Monument of jewelry art, wanted since 1917 'The past no longer exists, and the future may not be, live in the present' (Japanese Proverb)
The viewer is used to the fact that the directors somehow manage to fit a huge novel in just an hour and a half movie. But few people manage to shoot an almost perfect multi-series detective story. Eugene Tatarsky such a magical transformation succeeded in full. Two helped him in this: screenwriter Artur Makarov and writer Anatoly Romov, who in 1979 wrote the story ' Customs inspection' (the second name is ' Charlotte’s ring'). ' Traces in the void' (1977) and ' Customs inspection' (1979) are included in the author’s cycle 'Vladimir Martynov'. As is often the case, the script does not copy the original source as a bonus & #39; leaving the viewer the opportunity to re-enjoy the story already in the company of literary heroes. However, after the film, the book version will still be filled with images from the film, because it is difficult to come up with the best candidates for characters, and this is the main undeniable merit of Yevgeny Tatarsky.
The film captivates from the very first minutes, and does not let go to the very credits. The reason is simple - an amazing combination of ' unhurried' detective, excellent camera work and a whole series of episodes, for many of which I want to exclaim enthusiastically: 'Bravo!' History flows smoothly, even slowly. Watching what happens is a pleasure. Dialogues are written lively and diverse in accordance with the most capacious characteristic of the character. Compositionally, the story moves from one person to another, expanding the panorama of the committed crime. The main characters - KGB Colonel Vladimir Vladimirovich Seryogin and KGB investigator Anton Borisovich Pavlov - are an excellent tandem, in which the "first violin" is played by Kirill Lavrov, but this does not mean at all that Vadim Ledogorov is ' on the second roles'. Of course, Pavlov is young, partly inexperienced, but he received an excellent education, inquisitive, intelligent and himself can give practical advice during the investigation.
In addition, communication with a well-known investigator enriches him not only professionally, but also ethically. In each of the three episodes, the writers found "Modest Corners" & #39; where colleagues can talk frankly. This is not the notorious question ' fathers and children' and not ' the battle of generations' - this is a heart-to-heart conversation. Open and honest. An intelligent person is distinguished, first of all, by the ability not only to listen , but also to hear the interlocutor. Only then do people’s actions and motives become clear. For investigators, this skill is especially important, given the human material they have to deal with. Pavlov, with the maximalism of his youth, argues that evil is invincible, because it is not evil at all, but the way of thinking and living of the citizens of the country. Seryogin sees the problem in another: ' We paid too little attention to the person himself. First fought, then built. Then they fought a long and terrible war, then they were restored. We were always in a hurry, and we missed a lot. . . '
The words from the capacious monologue serve as an excellent illustration of a series of secondary heroes who for three episodes will appear on the stage of detective history. These characters are panopticum and kunstkamera ' in one bottle '. The variety of forms, sizes, emotions, motivations is simply amazing, as is the unique acting in such mini-performances. In this case, everything exactly corresponds to the famous expression ' The King plays the retinue' - episodes one by one are strung on the core thread of the investigation, making the film more and more interesting. The time of writing the novel (1979) and the time of creation of the film (1984) do not differ much, so the characters do not need to be adapted to the rapidly changing Soviet reality. It's about every character. How brightly and inspiringly Igor Iankovsky and Valentina Voilkova played the new generation! Work in the port though not ' window to Europe', but exactly - ' fork to the West'.
In the port, as in no other place, you feel ' the air of change', ' the air of freedom' expressed for Viktor Korablyov, primarily in the ability ' to live like everyone' - to engage in farts, buying antiques, icons and other ' rarity' for which thick purses from the West are ready to pay big money. Perfectly feels in this row and the employee of the auto repair shop Stas. The only thing that somewhat spoils the image of Gergiy Martirosyan is a mild & #39; overdose & #39; ostentatious fear when meeting a stranger. Here is the friend of Sedov simple-naive Olga. Maria Helemskaya played it so that the viewer is completely on the side of her boyfriend, who threw in the fuse 'Go wherever you want!' A completely different level for heroes-'heavyweights'. Surprisingly meaningful with almost fleeting brevity role of Elena Nightingale, gracefully played a female vampire shadow business. Harmonious as Tuley Vladimir Soshalsky. Bright and vociferous Valery Bukin, with wide strokes sketched a memorable image of the coupling of cars.
There is a character two episodes with which you can safely call a novel in the novel - underground master jeweler Arkady Ilyich Roizman. The scenes with his participation are a whole story of an incredibly talented and at the same time extremely lonely person who is ready to commit a crime in order to buy the attention of loved ones. It's not even a drama, it's a father's tragedy, brilliantly embodied on screen. I saved the most important character for last. Yuri Kuznetsov should take off his hat as a sign of deep respect for his talent for reincarnation. Valery Korchenov in his interpretation is a real beast in the guise of a man. This impression is reinforced by the lack of word, forcing Kuznetsov to play almost all emotions with facial expressions and eyes. Brilliant work! Summing up, I want to say that the film turned out bright and memorable for many reasons. Acting, of course. A fascinating story, of course. But I would like to note the atmosphere paintings. This music (including fashionable Western), and panoramic views of the city, and the interior of apartments, and thousands of different trifles accidentally caught in the frame, and forever became the imprint of a bygone era. The era in which the heroes loved their country, believed in it, sincerely wished for a worthy future for it.
' This sadness is no longer scattered with the ringing laughter of distant years. My white linden blossomed, the nightingale dawn rang. Everything was new to me then, there were many feelings in my heart, and now even a tender word is being bitterly fruited from my mouth. . . ' (Sergei Yesenin)