The only good thing about this film is Regimantas’s play, on which this utter wretchedness somehow rests and does not fall apart. He plays the second most important character. But Karachentsov plays here, as always simple, Karachentsova - grinning, frowning, groaning, shouting something. He's the same in every movie.
The idiocy of
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The only good thing about this film is Regimantas’s play, on which this utter wretchedness somehow rests and does not fall apart. He plays the second most important character. But Karachentsov plays here, as always simple, Karachentsova - grinning, frowning, groaning, shouting something. He's the same in every movie. The idiocy of what is happening is thrown from the first frames: - The man is running after the train, but he can not catch the pursuers on horses. - The train goes absolutely silent and allows you to communicate without raising your voice to the traveler on the roof of the car and the stalking horses. - Tucker simply led the cane in the air, being on the roof of the car, and the car uncoupled. You see, this is the bottom of cinematic negligence, below which there is nowhere. This scene shows that the authors do not care how the film performs obvious actions in the real world. - The car stopped almost immediately. Then two people just pushed him, and he didn't just move - he left after the train, far away and without stopping at all. I couldn’t even think of doing that in a movie. - Even in Soviet times, there were films with good scenery. But here they are at absolutely zero. - As well as staging scenes – extremely simplified and shortened, with the removal of 9/10 of the original content. The thimble plays with only two thimbles, although 3 or 4 should be used. His art is shown extremely hulkingly, his distracting chants are completely cut out. After 40 minutes of that delirium, I just turned it off and deleted, it's unbearable to watch. Not because the film is old and has no (and could not be) spectacular, but because the authors did not care that the resulting film is not a single believable minute. It's a totally brutal theatrical thing. Gentlemen, if you want to experience this work in an undisgraced way, then read Oliver Henry's original book, The Noble Fraudster, or listen in audio. You will be amazed at how much the same events look fuller, more believable, more interesting. In the events of the book more or less believe, and shown here is a children's cartoon with a complete lack of physics of what is happening and zero staging.
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