In memory of Radna Sakhaltuyev: the animated films "Captain Vrungel," "Doctor Aibolit," and "Treasure Island"

Contents:

• "A variety of characters: from pirates to scientists"
  "The characters of the play: from adventurers to intellectuals"
  "A blooming palette of images: from adventurers to explorers"
  "From filibusters to scientists: a variety of characters in the drama"
  "Characters in the drama: from sea robbers to learned minds"
• "Tell me from what source and in what direction is "Trouble" moving!"
• "Vocal troupe under the direction of maestro Barmalini"
• "We are heading to Bristol, Friends! ”

On August 31, at the age of ninety-one, Soviet and Ukrainian artist Radna Sakhaltuyev passed away. Together with director David Cherkassky, he created some of the most memorable Soviet animated films, including The Adventures of Captain Vrungel, Doctor Aibolit, and Treasure Island. Let's remember our favorite cartoons and analyze them.

• The cartoons created by Sakhaltuyev and Cherkassky can largely thank Vladimir Mayakovsky for their inspiration. Mayakovsky's poetic legacy had a significant influence on the visual arts, including animation. His vivid images, emotional intensity, and bold experiments with form are reflected in the works of these animators. Mayakovsky's aesthetics, his drive for innovation, and his desire to convey social and philosophical ideas to audiences became important elements that helped shape his unique style and approach to cartoon creation. Thus, the poet's legacy became an important source of creative solutions and artistic discoveries for Sakhaltuev and Cherkassky.
• How "The Adventures of Captain Vrungel" de-energized the city.
• How the theft of character sketches from the studio occurred.
• John Silver is missing his right leg.

"A variety of characters: from pirates to scientists"
"The characters of the play: from adventurers to intellectuals"
"A blooming palette of images: from adventurers to explorers"
"From filibusters to scientists: a variety of characters in the drama"
"Characters of the drama: from sea robbers to learned minds"

"Bon Giorno, "Chief!"

"They're preparing the cannon to fire! But for what purpose? Ah, they're about to open fire!"

"Greetings, ha-ha-ha, I'm Dr. Livesey!"

It's terrifying to think that many famous quotes, jokes, songs, and memes might simply not exist if not for a chance meeting between director David Cherkassky and artist Radna Sakhaltuyev. The likelihood of such a meeting was quite slim: Cherkassky is from the town of Shpola, located in the Cherkasy region, and Sakhaltuyev was born in Ulan-Ude, the capital of the Buryat ASSR. Initially, Radna planned to enroll in the Omsk Tank School, but due to repressions in the family, when his father was persecuted, he was unable to do so. As a result, Sakhaltuyev decided to pursue a career in art and enrolled in the animated film department at VGIK. Cherkassky never received formal training in film and was a civil engineer by profession. In 1959, upon learning of the creation of an animation workshop at the Kievnauchfilm studio, he decided to submit his amateur drawings and, to his surprise, was hired. Some time later, Radna Sakhaltuyev was also assigned to the same department, and they soon developed a strong friendship that evolved into an inseparable creative partnership. In 1969, their joint work debuted: "Mystery-Bouffe," based on the work of Vladimir Mayakovsky. This project already featured all the elements that we would later see in the most famous cartoons of this tandem: a combination of animation with live action scenes, elements of buffoonery, expressive titles and unusual camera angles.

The visual style alludes to Mayakovsky's "ROSTA Windows," but the characters—a White Guard with a monocle, a bourgeois with a cigar, and a speculator in a boater—are exact copies of Captain Smollett, the Chief, and Julico Banditto. Thus, it can be said that these images owe their existence in large part to Mayakovsky, who became a source of inspiration for their creators.

Then followed adaptations of Rabelais and folk tales, parodic interpretations of Jules Verne, and even a feature film called "Farewell, Pharaohs!" In January 1980, during the winter school holidays, The Adventures of Captain Vrungel premiered on Soviet television.

"Tell me from what source and in what direction "Trouble" is moving!"

"When I was told that work was to be done on the film "The Adventures of Captain Vrungel", I was truly happy. <...> As a child, before the war, this book was my favorite," Cherkassky shared his memories.

Andrei Nekrasov's comic story was first published in 1937. In it, you can meet the brave Captain Vrungel, the faithful first mate Lom, and the cunning card sharper Fuchs. These characters set off on a round-the-world voyage on a yacht named "Trouble". Their journey involves many absurd situations, including a concert in Hawaii and a Neptune Day celebration.

However, all of this doesn't add up to a coherent narrative, remaining merely a collection of naval tales. In Nekrasov's original version, he featured a key adversary, Admiral Kusaki, who sought to hinder the heroes solely because of his evil, imperialistic nature. However, by the late 1970s, depicting such villains had become somehow inappropriate.

"The script turned out to be quite successful: it was captivating, funny, and interesting, but at the same time very... literary. It was simply a linear travelogue that lacked the necessary drama. I realized that it was impossible to create a quality series based on it. And then, I don’t remember how, the idea of ​​stealing Venus arose.”

“The Adventures of Vrungel” in the interpretation Cherkassky's novels have been transformed into a gripping spy thriller. The plot centers on the mysterious Chief, who plans to steal a statue of Venus from the Royal Museum in London. To distract attention, he organizes a round-the-world sailing regatta for single-masted yachts, in which Vrungel's crew participates on a vessel called "Trouble." Due to a mix-up, the thief Fuchs, who stole the Venus, ends up not on the criminal yacht "Black Cuttlefish," but on "Trouble." This sets off a thrilling chase involving the Chief's henchmen—mafiosi Julico Banditto and De La Voro Gangsteritto—as well as agent Zero-Zero-X and his robot dog. Meanwhile, Vrungel and Lom, unaware of what's happening, find themselves caught in a whirlwind of adventure. The plot turned out to be extremely convoluted, and the cartoon became one of the longest-running series in Soviet animation history—13 episodes totaling over two hours!

The project required considerable effort. The team labored for nearly four years. Animation production before the advent of computer graphics was an extremely complex and time-consuming process; for example, a ten-minute cartoon could take up to nine months. In this case, 30 minutes of animation had to be created in just one year. According to the participants, they worked 14-16 hours a day, sometimes sleeping in the studio on camp beds for months at a time. Of course, it wasn't just Cherkassky and Sakhaltuyev who were involved, but a whole team. Among them was Alexander Tatarsky, who later became famous for his innovative cartoons "Plasticine Crow" and "Last Year's Snow Was Falling," and also founded the Pilot studio.

The result of this hard work was truly impressive. Children delighted in following the captain's amusing adventures, and adults found numerous references to their own jokes in the plot. The press even reported a story about how, during the premiere of a new episode of "Vrungel," the power went out in one city because everyone in the audience turned on their televisions at once. Even government officials praised the cartoon—Goskino approved the first episodes without any edits, and the creators received a telegram of thanks from the government.

What was it that so captivated audiences? Both form and content were revolutionary: such a combination had never been seen before in the Soviet Union. Take the camera, for example: it sometimes adopts a subjective perspective and perceives the world through the characters' eyes, sometimes peers out from the ceiling or from the ground itself, and sometimes uses a wide-angle "fisheye" lens.

Furthermore, Cherkassky and Sakhaltuyev applied the skills they acquired while working on "Mystery Bouffe" to combine animation with live action. In "Vrungel," the animated film seamlessly interweaves the animated characters—Vrungel, Lom, and Fuchs—with location shots depicting the yacht "Trouble," large cityscapes, the real sea, and even a forest fire raging in the background. To implement this technique, special multi-level structures were created, forcing the creators to constantly ascend and descend ladders. However, this approach allowed us to achieve a unique effect of merging fantasy and reality, creating a game atmosphere that invariably attracted viewers.

The idea that came to Sakhaltuev and Cherkassky's decision wasn't prompted by a surplus of funds, but rather the result of a desire to maintain a limited budget. "We were constantly looking for ways to save money, trying to circumvent the system," Cherkassky shared. To save money, they also began using a technique called cutaway animation, which uses flat puppets with movable joints and interchangeable facial elements instead of traditionally drawn characters. This method not only speeds up the filming process but also significantly reduces costs. Moreover, it gives the movements of the characters with big noses a special, somewhat awkward charm, reminiscent of the aesthetics of silent films.

Read also:

The best 25 cartoons of the Soviet era

In the cartoon "Vrungel" the ocean is full of cinematic Easter eggs; This is not only a fun detective and spy game, but also a captivating adventure involving the sea, ships, and captains.

• Agent Zero-Zero-X, who pursues the mafia thanks to his outstanding agility and a variety of gadgets, is undoubtedly a tribute to the character James Bond, the famous agent 007.
• The image of the mafia boss is often presented fragmentarily - sometimes you can see his mouth with a cigar, sometimes his hands adorned with rings, reminiscent of the style of Blofeld, the famous antagonist from the James Bond films. However, for Soviet viewers, this character was perhaps more associated with the Chief from Leonid Gaidai's comedy "The Diamond Arm," who, in turn, became a parody of Blofeld—thus completing the circle.
• The famous line "Chief, everything is lost," spoken by De La Voro's character Gangsteritto, also belongs to the cult film "The Diamond Arm."
• The scene in which Vrungel and Fuchs, posing as locals, perform Hawaiian ditties for foreign tourists is a parody of the performance of the trio "Yaroslavl Guys." The music of this ensemble became the musical accompaniment to the film "Seven Brides of Corporal Zbruev".

Other works, Created by composer Georgy Firtich based on the poems of poet and playwright Yefim Chepovetsky, they also gained immense popularity. For example, the song "Many, Many" is an obvious reference to the famous Abba hit "Money, Money." Melodies that are hard to forget include "We are banditto-gangsteritto" and a composition about a super agent, which includes the line: "I'm there and here, wherever they send me... And they send me often!" These roles were voiced and performed by such actors as Zinovy ​​Gerdt, Semyon Farada, and Evgeny Paperny. Cherkassky recalled: "Of course, there were many tasks, but we approached them with enthusiasm and without much stress. Everything was created spontaneously. Problems, if they arose, did not take up our time, since we were absorbed in the work. We were in the same room, where there was a constant noise, as everyone was actively discussing ideas, suggesting various options, jokes and pranks... Overall, the work was easy and relaxed."

"Vocal troupe under the direction of maestro Barmalini"

Shortly after completing work on the cartoon "Vrungel", David Cherkassky received an order to create a new animated film. It was planned to use the works of Korney Chukovsky as a basis for it, including the stories about Doctor Aibolit, as well as such fairy tales as "The Fly-Tsokotukha", "The Stolen Sun" and "The Cockroach".

The work on the animated film "Aibolit" was carried out by the same team that produced "Vrungel": Radna Sakhaltuyev served as the artist, Georgy Firtich wrote the music, and Efim Chepovetsky wrote the lyrics. The animation in "Aibolit" utilizes a familiar technique that combines cut-out animation, hand-drawn animation, and live-action footage. Furthermore, it's noticeable that some characters were carried over from the previous film—for example, the captain of the "Black Cuttlefish" and Barmaley's other pirates resemble the thugs from "Vrungel."

However, the creation of other characters required a complete rethink. Cherkassky created the initial sketches himself, while Sakhaltuyev refined them into the final version. As before, they worked from early morning until late evening, taking a break only in the middle of the day for a soccer game. According to Radna Sakhaltuev, several sketches disappeared during the process; someone likely stole them when the studio was empty. As a result, they had to work even harder than usual.

The development of Aibolit's character required additional thought. Initially, he was depicted as a diminutive, stocky character with a bushy mustache, reminiscent of Vrungel. However, Cherkassky later had the opportunity to meet with the Moscow poet Valentin Berestov, who had a personal connection with Chukovsky. Berestov suggested changing the concept by depicting Aibolit as tall and thin, which would make him similar not only to Korney Ivanovich himself, but also to the famous doctor Schweitzer.

The enemy turned out to be a very complex personality. "He is sensitive, you understand?" Cherkassky shared his thoughts about Barmaley. "When you delve into Chukovsky's works, you realize how much is intertwined in this character! That's why we decided to present him not as a villain, but as a touching figure. At first, he tries to appear cruel; there's even a line: 'Am I an evil robber? Evil!' In our version, he came across as an unfortunate Jew. <...> His voice was provided by Zhora Kishko, who imbued the character with a softness and a slight tearfulness with his tone."

In various episodes, Barmaley is voiced by Semyon Farada. A similar situation is observed with other characters: initially, Aibolit is voiced by Yevgeny Paperny, then in the third episode, his voice is replaced by Sergei Yursky, and in subsequent episodes, by Zinovy ​​Gerdt and even Georgy Kishko. The narrator, a parrot named Karudo, is voiced by Vsevolod Abdulov. The evil sister, Varvara, was voiced by Maria Mironova, Andrei Mironov's mother.

The visual style remained unchanged, but Cherkassky sought to change the format. He envisioned "Dr. Aibolit" as a large-scale opera. However, members of the artistic council criticized this idea, likely believing that children would find the incessant singing uninteresting. As a result, the script was reworked, and much of the music created was not used in the cartoon. However, it did include the vibrant vaudevillian song "Little Children, Never Go to Africa for a Walk," which even gained popularity on TikTok several years ago.

However, it must be acknowledged that the other compositions failed to gain popularity among the general public, and the cartoon "Dr. Aibolit" itself, despite its appeal, is probably inferior in popularity to, for example, "Vrungel." However, for David Cherkassky, this project remains his favorite, thanks to the ease and smoothness with which Chukovsky’s lines flow seamlessly from one to the other.

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You can create your own cartoon by following ten simple steps. Here's how to do it:

1. Define the concept: Start with an idea that inspires you. Create a plot, characters, and the main theme of your cartoon.

2. Write a script: Create a detailed description of the events, dialogue, and actions. This will help you structure your story.

3. Develop the characters: Determine the appearance and personality of each character. Think about what traits you want to make them stand out from the rest.

4. Create a storyboard: Sketch out the key scenes of your cartoon. This will help you visualize the sequence of events.

5. Choose an animation style: Decide how you will animate your cartoon. This can be 2D, 3D, or stop-motion animation.

6. Prepare the background and setting: Design the backgrounds and settings where the action will take place to create the desired atmosphere.

7. Animate the scenes: Begin the animation process using your chosen method. It is important to keep the character movements smooth.

8. Record the soundtrack: Think about music, sound effects, and character voices. This will add depth to your cartoon.

9. Edit the finished scenes: Combine the animation and sound to create the final version of the cartoon. Make sure everything is synchronized.

10. Publish and share: Find a platform to host your cartoon and share it with the audience. Get feedback and enjoy the result of your work.

Following these steps, you will be able to realize your ideas and create a unique cartoon.

"Let's go to Bristol, friends!"

After the successful adaptation of "Aibolit", Cherkassky received an order to film another book that was dear to him since childhood: Robert Louis Stevenson's novel "Treasure Island". Everything would have been wonderful if not for the extremely tight deadline: only two years were allotted for the two-hour film. Had it not been completed within this schedule, the award would have been forfeited. This very circumstance gave rise to the cartoon's most unusual feature: it features live-action silent scenes and musical interludes in which live pirates sing about the dangers of smoking, alcoholism, and the importance of physical activity.

The lyrics were written by poets Naum Olev and Arkady Gartsman. Gartsman recalled being struck by the phrase, "Doesn't the liver bloom like a rose from cirrhosis?", and it was from that moment that their collaboration began. Interestingly, the opening line of one of the songs, which mentions "all gloomy faces, the ringing of louis d'ors and piastres," was originally sung differently. It originally read, "Here, on every page, there's a thief or a murderer, there are no weddings, but many funerals." It contained a hint at the deaths of General Secretaries Brezhnev, Andropov, and Chernenko. However, this part of the text was changed.

The music for these pieces was created by composer Vladimir Bystryakov, who himself described his work as "semi-gangster country." The musical accompaniment was recorded by the group "Festival," also known for creating the soundtrack to the film "The Three Musketeers."

The pirates in the film were portrayed by the Odessa theater group "Grotesk," and the director himself also appeared on screen, sporting a mustache and a cocked hat. Reading the commentary on the online version of "Treasure Island," it becomes clear that as children, viewers didn't particularly appreciate the cutscenes; everyone eagerly awaited the next part of the film. However, with age, many have reconsidered this perception. Quotes like "Chance!", "Lords, sirs, peers, know your limits," "Jim keeps his daily routine!" and "Greed is nasty!" have become firmly etched in the audience's memory and have become part of their emotional landscape. There's no moralizing here, but there's 100 percent irony. A sense of mischievous chaos is created by the alternation of live-action actors and cartoon characters, who sometimes intersect in the same frame – although, unfortunately, this happens less than Cherkassky dreamed.

The film "Treasure Island" is replete with quotes that add fun and color to its atmosphere.

"We were working on a modern film, so we decided to add unexpected twists to the classic plot and enrich it with elements that surround us, like action films and thrillers. However, we wanted to do it in a way that would be fun for the audience, not scary."

Naked Jim defeats a giant pirate thanks to a powerful set of kung fu moves, letting out screams in the spirit of Bruce Lee. While the pirate, firing a cannon with the same rate of fire as a machine gun, tries to imitate Rambo. With the appearance of each significant character, the viewer is presented with a dossier, designed in the style of "Seventeen Moments of Spring" by Tatyana Lioznova. For example, about John Silver it is said: "The most dangerous pirate, but successfully disguises himself as a good-natured guy. "A secretive character, without flaws." These words are voiced by Armen Dzhigarkhanyan, who is clearly parodying his role as Gorbaty in the film "The Meeting Place Cannot Be Changed." Despite the comedic backdrop, Dzhigarkhanyan's performance of Silver evokes a truly sinister feeling.

"What should I do if Armen's voice sounds exactly like that? That's exactly why I chose him." However, the comical drawing softened its gloomy timbre - this is how the ironic atmosphere of the film arose,” the director shared his thoughts.

Other characters also leave a vivid impression. There's the not-so-bright Squire Trelawney, as well as Captain Smollett, who lisps and, by all accounts, has some mental issues. However, by far the most memorable of them all is the cheerful Dr. Livesey. "An enlarged liver, a spleen—how wonderful!" He's either cynical or wildly optimistic. His voice was provided by Yevgeny Paperny, known for his roles as Lom in "Vrungel" and Aibolit in the second animated film.

Dr. Livesey was created by his friend, playwright Leonid Slutsky, who left a vivid impression on the memory. "He stood out among the others, a large and powerful man with a distinctive smile reminiscent of a horse's." "My friends and I often depicted Lenya in caricatures, naturally with exaggerations: he had 60 teeth instead of the usual 32. At first, I was just making fun of him, but then I decided to include him in the cartoon, and it's Livesey who continues to feed me to this day," Paperny recalled.

In this film, slapstick comedy is even more pronounced than in previous works. The characters, trying to catch each other, accidentally violate all sorts of laws of physics, reminiscent of famous duets like Tom and Jerry or the Wolf and the Hare. For example, one of the pirates is killed, leaving only his illuminated silhouette behind the door, his legs still dangling overboard. Another character collides with the opening doors of a saloon and temporarily splits into two. These comical moments are accompanied by brightly colored cloudlets and sound effects reminiscent of comic strips: "Boom," "Bach."

Animation elements were also added to the live-action actors. "At first, I learned to sing slowly, while my movements remained normal. Then they started setting me a faster tempo, and on screen, it seemed like I was opening my mouth in time to the music, but my arms and legs were moving quickly, like in a cartoon," shared Valery Chiglyaev, who played one of the pirates in the film recordings.

It's also worth noting that "Treasure Island" is the most visually experimental of all of Cherkassky's works. This work again features fisheye and subjective camera techniques, as well as the complex technique of full animation, in which not only the characters but also the surrounding background are in motion. This creates the illusion that the camera is moving in three-dimensional space, bringing it closer to the aesthetics of traditional cinema. Of course, the film does have its flaws, which, as in previous installments, likely arose from the rushed production. In the same scene, the main character can suddenly change his outfit. A character named Silver sometimes loses one leg, then the other. At times, to speed up the process, cut corners were required: entire scenes are virtually identical, differing only in minor details. For example, the pirates express their grief about the sea both in the first episode, when blind Pew drowned, and in the second, when Trelawney sent several of his comrades to the bottom.

Nevertheless, this does not detract from the cartoon's merits, and perhaps even lends it an atmosphere of cheerful chaos and playful farce. "Treasure Island" was released in 1989, at the height of perestroika, and perfectly captured that reality, full of turmoil and confusion. This work was awarded the Grand Prize of the All-Union Television Film Festival in Minsk, as well as first prize at the International Television Film Festival in Czechoslovakia.

"Treasure Island" was the last full-length animated film created during the Soviet era. Director Cherkassky was already working on a new project called "Macaroni of Death, or the Mistake of Dr. Bugensberg," but only managed to complete a trial version. Sequels to "Vrungel" and "Treasure Island" were also never realized. With the collapse of the country, the Kievnauchfilm enterprise also ceased to exist. The director was forced to move to a private studio, where he began creating commercials. Radna Sakhaltuyev also chose a career in advertising, also dabbling in book illustration, and never returned to the world of animation.

In 2018, the world lost David Cherkassky, and now his main collaborator, the artist, has passed away as well. However, the legacy left behind is cartoons filled with playfulness and humor, which are simultaneously imbued with the spirit of the sea and exciting adventures.

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List of the 50 most beloved Soviet films.