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Cannes-2018. Day 2: Choi and Mike eyes Serebrennikov

In the competition of the Cannes film festival is revealed — a shocking lack arrested at the home of the Director — “Summer” by Kirill Serebrennikov, well-meaning, but timid retro musical about how he met Mike Naumenko and Victor Tsoi. In addition: a leper and a orphan in the cross Egypt spiritually uplifting road movie A. B. Shawki.

Leningrad, the beginning of the 1980s, summer, “Summer”, a song Mike Naumenko (Roma Zver), propevia by the author himself on guitar, Vino and girly sighs at the fire. Mike is already quite a star rock-n-roll (and even a member of the Board of the local rock club!): my wife Natalia (Irina Starshenbaum) in response to the jokes of his comrades proudly renounces Jagger: “Mick, Why should I when I have Mike?” Jagger on the Gulf coast, where Naumenko rests with the company, in fact, and not seeking — as opposed to a pair that long-haired youths, familiar with Punk (Alexander Gorchilin in the role of the person charged with the frontman of “Automatic satisfactory” Andrey Panov). Victor (Theo Yu) and Leonid (Filipp Avdeyev) have guitar, a couple of bottles of Moldovan and of his own composition: soon Choi sings “Slacker” and “My friends”, and Mike will love his songs, and his wife Natalia — the Victor. The history of this pretty chaste in fact a love triangle and serves the film by Kirill Serebrennikov basis on which the second layer rests the portrait of the heroes of the era. Leonid Brezhnev on television and Blondie T. Rex in the tape, the seminar is open to young and KGB men, appartment and alcoholics, longing for jeans and cry for freedom, BG (Nikita Yefremov) and the cat on his shoulder — and the distinctive, romanticized and priukrasil shabby Brezhnev’s Leningrad black-and-white wide-angle, operator Vladislav Opelyants.


To understand how to work a crowd or that movie, however, you need to ask the question is not “what” but “how.” Well, if in the previous film “the Apprentice” pieces of silver as if wielding a hammer, mercilessly nailing to the cross, not so much Russian life much of the audience, the “Summer” already looks like it had been embroidered with a cross. Heroes don’t so much speak as purr — occasionally of himself, a little more of his time, but mostly it’s more about music and foreign idols. Profusely voiced in the frame and behind the songs of Tsoi and Mike are complemented by musical numbers on the composition of these idols don’t have time to go through half an hour of screen time, and the nameless old woman from suburban trains will be sepeti “FA-FA-FA-FA” by participating in the performance of “Psycho Killer” Talking Heads. “Summer” tends to embrace all and Brezhnev (“spring has Passed, summer came, thank you for this party”, — will mint have gone into the movie for a few scenes Liya Akhedzhakova), and Crest, youth and rock-n-roll but on anything doesn’t linger for long, preferring not to immerse yourself in a bygone era, and on my tiptoes waltzing around on the surface. There is even and pre-Fig potential critics of the film: in the frame and then comes in, speaking directly to the viewer, the character identified in the credits of a Skeptic (Alexander Kuznetsov), with a sign “This really wasn’t” and cynical remarks ready. “Not like that” — says he’s the first close-up playing of Choi and dubbed by an unknown Russian artist Korean Theo Yu.

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Frame: the movie “Summer”


All this mnogogolovy, polyphony embodied in the “Summer” at the level of form, however, quickly reveals the main problem of the film — and it is not even about the frivolous, romanticized the idea of stagnation of the 1980s (which, by the way, recognized the handwriting of the writers Michael and Lily Udovich, about the same starry-eyed voobrazila 60s in the TV series “the Optimists”). Despite the obvious tenderness with which the authors of the “Summer” stare at their characters (and which more or less redeems even the lack of acting skills Roma have a Beast), it’s hard to escape the feeling that the pieces of silver, and the company simply afraid to really be interested in Tsoi and Mike. They seem not to trust his own characters — and all the time slips to your like and so not lame picture crutches: prop up the “Movie” and “Zoo” Bolanos with Lou reed, seal music musical, not noticing how their movie starts not like to give “Hipsters”, substitute revelation chatter and cooing, and drama is conflict-free, picture-perfect the imposture, impersonation in explanation of the mass memory. It is significant reluctance to spend with their heroes not half a minute before the next cut, and the time sufficient to for poster images began to appear real people (even smart enough, docucinema Director and writers), leads to the distrust of the viewer: Serebrennikov takes a “Summer” like you don’t believe in the possibility of the audience to endure even five minutes without another attraction. For a person on their skin right now know the price of freedom in the Russian reality, it is surprisingly proprietary, Patriarchal author’s approach.

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In another competition film the first days of the festival is the debut full meter young the Egyptian of Abu Bakr shawky’s “doomsday” — the word “freedom” out loud is not pronounced, but the freedom is literally spilled on the frame. Characteristically, begins this painting in a more or less voluntary prison, a leper colony, where there is a long time to cure, but forever disfigured by scars Besi (natural leper For Gamal). Earns the selection of waste at the nearest giant junkyard, drives around on a cart drawn by her donkey, befriends a ten-year-old orphan nicknamed Obama (Ahmed Abdelaziz) from a nearby shelter, he refuses, against all odds, to be depressed — except that chehvostit administrators of the colony, sent his wife to the clinic for the mentally ill. And when there comes the tragic news of the death of his wife, Besi first organizes a modest funeral, and then takes off to cross Egypt in search of his family, 30 years ago left him on the verge of a leper colony. Obama, oblivious to the prohibitions connected with him.


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Frame: the movie “Comaddin”


“Judgment day”, of course, begs at least one rigorous question: and could Shawki to make the viewer an hour and a half to follow a leper, if he had not been accompanied by the exuding charm of the universal child? But we must pay tribute to the Egyptian Director — more or less following the Hollywood formula of uplifting movie about love of life, which may even sirye and miserable, he gradually corrodes the armor of the audience’s skepticism. Yes, the techniques that Shawki achieves this not affect the original: behind the scenes keeps a sentimental mood music, close-up propeciacanada disease for the Sake of Gamal always ready to complement an open, handsome face of the young Abdelaziz, and in particularly dramatic moments leper and a orphan in a hurry to help other blessed (including dwarf kallanalla). Bribes in the “day of judgment” not even a topic and not rare in the festival movie characters, and pure kinokuniya, the author’s sincere love in the power of cinema to create on the screen a world filled with such colors that the audience and then catches the spirit. The more that illusions about the sensitivity of this world to the misfits and outsiders Shawki nourishes.

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