The actor also had positive characters: revolutionary underground Nikolai Kovalenko (Georges Bengalsky) in the adventurous "Dangerous Tour", a prisoner of war Solodov ("The Only Road"), Ibrahim Hannibal ("How Czar Peter the Great Married Off His Moor").

Cinematography at that time (even before the actor's participation in the films "Little Tragedies" by Mikhail Schweitzer and "The Meeting Place Cannot Be Changed" by Stanislav Govorukhin) was not among the main interests of Vysotsky in life; perhaps this is due to the fact that his screen biography was not as impressive as the stage.

However, the best works of the actor, according to the critic Oleg Kovalov, are not associated with modernity, but with participation in historical paintings or screen classics: Don Juan ("Little Tragedies"), Brodsky ("Intervention"), Brusentsov ("Two Comrades Served"), Von Koren ("Bad Good Man"), Zheglov ("Meeting Place...").

In the story, the hero of Vladimir Semyonovich had to overcome the cold mountain river and climb the forty-meter electric power transmission, Vysotsky, who was in good physical shape, performed difficult tricks without understudies.

Despite the fact that the hero of Vysotsky appeared in the picture only in a few episodes, the actor recalled the shooting on the cruiser "Mikhail Kutuzov" as a work with full vzhivaniya in the role: "I lived there for a month, slept in the orlop deck.

Most of the viewers saw Vysotsky on the screen for the first time, got acquainted with his new works, discovered that he was not a representative of the blatant world, singing about "little criminal", which sounded from tape recorders all over the country, but a dramatic actor and author of songs of various themes.

The director, who wanted to avoid the cinematic "stamps" that often saturated images of the Civil War, wrote a kind of manifesto in the press, calling on artists to "revive the traditions of theater and cinema of the early years of the revolution".

In his letter to Lyudmila Abramova Vysotsky told about the difficulties in obtaining this role — the head of the acting department of "Mosfilm" Adolf Gurevich was strongly opposed to the approval of the actor's participation in the film directed by Yevgeny Karelov.

Resolve the issue positively managed only with the help of Mikhail Ilyich Romm (at that time — the head of the creative association "Comrade", where the film was shot): "he said in all ears that Vysotsky, de, he persuade, after which Gurevich could only go and kiss his ass, what he did immediately".

During this period against Vysotsky in the Soviet press was unleashed a broad newspaper campaign, the initiators of which - among other things — condemned his "husky wailing wild blatnyh songs and savoring thieves' jargon" and accused Vladimir Semyonovich in "attacks on our ideology and undermining the socialist system from within.

The director already announced in the preparation period that he saw in the role of George Bengalsky only Vysotsky, acting organically, which was taken into account when writing the script (according to the editor-in-chief of the Odessa Film Studio S. Strezhenyuk, Yungvald-Khilkevich "began hunting" for Vladimir Semyonovich since the shooting of "Brief Encounters").

Elena Kuznetsova, for example, argued that Jungwald-Khilkevich's film was a loser compared to Gennady Poloka's picture, because the new artistic form that appeared in "Intervention" was not suitable for the idea of "Dangerous Tour", which eventually turned into "a kind of traditional example of musical theatre.

[111] Film scholar Anna Blinova, on the other hand, wrote that one should not consider Bengalsky only as a reader of verse and tap dancer:The main color that Vysotsky uses to create the image of Bengalsky-Kovalenko is the deterioration of the human body.

Critics mainly blamed the director, believing that Vysotsky's performance, in which only the motifs of "guilt" and "fall" were seen, did not allow the actor to convey the complexity of the drama and experiences of his character, and led to the creation of a dull and straightforward image.

According to the film's second director, Evgeny Tatarsky, Vysotsky was initially surprised by the meticulous attention Kheifits paid to the smallest details of von Koren's costume, including the "half-torn button" ("He's a single man and probably has no one to take care of him").

[139][141] At the dinner, Laevsky and von Koren were antipodes: the Dahl's hero nervously grabbed pieces, jumped up, easily agitated, stingy with the display of feelings, meanwhile Vysotsky's character demonstrated a thorough knowledge of etiquette and "the manners of a foreign diplomat".

Vladimir Novikov points out that the origin of these lines is due to the role of Vysotsky in the play "The Fallen and the Living" and a poem by the frontline poet Boris Slutsky, which the actor read from the "Taganka" stage: "For our personal fate, / For our common glory ...".

According to film historian Anna Blinova, Vladimir Vysotsky found for his hero many colors: "this is the ultimate sincerity, uncompromising, nobility, lack of understanding of the nature of bad inhuman acts, sacrificial, pure, even though literary love, straightforwardness.

Having received from the Weiner brothers a copy of the book "The Age of Mercy" published in 1976, Vladimir Semyonovich soon informed the co-authors that the novel about the work of the Moscow Criminal Investigation Department was almost ready to be made into a multi-part film, in which he would like to "stake" the role of Captain Zheglov.

[190] The script with the original title "The Age of Mercy", on which the Vainera brothers and Stanislav Govorukhin worked in Peredelkino near Moscow, was created with Zheglov-Vysotsky in mind; Vladimir Semyonovich, who regularly visited the dacha village, also offered various options for the development of this or that episode.

For example, Yevgeny Leonov-Gladyshev, who played the role of Vasya Vekshin, said that Vysotsky offered to dress his character in a white officer's scarf, which in the post-war years was worn by young people who did not go to the front (these shots were not included in the film).

The actor suggested to the creators of the picture to attract to the shooting Vsevolod Abdulov and Viktor Pavlov, who played Peter Solovyov and Levchenko, respectively, he also recommended to the director to invite to the role of the fox Alexander Belyavsky.

[199] The phrase "The Era of Mercy", which carries the key message in the script, is uttered in the communal kitchen by Mikhail Mikhailovich Bomze (Zinovy Gerdt), who dreams of that ideal future when all crime will disappear; in his opinion, it will be defeated not by law enforcement agencies, but by humanity.

Sharapov is in love with the "right girl," Varya Sinichkina; Zheglov has neither a wife nor a fiancée; his only appearance with a woman takes place at a police party, when the captain, descending the stairs with his companion, has difficulty hiding his triumph - "and he is no worse than others.

According to film historian Irina Rubanova, Gleb Egorovich's appearance, vocabulary, and intonation suggest a man who "had been in prison"; according to Vysotskology researcher Vladimir Novikov, in the subtext of the script there are indications that the hero is "from the old days".

[201][202] Anna Blinova disagrees with these arguments and believes that there is no "nostalgic sympathy" for criminals in Zheglov; this is confirmed by the phrases bordering on defiance uttered by the hero in the situation with the purse planted by the pickpocket Kirpich: "A thief should be in prison!

Vladimir Semyonovich's creative efforts were not accepted by either Dmitri Kabalevsky or Vasily Solovyov-Sedoy, who wrote in the newspaper "Sovetskaya Rossiya" in 1968: "I am resolutely opposed to the imposition of eloquence, bandit vocabulary and musical primitivism on our young people".

[222] The music for "Vertical" was written by Sofia Gubaidulina, who later admitted that the works of Vysotsky sounded in the film — "absolutely extraordinary phenomenon", and she treated them with the utmost tact, editing only one of his songs (it was necessary for the recording with an orchestra) and preserving the arrangement of the author's intonations, their "drama and romanticism".

According to the screenwriter Edward Radzinsky, the auditions were successful, the actor easily found a common language with the actress of the role of Natasha — Tatiana Doronina, but his candidacy was rejected by the head of the creative association Ivan Pyryev.

[170] In the image of a street singer from "The Flight of Mr. McKinley" almost none of the authors of publications failed to notice the key hypostasis — the poet; at the same time, the magazine "The Art of Cinema" pointed out that the inclusion of the hero-singer in the plot of the picture was made for the sake of "a selfish attempt to increase the chances of success".