Tag Archives: Yury Grozmani screenplay writer

How to make a film based in Königsberg

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

A Film Set in Königsberg During World War Two

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.

Königsberg in WWII Nazi Spies and a 1927 Cadillac

Last Tango in Königsberg, a film by Yury Grozmani

Published: 19 February 2022 ~ Königsberg in WWII Nazi Spies and a 1927 Cadillac

On the evening of 15^th February 2022, my good lady wife posted this droll comment on her Facebook page: “Michael Hart, who stars as Mick Donovan, а senior MI6 officer in a thrilling new film based in war-torn Königsberg, was given his first exclusive radio interview this morning at the Kaliningrad radio station Baltic Plus. Book early for autographs … “

And why not, indeed?

Possibly because I am not the main protagonist. The real star of this short film, which is being produced in Kaliningrad with the support of the Presidential Fund for Cultural Initiatives, is a 1927 V-8 Cadillac.

Königsberg in WWII Nazi Spies and a 1927 Cadillac

The film chronicles the extraordinary history of this vehicle, which is captured along with Königsberg and the East Prussian region a few hours after Königsberg falls to the Soviet army on 9 April 1945.

The Cadillac, which is discovered by an officer and two soldiers of the Soviet Army, has survived the Battle of Königsberg miraculously intact inside the garage of the bombed-out Consulate of the Argentine Republic.

The Soviet officer offers the car to the first Soviet Commandant of Königsberg, Mikhail Vasilyevich Smirnov, believing that he would be proud to use it as his personal limousine. It turns out, however, that the commandant is less than impressed. He takes one look at the war trophy and exclaims, “A car with wooden spokes! It belongs in a museum!”

The narrative then winds back to the 25 May 1943 to the offices of Britain’s S.I.S. (Secret Intelligence Service), better known as MI6, and the story proceeds from here to depict the part that the Cadillac played in a covert operation to create a rift between Nazi Germany and the Argentine government.

At the end of the film, it is disclosed that in April 1945, the Cadillac, together with any other possessions from the former Argentine Consulate General in Königsberg that survived the storming of Königsberg, was taken to Moscow.

In the autumn of 1946, as a friendly gesture by the Soviet Union to Argentina, some of the property of the former Argentine Consulate, including the Cadillac, was transferred to the Argentine Embassy in Amsterdam.

The Argentine Embassy sold the vehicle to a hotelier, who used it to transport customers, along with their baggage, back and forth from his hotel.

Later, the Cadillac became a museum piece, before passing into the hands of a private collector, where it remained for a quarter of a century.

In 2011, the Cadillac was sold to Mr Ivan Afanasyevich Zverev, a private collector from Kaliningrad, who brought the car back to the city where 70 years ago it had added a dash of style and class to events of intrigue and danger.

Mick hart at Baltic Radio Kaliningrad to discuss Königsberg in WWII Nazi Spies and a 1927 Cadillac

Our appointment at the radio station, Baltic Plus, today to discuss the film in which this car stars, The Last Tango in Königsberg, was an early-morning affair. We had to be dressed, motivated and on parade by 8am sharp. I have never had a problem with early mornings, except for falling to sleep at night before they happen, so when we arrived at the radio station by taxi, which is located quite a way from us across the other side of town, I was shell-shocked, bleary eyed and very nearly awake.

To be interviewed live on radio was a first for me, so whilst I was not yet among the living, the adrenaline had started to kick in. It was a double-edged sword, however, for I felt tired and inspired, excited and nervous.

Königsberg in WWII Nazi Spies and a 1927 Cadillac

We made it to the radio station in good time where we rendezvoused with Arthur Eagle (I have used the English translation of his name, because I like it!) and Yury Grozmani.

Arthur is now officially the President of the Kaliningrad Retro Car Club. He is an indispensable fellow. He wears a lot of hats, such as organiser, arranger, enforcer and promoter, sometimes all at once! He also does a great deal of the necessary ‘leg work’, upon which any club or organisation depends.

Yury, who is past President of the Kaliningrad Retro Car Club, continues, nevertheless, to play a large part in the club’s activities. He is a journalist, author and local historian, who can now add script and screenplay writer to his many professional accomplishments, since the film in which the Cadillac stars, Last Tango in Königsberg, was conceived, planned and written by him.

In addition to my two colleagues, my wife, Olga, was also present, dragooned into the fray to act as my translator. As with all radio interviews, we were working to a strict schedule, so my level of spoken Russian, although I am a good student who studies every day, would not, on this occasion, fit the bill.

Königsberg in WWII Nazi Spies and a 1927 Cadillac. Mick Hart, Olga Hart & Yury Grozmani

After some preliminary paperwork and pacing up and down, we were on! We filed into the studio, a small room, and took our respective seats around the table. The situation brought back best-buried memories of university seminars. The old, but not forgotten, intimidation spectre that had stalked me down the years, now, as I took my place in front of what resembled a hedgehog on a pole, which I presumed must be a microphone, jumped back into my apprehension and made itself at home.

As I sat there, trying to repackage myself as someone calm and collected, it occurred to me that there were actually people who loved this sort of thing. In fact, they thrive on it. Whilst I could never be one of them, I suspected that Yury might be. He is such a good wordsmith, a natural speaker, so much so in fact that it is virtually impossible to imagine him doing anything, such as having a shave or riding his vintage bike, without if not actually making a speech at least privately rehearsing one.

It did not surprise me, therefore, that no sooner had the radio presenter counted down the final seconds and stuck his thumb in the air, meaning that we were ‘on the air’, than Yury was away like a greyhound out of the traps.

He spoke at length, which is not unusual, and this gave me time to compose myself. If speech-making or addressing an audience is not your bag, it is never the easiest thing to do; but it is even more difficult when a translator is involved, because of the unnatural pauses that occur in the periodic hand-over from one speaker to another. True, these small intervals can enable you to collect your thoughts, but they can also help you to lose your drift. This, thankfully, never happened today, and by the time Yury had finished expatiating on the concept of the film and the source of his motivation, I was ready to do my bit.

I was not altogether sure whether I should be looking at the interviewer when he asked a question or straight into the mini camera glaring at me from above and behind the large hairy microphone. So, I hedged my bets and did a bit of both. The radio broadcast was live, with, presumably, the videoed version transmitted via the station’s website.

The questions put to me were not at all difficult to answer. I was asked what it was that attracted me to the project and was able to contextualise my answer within my obsession for history in general and specifically my interest in the 1940s’ period, as illustrated by the UK vintage emporium which my wife and I once owned and ran, where we specialised in 1930s’~40s’ clothing, both civilian and military, along with furniture from that era, military accessories, deactivated weapons and other vintage commodities. I explained that our involvement in this field also took us into the living history world of large and small 1940s’ events staged each year throughout the UK. Result: fascination with the 1940s’ era.

I was also asked whether or not I had any acting experience, and answered truthfully, not a lot, but that my wife was constantly telling me that my whole life was a drama.

There was enough time to delineate my role in the film and to mention how Yury Grozmani and I had met, which came about when he interviewed me in autumn 2019 for an article in his magazine. He was curious to know ‘why an Englishman had come to live in Kaliningrad?’

For a first-time radio interview, I think we did quite well. Mind you, there was a collective sigh of relief when it was all over!

With that out of the way, all that we have to worry about now is making the actual film!😊