It is very interesting to watch how Shakhnazarov tries to reconsider the heroism of the revolutionary-terrorist myth, the heroes, although courageous and eternally sweaty, take away other people’s wives and generally behave not fully in a masculine manner. Conspiracy meetings are arranged in some den with the diabolical (no other) Cannes. No pathos, complete cynicism in the hero Savinkov, but the idiotic faith that no one needs in Kalyayev.
All this terrible game ends with suicide, even if it happens on Lubyanka. The film talks about suicide as a logical end, and not about murder, as historians now believe.
And by the way, who told the director that Dyuzhev could play Azef? The great Russian provocateur looked more like a handsome man than a macho. Although Panin got into the image of Savinkov, although I saw his character from “a kiss not for the press” everywhere.
8 out of 10
Original