Film Königsberg Mick Hart - Expat in Kaliningrad, Russia

The Wisdom of Filming at Nizovie Museum

Published: 29 May 2022 ~ How to make a film based in Königsberg

THE LAST DAY OF FILMING as far as we were concerned for Yury Grozmani’s Last Tango in Königsberg (a film made with the support of the Presidential Foundation for Cultural Initiatives) took place today on 26 May at Ivan Zverev’s atmospheric museum in Nizovie.

I was fighting a private battle with a decaying wisdom tooth. “You’re such a hero,” my good lady wife never said, “for ignoring your pain and going ahead with the film.”

How to make a film based in Königsberg

Arthur Eagle, the film’s production enforcer, promised that the filming wouldn’t take long. If I remember rightly, I believe he said ten minutes. Of course, he was rather economical with the truth, and we were there all day, sometimes in the sun, sometimes in the rain but mostly in the wind and cold. It was one of those days that managed to fit all four seasons into one afternoon.

Mick Hart in a Russian Film — **Mick Hart playing a role in Yury Grozmani’s film at Nizovie Museum, Kaliningrad, Russia**

My scene came first. It was done in a couple of takes; that’s professional for you! But thereafter came lots of hanging about. My wife, Olga, had agreed to take a part in the production, and unbeknown to us the scene in which she had been cast would not take place until a good while later.

Olga Hart & Inara Eagle in Russian Film 2022 — **Aleksandr Kostenko, commandant**, **with Olga Hart and Inara Eagle in Yury Grozmani’s** ***Last Tango in Königsberg***

As stated in my previous post, famous and even not so famous actors performing for the large or not so large screen are no strangers to hanging around. After a short induction it quickly becomes something of a skill, kicking your heels whilst each scene is repeated umpteen times; first filmed this way, then filmed that way, a camera angle from here, a camera angle from there, a close up followed by a closer close up; and all this without including numerous takes and retakes and the repetition of parts of scenes for homing in on and improving sound quality.

I was not too perturbed about playing the waiting game as Nizovie museum is my kind of place: an old building, imaginatively restored and with the additional bonus of being extremely full of antique and obsolete items ~ including my wisdom tooth (“And the rest!” ~ who said that?).

Mick Hart with Hanomag & actor Michail Gvozdenko — **Mick Hart with actor & Hanomag owner Michail Gvozdenko**

Olga Hart with Hanomag vintage German car — Olga Hart with Hanomag on the film set of Yury Grozmanl’s *Last Tango in Königsberg*

Another plus of waiting was that later in the day the last scene to be shot outside would feature the 1927 Cadillac, a Soviet Gaz-67 and also the Hanomag, the car that had a starring role in the film noir, Agnes, recently shown at Waldau Castle.

Soviet & German vehicles Nizovie — **Gaz-67 and Hanomag**

As the weather travelled through its yearly cycle in under six hours, Olga and I took refuge in the Hanomag, where we were able to furnish ourselves with some rather nice photographs of a vintage car so thoroughly German that I could almost feel the Gestapo breathing down my neck. In fact, it was Yury Grozmani, the writer and producer of the film, urging me to take part in a scene for which I had not been scheduled. And so it came to pass.

Coaching for this scene took place behind Mr Zverev’s car. It occurred to me that there was every possibility that this was the first time that I had stood behind a 1927 Cadillac wearing a 1940s’ trilby with a Russian gent waiting to cue me for a film sequence. Before going on he said to me, “Try to look tragic.” What else, I thought.

Mick Hart with 1927 Cadillac Kaliningrad — **Mick Hart with Ivan Zverev’s 1927 Cadillac**

The last scene of the day was filmed outside on the forecourt and upon the steps leading to the museum. A gale force wind had blown in from somewhere with a rather nasty edge to it, but it was worth getting your wisdom tooth cold for just to see the combination of all three vehicles in close proximity and in the conjoining presence of uniformed Soviet actors.

There are still quite a few scenes left to be shot before the film is in the can, but my bit is complete. My next act, which will take considerably more skill to master, is trying to look brave at the dentists!

*The film is made with the support of the Presidential Foundation for Cultural Initiatives

Filming Last Tango in Königsberg

Published: 9 April 2022 ~ A Film Set in Königsberg During World War Two

In two earlier posts ~ ‘Königsberg in WWII Nazi Spies and a 1927 Cadillac’ and ‘1927 Bootleggers’ Cadillac is the Star in Kaliningrad Film’ ~ I wrote about Last Tango in Königsberg, a film conceived by author, journalist and historian Yury Grozmani, who also wrote the script and screenplay.

Obviously attuned to my star quality and having absolutely nothing to do with the 1940s’ period pieces that make perfect props for a film of this era, which we brought with us when we moved from England, Yury offered me an interesting part within his historical drama. I outlined the role in my previous posts along with the film itself.

A film set in Königsberg during World War Two

On Thursday 24 February 2022, the film crew assembled at our home to assess the potential sets where three scenes would be filmed and to undertake various technical tests with regard to the lighting and laying of cables.

I must say that the arrival of the production team was exciting, rolling up as they did in three or four vehicles and a large TV van …“

As today was the precursor to actual filming, our involvement was minimal. We arranged furniture, fetched props and assisted when required, but our main contribution was keeping out of the way.

Filming was due to take place on the 27 February, which gave me three days to polish up my lines.

I would like to gild the lily by saying that come the day not only was I word perfect but also as cool as an agorochek, but let’s not be BBC about this. The truth is that I had been rehearsing my two scenes, five minutes of script, for weeks but was still tripping myself up and was nowhere near not as nervous as I pretended to be.

Before my debut on the silver screen, consisting of two scenes both of which would be filmed in the attic, another scene had first to be filmed downstairs.

They say that film and TV work involves lots of waiting and hanging around. Doesn’t it just! It also requires the ability to keep quiet whilst filming is in progress (or during ‘takes’, as we creative types like to say). Hyped up and killing time, this was no mean feat, especially when Arthur Eagle, the show’s enabler, came barging into the dining room looking all hot and flustered. Apparently, moments before, the female star of the show had changed her costume in front of him. Said Arthur, bashfully: “I didn’t know where to look!” Which was a pity, because if I had been there, I could have advised him.

A film set in Königsberg during World War Two

Numerous cups of tea and mental line-rehearsing later and at last we were ready to do it. But it didn’t just happen. Five minutes of filming required so many different ‘takes’ ~ camera angles, close ups, minor scene alterations and object cutaways ~ that by the time we had finished any illusions of glamour that I may have entertained about work in the film and TV industry had vanished, leaving in their place an honest sense of relief that I had not embarked on an acting career.

Whilst relatively pleased with my performance, I think my most convincing role came later when the completed scenes were ‘in the can’, whereupon I played the part of a person who opens a bottle of vodka to toast a job well done!

A Film Set in Königsberg During World War Two

Musing later on the day’s events and my role in the forthcoming film, it struck me that Yury Grozmani was not only to be congratulated on his multiple creativities but also admired for his plain-speaking honesty. Asked in Baltic Plus radio’s studio last week why he had chosen me for a part in his film, Yury replied that he wanted someone who was distinguished-looking, noble, intelligent, resourceful and who bore more than a passing resemblance to Hollywood legend Kirk Douglas.

The obvious answer to this is, apart from the old Specsavers’ joke, that when he couldn’t find that person, he turned to me instead. But I remain undaunted. As I said on Baltic Plus radio, I consider this film to be the first step on the ladder to stardom. No sooner will Moscow film producers get a load of my performance than my phone will never stop ringing: “Our advice to you is don’t give up your day job, unless you’d like to audition for sweeping the studio floors …”

Ahh, fame, it’s difficult to live with, but I suppose that I’ll get used to it.