurki noted that, having not reached the bond-like status, he entered the people's subconscious. Birgit Bimers added that he has become a cult figure and is the most famous fictional character in the history of Russian cinema. Andropov's original intention of commissioning the series was fulfilled: Mikhail Geller regarded Seventeen Moments as one of the most successful operations in THE KGB advertising. said that his decision to join the organization was dictated by the espionage thrillers of his childhood, including the Lioznova series. He noted that the show's influence on public opinion contributed greatly to Putin's popularity at the beginning of his tenure as president, as his experience as a service agent in East Germany made it possible to identify him as a fictional spy; Putin continued to benefit from this later, and remains associated with character. Katarina Nepomniachtchi also recalled that the Stirlitz phenomenon was often mentioned by commentators in the early years of the president' presidency. Russian political scientists Yuri Krasin and Alexander Galkin linked the rise of the neo-Nazi movement in their country in the 1970s to the romantic image of wartime Germany and its leaders in the series. Richard Stites said the leaders of the neo-Nazi cell, who were arrested in the 1970s, were influenced by Seventeen Moments and named themselves after some of the main characters. Winged phrases and expressions from the series have entered the Russian language and remain in general use. In 2006, Russian Life rated Seventeen Moments as the most quoted film or television production in the history of the country. Alexander Kozintsev wrote that the series was primarily popularized in culture by the huge body of Stirlitz's jokes, which entered the urban folklore according to Birgit Beumers. Russian linguist Gennady Slyshkin, who studied the influence of the series on folk speeches, noted that the names of the characters have become synonymous with other words: in the fishing jargon Stirlitz became the name of the version of the usual bream, which is known for its hard to catch; among themselves, schoolchildren often referred to the principal and his boss like Mueller and Bormann. The prisoners did the same, alluding to their prison directors. Historical accuracy Walter Lakker criticized Semenov's presentation of events around the Wolf-Dulles talks, claiming that the author chose an evil interpretation of history because a more correct image would hardly serve him. Although the talks were described as imperialist intrigue... What happened was much easier: Vyacheslav Molotov was informed in advance via the channel, and Dulles did not even object to the inclusion of the Soviets in the negotiations; it was Averell Harriman who persuaded Roosevelt not to let them participate. At the same time, holding the opinion that Germany, represented in the Seventeen Moments of Spring more resembled the Soviet Union than its real count, the Russian historian Konstantin Salesky also noted numerous inaccuracies, errors and inconsistencies in the series. In his 2006 book, Seventeen Moments of Spring: A Distorted Mirror of the Third Reich, Saleski pointed to many of them. For example, while Pastor Schlag is presumably a Catholic priest, he has all the characteristics of a Lutheran, including the name pastor; Mueller was awarded the Order of the Honourable Chevron for the Old Guard, although he joined the NSDAP only in 1939; Stirlitz and Schlag listen to Edith Piaf's Milord, released in 1959; all members of the SS are seen to wear black uniforms that were replaced by grey as early as 1938 - and often smoked despite a campaign to ban the habit; The Gestapo uses transistor pocket recorders from the 1960s. In addition, Joseph Goebbels, Hermann Goering and Heinrich Himmler had higher, not just secondary education, as claimed in the series: Goebbels became a Berlin Gauleiter in 1926, not 1944. At one point, footage of Julius Streicher is presented as if it were Robert Ley. Another incorrect detail was the portrayal of Friedrich Krueger as the leader of the SS and police in Poland in early 1945, when he was relieved of his post in November 1943. Spin-offs and parodies In 2009 several international companies were hired to color the series. High costs and technical difficulties led to the removal of a large number of videos from the original episodes. The new version was criticized on the air, including for the poor quality of the new format; The Communist Party of St. Petersburg campaigned against it. Stirlitz was also a hero of other films and television series made over the years, including The Diamonds of 1975 for the dictatorship of the proletariat, The Life and Death of Ferdinand Luce in 1975, the 1980 Spanish version and the 2009 Isaev version. The parodies of Samizdat's Seventeen Moments of Spring were distributed in 1970 and approved by the authorities. 2008 film Hitler Is Coming mostly thought of as a comical reinterpretation of seventeen moments. Anna Chapman starred in a parody of the scene in which Stirlitz and his wife met, broadcast by Russian Channel 1 on New Year's Eve 2011. Inquiries: b McDowell, Conger. . 148. a b c d Sasursky. . 133. and b Mehnert. . 47. Knightley. . 368. and b Fedor Razzakov. Who invented Stirlitz. levdurov.ru. - Ulyana Semenova: He knew too much. 1tv.ru. - Solovʹev, Klepikova. page 154. Nepomnyaschii. page 4. a-b Lakeur. . 219. and b Vladimir Gromov. For the filming of Seventeen Moments of Spring Stirlitz demanded twelve costumes and a hundred shirts. Arguments and Facts, July 20, 2004. Sergey Kapkov. Frau Sauri: 105th anniversary of the birth of Emilia Milton. utro.ru. - Fedor Razzakov. Consultants. levdurov.ru. Anna Vincennes. Oleg Tabakov: I hate both Lenin and Stalin. BBC Russian Service, 31 May 2011. Fedor Razzakov. Actors. levdurov.ru. Filming in the GDR. levdurov.ru. - Fedor Razzakov. Georgian Switzerland. levdurov.ru. - Fedor Razzakov. Loss. levdurov.ru. - Fedor Razzakov. Composers. levdurov.ru. McFadyen, Stars. page 115. Fedor Razzakov. Scandals. levdurov.ru. - Vorontsov. . 314. a b Harhordin. . 115. Styts. . 168. and b Volkogonov, Shukman. . 306. Alcott. . 5. - Beumers. 179-180. Author, not listed in the credits (1983). Culture (in Polish). Limbeki Institute (1): 115. OCLC 15262381. Missing or empty name (help) - Nepomniachtchi. page 2. b McFadien, Russian Television. page 65. Seventeen moments of spring. russiancinema.ru. - Medvedev. page 49. Olga Cherukhina. He always hoped Mozart would win. Krasnoyarsk daily newspaper. November 17, 2011. Boris Sokolov. Radio operator Kate was grani.ru. August 11, 2003. To make seventeen moments of spring, Lioznova became a tyrant on set. It's Ukraine. September 30, 2011. Vyacheslav Tikhonov was posthumously awarded. RIA Novosti, December 23, 2009. Taylor, Spring. page 133. B Sakwa. page 6. Nepomnyaschii. page 8. a b James von Heldern. 1973: Seventeen Moments of Spring. soviethistory.org. - Schlapentoch. 62. Seventeen Moments of Spring: Where the Truth and Where the Mistake: Interview with K. Saleski (Transcript). Echo of Moscow Radio, January 21, 2008. Nepomnyaschii. page 9. Mark Lipovetsky (2000). Alibi's eradication: Semnadzet Moment Spring - Light of Our Topita. Ishkustovo Cinema (in Russian language) (11): 73-76. ISSN 0130-6405. Received on December 15, 2011. Lovell. page 71. Lovell. page 284. Barker. page 164. KGB: Eyes of the Kremlin. Time Magazine. February 14, 1983. - Beumers. page 196. Geller. page 221. Nepomnyaschii. page 13. Shenfield. page 40. The Styts. . 170. Russian Life: Volume 49. Rich Borders (2006). ISSN 1066- 999X. Page 24. Kozintsev. page 165. Boomers, Hutchings, Rulova. page 161. Slyshkin, Gennady (2004). The concept of the film Seconds of spring in Russian yazuistic culture. Herald-MSU (in Russian language) (1). ISSN 2224-0209. It's zalski. 12, 17, etc. - Anna Malpas. Spotlight: Seventeen Moments of Spring. St. Petersburg Times, May 12, 2009. The life and death of Ferdinand Luce. kino-teatr.ru. - Spanish version. kinopoisk.ru. - Isaev Archive 2012-05-05 on Wayback. centpart.ru. - Nepomniachtchi. page 3. Ellen Barry. Spoof Stars is a Bumbling spy, but many Russian moviegoers don't laugh. New York Times, September 21, 2008. Anna Chapman Stars in the New Year Soviet spy film. Archive 2011-01-02 on Wayback Machine 1 January 2011. France24. The bibliography of Phillip Knightley (1998). The second oldest profession: spies and espionage in the twentieth century. Penguin. ISBN 978-0-14-010655-8. Vladimir Solovʹev; Elena Klepikova (1983). - Secret passage to the Kremlin. Mcmillan. ISBN 978-0-02-612290-0. Walter Lakeur (1990). Soviet realities : Culture and politics from Stalin to Gorbachev. Transaction. ISBN 0-88738-302-5. David McFadyen (2001). Red Stars: Personality and Soviet folk song, 1955-1991. McGill queens. ISBN 978-0-7735-2106-3. David McFadyen (2007). Russian TV Today: Prime-time drama and comedy. Routledge. ISBN 978-0-415-42462-2. Klaus Mehnert (1983). Russians and their favorite books. Hoover Institute Press. ISBN 978-0-8179-7821-1. Ivan Sasursky (2004). Media and power in the post-Soviet space. M.E. Sharp. ISBN 978-0-7656-0863-5. Vorontsov (1980). The phenomenon of Soviet cinema. Imported publication. ISBN 978-0-8285-1874-1. Bart McDowell; Dean Conger (1977). Travel to : The Soviet Union today. National Geographic Society. ISBN 978-0-87044-220-9. Oleg Harkhordin (1999). Team and personality in Russia: study of practice. University of California Press. ISBN 978-0-520-21604-4. Richard Stites (1992). Russian folk culture: Entertainment and society since 1900. Cambridge University Press. ISBN 0-521-36214-8. Dmitry Volkogonov; Harold Shukman (1999). Showdown for empire: Seven leaders who built the Soviet regime. Touchstone. ISBN 978-0-684-87112-7. Anthony Alcott (2001). Russian pulp: Detektiv and the Russian way of crime. Rowman and Littlefield. ISBN 978-0-7425-1140-8. Birgit Bimers (1999). Pop culture of Russia!: media, art and lifestyle. ABC-CLIO. ISBN 9781851094592. Vladimir Medvedev (1994). Man za backs. Rouslit. ISBN 978-5-91487-010-9. Richard Taylor; D.V. Spring (1993). Stalinism and Soviet cinema. Routledge. ISBN 978-0-415-07285-4. Richard Sakwa (2008). Putin: Russia's choice. Routledge. ISBN 978-0-415-40766-3. Vladimir Schlapentokh (1991). Soviet intelligentsia and political power: the post-Stalin era. I.B. Tauric. ISBN 978-1-85043-284-5. Stephen Lovell (2010). Shadow of war: Russia and the USSR, 1941 to the present. Wylie Blackwell. Adele Marie Barker (1999). Consumption of Russia: folk culture, sex and society since Gorbachev's time. Duke University Press. ISBN 978-0-8223-2313-6. Michael Geller (1988). Cogs in the Wheel: Formation of the Soviet Man. Knopf. ISBN 978-0-394-56926-0. Stephen Shenfield (2001). Russian fascism: traditions, trends, movements. M.E. Sharp. ISBN 978-0-7656-0634-1. Alexander Kozintsev (2010). Mirror of laughter. Transaction. ISBN 978-1-4128-1099-9. Birgit Bimers; Stephen K. Hutchings; Natalia Rulova (2008). Post-Soviet Russian media: conflicting signals. Routledge. ISBN 978-0-415-67487-4. Konstantin Salsky (2006). Semnadcat Mgnovenij Vesny : Crooked Mirror Tretjak Reich. Assembly. ISBN 978-5-9533-1460-2. Articles by Theimer Nepomnyashchy, Katarina (2002). Blockbuster miniseries on Soviet television: Isaev-Stirlis, the ambiguous Hero of Seventeen Moments of Spring (PDF). Soviet and post- Soviet review. Brill. 29: 257–276. ISSN 1075-1262. Archive from the original (PDF) dated April 6, 2012. Received on December 15, 2011. External references Semnadtsat mgnoveniy vesny on IMDb By Greg Athenogenov. Portrait of bureaucracy in twelve parts: Seventeen Moments of Spring. idiommag.com. Hendrik Smith. Soviet spy thriller Exposes a plot of the United States. New York Times, January 7, 1974. Julian Semenov. Seventeen Moments of Spring Famous scene from the film: Stirlitz meets his wife in Berlin in 1936 on YouTube Slitztier in Color. A parody of the Big Difference TV show, 2011 on YouTube is derived from seventeen moments of spring book. seventeen moments of spring netflix. seventeen moments of spring music. seventeen moments of spring english. seventeen moments of spring imdb. seventeen moments of spring novel. seventeen moments of spring (1973). seventeen moments of spring streaming

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