{"id":4320,"date":"2016-06-23T18:20:46","date_gmt":"2016-06-23T15:20:46","guid":{"rendered":"https:\/\/www.cutinsight.com\/?p=4320"},"modified":"2023-08-28T16:37:13","modified_gmt":"2023-08-28T13:37:13","slug":"15-filmov-povliyavshih-na-zhizn-i-tvorchestvo-grigoriya-gladiya","status":"publish","type":"post","link":"https:\/\/www.cutinsight.com\/en\/15-filmov-povliyavshih-na-zhizn-i-tvorchestvo-grigoriya-gladiya\/","title":{"rendered":"15 films that influenced the life and career of Gregory Hlady"},"content":{"rendered":"<p>Gregory Hlady\u2019s legacy encompasses more than 80 roles in feature films. He has also directed over ten plays for theatre and performed in numerous productions. He is known for his roles in high-grossing blockbusters (X-Men: Days of Future Past, 2014), patriotic Ukrainian films (he starred as Roman Shukhevych in The Undefeated, 2000), films by celebrated filmmakers (Guy Maddin\u2019s The Forbidden Room, 2015) and Russian television series (he played a crime investigator on the TV show Morozov, 2007).<\/p>\n<p>Listing films which have influenced his life and career, Gregory admits it was hard to make this selection and limit it to just 15 movies. \u201cThis list would go on and on forever\u201d, he says.<\/p>\n<p>Speaking of most of the films he had picked, Gregory Hlady noted that for him personally watching those films was an essential cinematic experience. He also pointed out that by picking a single film by a renowned filmmaker, he acknowledged many other works by the same master.<\/p>\n<p><strong>Ordet<\/strong> (1955) by Carl Theodor Dreyer<\/p>\n<p>This film is about the purpose and power of a word. I was simply stunned by the story. It\u2019s a very disciplined work based on absolute minimalism and an incredibly economical use of resources. I hope one day to turn the story the film tells, into a theatre production.<\/p>\n<p>https:\/\/youtu.be\/PNIYR6tGejg<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Breaking the Waves<\/strong> (1996) by Lars von Trier<\/p>\n<p>Watching this film left me dumbstruck. I was amazed by the fact that a movie can strike such a deep chord and create such an impressive atmosphere of mystery. I was curious how Trier, who is known for his provocative approach, achieves this.<\/p>\n<p>https:\/\/youtu.be\/5yVK5NnYkFU<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Shadows of Forgotten Ancestors<\/strong> (1964) by Sergei Parajanov<\/p>\n<p>I am very fond of this utterly magical film. It was made in a unique, unparalleled way. Parajanov was much more than an artist: he was, really, a Renaissance man who knew the mythology inside out. He managed to break into those, often subconscious areas, which are usually incomprehensible for the mind.<\/p>\n<p><iframe loading=\"lazy\" title=\"\u0422\u0456\u043d\u0456 \u0437\u0430\u0431\u0443\u0442\u0438\u0445 \u043f\u0440\u0435\u0434\u043a\u0456\u0432. \u0412\u0435\u0440\u0431\u043e\u0432\u0430\u044f \u0434\u043e\u0449\u0435\u0447\u043a\u0430\" width=\"696\" height=\"522\" src=\"https:\/\/www.youtube.com\/embed\/Ap7TEYkj_Ss?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p><strong>Stone Cross<\/strong> (1968) by Leonid Osyka<\/p>\n<p>What amazes me about this film is how cohesive the imagery is. The film provokes a feeling of absolute unity with the native mythology and explores the bond between Ukrainians and their native land. Stone Cross is the most nostalgic movie I\u2019ve ever seen. It\u2019s pure genius, just like the works of Vasyl Stefanyk.<\/p>\n<p><iframe loading=\"lazy\" title=\"\u0423\u0440\u044b\u0432\u043e\u043a \u0441 \u0444\u0438\u043b\u044c\u043c\u0430 \u041a\u0430\u043c\u0435\u043d\u043d\u044b\u0439 \u043a\u0440\u0435\u0441\u0442\" width=\"696\" height=\"522\" src=\"https:\/\/www.youtube.com\/embed\/u8gOFq7OpqI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p><strong>Stalker<\/strong> (1979) by Andrei Tarkovsky<\/p>\n<p>Every film made by Tarkovsky holds a special place in my heart. During my first years in Canada I decided to show his films to my colleagues at work. But while we were watching Tarkovsky\u2019s films, it suddenly struck me that the feeling of thrill and delight I experienced the first time I\u2019d seen them \u2013 had gone. At the time I had to make some effort to prove to my friends that kind of cinema was a work of genius. I realized that my wild enthusiasm about those films was not something that could be easily shared by people with a different cultural background.<\/p>\n<p><iframe loading=\"lazy\" title=\"\u0422\u0440\u0435\u0439\u043b\u0435\u0440 \u0434\u043b\u044f \u0444\u0438\u043b\u044c\u043c\u0430 \u0410\u043d\u0434\u0440\u0435\u044f \u0422\u0430\u0440\u043a\u043e\u0432\u0441\u043a\u043e\u0433\u043e &quot;\u0421\u0422\u0410\u041b\u041a\u0415\u0420&quot; 1979\u0433.\" width=\"696\" height=\"522\" src=\"https:\/\/www.youtube.com\/embed\/WuuhWxWpW_k?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p><strong>Ashes and Diamonds<\/strong> (1958) by Andrzej Wajda<\/p>\n<p>This film is the most brilliant example of what social cinema is all about. In order to make such a powerful movie, you must feel genuine hatred towards totalitarianism. It can\u2019t be just an intellectual concept in your consciousness. You must have it in your genes. I\u2019ve always been looking for tools to express the idea of how evil totalitarianism is. And in Ashes and Diamonds this message is genuinely conveyed.<\/p>\n<p>https:\/\/www.youtube.com\/watch?v=v6RPkfbmpWY<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Nobody Wanted to Die<\/strong> (1965) by Vytautas \u017dalakevi\u010dius<\/p>\n<p>This film exerts an unbelievable vital power. It\u2019s simply alive with the atmosphere of the 40s. The viewer can feel the authentic nerve of the people the film portrays. It\u2019s a movie that breathes, even though during the 60s, i.e. at the time it was made, things were extremely ideologically biased.<\/p>\n<p>https:\/\/youtu.be\/ZB4zpN23q-o<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Senso<\/strong> (1954) by Luchino Visconti<\/p>\n<p>I\u2019ve always been interested in the musical structure of the cinema: both the music we hear in the background and the musicality of imagery. You quite rarely find a film where a sequence of images resembles music. Also, I rarely hear in films the music I adore, like Gustav Mahler in Death in Venice or Anton Bruckner&#8217;s Symphony No. 7 in E major in Senso. This film conveys the mystical brilliance of the music.<\/p>\n<p>https:\/\/youtu.be\/XUAwmeSM6aw<\/p>\n<p>&nbsp;<\/p>\n<p><strong>S\u00e1t\u00e1ntang\u00f3<\/strong> (1994) by B\u00e9la Tarr<\/p>\n<p>I think that B\u00e9la Tarr has outshined Tarkovsky, in the sense that Tarr achieved the purest substance in cinema. His method is not an attempt to simulate life on screen, but it itself is a proof that the parallel reality exists. In S\u00e1t\u00e1ntang\u00f3 you can really feel the power and force of the filmmaker\u2019s soliloquy.<\/p>\n<p><iframe loading=\"lazy\" title=\"Satantango - Trailer\" width=\"696\" height=\"522\" src=\"https:\/\/www.youtube.com\/embed\/eQ66STMnBt0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p><strong>Once Upon a Time in America<\/strong> (1983) by Sergio Leone<\/p>\n<p>This film is imbued with sheer musicality. Here, the music and cast create an amazing sense of unity. Moreover, the film is filled with a powerful feeling of nostalgia.<\/p>\n<p>https:\/\/youtu.be\/y-Pwy1Z-i6c<\/p>\n<p>&nbsp;<\/p>\n<p><strong>The Shining<\/strong> (1980) by Stanley Kubrick<\/p>\n<p>Kubrick was capable of going down to the very root of evil. He achieved this in many various genres: historical, sci-fi, futuristic and, of course, horror.<\/p>\n<p><iframe loading=\"lazy\" title=\"fragment-Shining-The-1980.flv\" width=\"696\" height=\"522\" src=\"https:\/\/www.youtube.com\/embed\/6da9W2kRRvM?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p><strong>Raging Bull<\/strong> (1980) by Martin Scorsese<\/p>\n<p>Like almost every other film Scorsese has made, this one is very convincing in bringing out the unique vision of this filmmaker.<\/p>\n<p><iframe loading=\"lazy\" title=\"\u0411\u0435\u0448\u0435\u043d\u044b\u0439 \u0431\u044b\u043a \u0442\u0440\u0435\u0439\u043b\u0435\u0440 2015\" width=\"696\" height=\"392\" src=\"https:\/\/www.youtube.com\/embed\/YGx60NMnr_s?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p><strong>Silent Light<\/strong> (2007) by Carlos Reygadas<\/p>\n<p>This film is somewhat superior to Tarkovsky\u2019s works. There\u2019s also a clear nod to Dreyer\u2019s Ordet. To me, all these filmmakers belong to the same circle.<\/p>\n<p>https:\/\/youtu.be\/xnkwshV1v-4<\/p>\n<p>&nbsp;<\/p>\n<p><strong>The Virgin Spring<\/strong> (1960) by Ingmar Bergman<\/p>\n<p>All of Bergman\u2019s works are very dear to my heart. I am not normally that much into historical period drama films, as it\u2019s quite hard to fully tap into a distant era or to find the right tools to express its reality convincingly. That\u2019s why many historical films are quite simplistic. They often lack depth. But Bergman\u2019s The Virgin Spring is different. Every tiny detail is thought out thoroughly. It gives you a sense of absolute presence.<\/p>\n<p>https:\/\/youtu.be\/MDTbznf26d4<\/p>\n<p>&nbsp;<\/p>\n<p><strong>The Mahabharata<\/strong> (1989) by Peter Brook<\/p>\n<p>Quite often, when you turn a theatre production into a film, it becomes simply impossible to watch. But Brook managed to create out of this transition a harmonious piece. The Mahabharata takes art to a mystical level.<\/p>\n<p>https:\/\/youtu.be\/zlNfMDw9cY0<\/p>\n<p>&nbsp;<\/p>\n<p>\u201cI think we are now witnessing the so called banalization of cinema. Why, you may ask? I\u2019d say cinema has become way too accessible. The mystery of quest is gone. People today don\u2019t know the joy of tracking down an interesting film they are eager to watch. That\u2019s why our perception of masterpieces is somewhat blurred\u201d, said Gregory Hlady before rounding off the conversation.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Gregory Hlady\u2019s legacy encompasses more than 80 roles in feature films. He has also directed over ten plays for theatre and performed in numerous productions. He is known for his roles in high-grossing blockbusters (X-Men: Days of Future Past, 2014), patriotic Ukrainian films (he starred as Roman Shukhevych in The Undefeated, 2000), films by celebrated [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":4321,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[31],"tags":[],"class_list":["post-4320","post","type-post","status-publish","format-standard","has-post-thumbnail","category-lists"],"_links":{"self":[{"href":"https:\/\/www.cutinsight.com\/en\/wp-json\/wp\/v2\/posts\/4320","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.cutinsight.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.cutinsight.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.cutinsight.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.cutinsight.com\/en\/wp-json\/wp\/v2\/comments?post=4320"}],"version-history":[{"count":0,"href":"https:\/\/www.cutinsight.com\/en\/wp-json\/wp\/v2\/posts\/4320\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.cutinsight.com\/en\/wp-json\/wp\/v2\/media\/4321"}],"wp:attachment":[{"href":"https:\/\/www.cutinsight.com\/en\/wp-json\/wp\/v2\/media?parent=4320"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.cutinsight.com\/en\/wp-json\/wp\/v2\/categories?post=4320"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.cutinsight.com\/en\/wp-json\/wp\/v2\/tags?post=4320"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}