The main problem of Kortika is an outmoded ideology. In the early 1970s, the cult of the personality of the leader of the world proletariat had already given a slack, so even at the time of its premiere, Kortic looked a little outdated. The story of a boy who helps the Bolshevik commissar in the hunt for bandits is imbued with those beliefs that are now unlikely to be understood by anyone.
The development of events "Kortika" can be characterized by the famous phrase "from dirt to princes". If each of the three episodes were a separate film, the first one would be below average and the third would be above. Village dirt and rudeness, in which the plot begins, are perceived very unpleasant, as well as their inhabitants. Who's Misha? A kid who doesn't disdain assault and plays games on ... smearing saliva on the loser's forehead? That is, in the most egregious way violates someone else's personal space. Great, because this is the character that you want to empathize with! Nothing like Genk. Simple and unbred, he does not think for a second about taking the example of, say, Slavka - a cultured and educated boy who looks like a real elf compared to two friends. The problem is that Misha has a very female voice. All for the reason that it really duplicates the adult actress, as in the sequel "Bronze bird". Now it is time to recall one phenomenon, aggravated already in the XXI century.
Cancel culture. It can be perceived in different ways, and of course it is foolish to blame the director of “Kortik” for the fact that he took the main role of the future criminal, but there is evidence that even during the filming, the behavior of Sergey Shevkunenko was audacious, defiant and, frankly, obscene. Since the external actor is well recognized, the film cannot be perceived calmly. Nothing can be done about this, no one is immune from such problems.
And as if supplementing the main shortcomings, the operator manifests himself from a very weak side. The fact is that in the "Kortik" of great importance are small details associated with the main artifact. Small in a literal sense, as the crust contains something for close consideration. But never in all three episodes will we get the opportunity to consider and read the most interesting, because if the operator shows something close-up, it is only the faces of the actors. Of course, they are great, but a lot of characters look repulsive. Cinema is not real life, and it is important to highlight the shortcomings that must be eradicated from society. But Cortic doesn't do that. Therefore, rudeness and smoking are shown without condemnation, and the internecine strife of 1921 is presented on the one hand. You can guess which one.
The strength of "Cortic" is the music. Sometimes the atmosphere almost turns into a psychological thriller, and this causes real delight. It is a pity that in the Soviet Union thrillers were not filmed. There were opportunities... Much of what is shown in the third series contrasts with the first. Rudeness and dirt go to the third plane, and the first is the category of more educated and cultural characters, on whom it is much more pleasant to look.
With the example of Kortik, we are convinced that it is not always good to show life in the most authentic way, because in movies we do not go for reality at all. Honest:
Now the name of the studio 'Belarusfilm' someone will not say anything, and someone associated with low-grade military militants. But there was a time when this studio could offer something worthwhile - for example, the film adaptation of the famous trilogy ' Children of Arbat'. However, not without reservations: twenty years before that, a film was released on ' Corticus' with Bruno Freundlich - and he remained (and will remain) the best adaptation of the first book. Three-part version 'Belarusfilm' wins only due to timekeeping, which allowed you to accurately transfer the events of the book to the screen. And even to this the then periodicals in the face of ' Soviet screen' found fault in the sense that Kalinin instead of a work of art, a dry retelling, which is finished by sluggish directing, unimportant acting and hulking action under ' Elusive Avengers'. In principle, the Soviet reviewer was right. It's all in the movie. And the images of individual heroes can be criticized: Misha came out openly arrogant, and Nikitsky turned into something quite operetical. Freundlich in the fifties played an officer (albeit rather nasty), and that was right, that's the main characteristic of the character. And Vitorgan portrays just a villain - a chic bastard with thin mustaches, who can be at least an officer, at least anyone else. And the image loses depth.
You do not want to dig into the action - it is almost there, only a couple of short fights and a couple of poster shootouts with cavalry assaults and fighters falling in the rapid under the choir, claiming that ' it will not be in vain, our feat is noble' It's also sluggish, but it's a detective, and it's not about fighting. This is not an excuse for quality.
Now the series looks better - time has benefited him. Yes, this is still the same raw craft, stuffed with propaganda (however, this is enough in the original source), but in modern times, against the background of "Military Intelligence" & #39; and the company, even such a passerby looks something cheerful and joyful. The series is shot somehow, but quite sincerely, and the curvatures of Vitorgan, and the pathetic dialogues of the pioneers (another hello from the original source) now look cozy. They don’t take it off anymore.
When viewing, the main thing is to tune in not to a masterpiece for all time, but to a passing sample of the genre - a modest craft, but of Soviet quality. And if you don’t like it anyway, we’ll always have a movie with Freundlich.
6 out of 10
It will not be in vain, our feat is noble, and the golden time will come anyway. . .
The film directed by N. Kalinin 'Kortik' became a legend and a symbol of the pioneer tapes of that time. And, of course, one of the most important films about the first years of Soviet power. Remembering these or other plot moves, it was often difficult to tell exactly whether I was re-reading the book at the time, or watching the film. The film adaptation was so accurate. Kortik, who fell into the hands of the young pioneer Polyakov, drew a whole chain of exciting, fascinating and often tragic events that became known thanks to the famous trinity of pioneers.
Whatever it was - most of those who remember and appreciate both 'Kortik' and 'Bronzebird', it did not hurt that the three main characters were voiced by women. There were reasons. And the transitional age of young actors, and breaking the voice – and then, voice acting – is quite common practice in world cinema. How perfect were the voices for each of the boys. It is simply impossible to imagine that the real S. Shevkunenko (Misha) could speak in such a confident and slightly ironic tone, and V. Dichkovsky (Genka) without that characteristic, emerging youthful hoarseness.
Returning to the image of Misha, it is safe to say that the screen hero in many ways ' surpassed ' his book prototype. If book Misha, after his injury, cries with pity for his mother; laments, learning about the puncture of Genka and Glory after a trip to a philatelist, then in the film we see almost never smiling, a little ironic teenager with a harsh look. Confident, unbending, with some inner core and character, like a cocked trigger. We will never know if young Sergei has added his personality traits to the image of Misha, which allowed him to become a tough leader of a criminal group. Or, conversely, the firmness of the spirit of the young pioneer influenced Sergei himself in the future.
The terrible, tragically ridiculous fate of the actor is a clear example of the rebirth of a lonely teenager with an unstable psyche, first into an uncontrollable, alcohol-dependent creature, and then into a recidivist. But still... it is impossible to imagine another Misha Polyakov, and, probably, the image of the actor will be superimposed for a long time on the impression of those who read and reread that famous dilogy.
I have already written in one of my reviews about the paradox - about the early or deaths of young actors - many of whom either remained performers of the same role, or fell off and rolled down a slope, unable to withstand the test of suddenly piled up fame. There are several such cases at once!
Actor I. Shulzhenko (Slavka) dies of alcoholism, and failed to get out in people. A. Primako (a homeless Korovin) was found killed at night on the railway track. A. Voinovsky (Borka-zhil, he is also the main character ' Chudaka from the 5th 'b') subsequently became a writer, dies from a knife wound in a drunken fight. I. Kondratovich (Senka Erofeev) dies young from blood poisoning. They all left, leaving a memory of themselves thanks to one or two roles that made them famous forever.
You should write about adult actors separately - it often happened that in childhood you do not pay much attention to the names of the performers of the roles, especially if they are not mega-popular. Only as an adult, I drew attention to a number of famous, wonderful and talented actors engaged in 'Kortika' - this is E. Vitorgan (Nikitsky), R. Filipov (Filin), Z. Fedorova (grandmother Misha), V. Sergachev (Uncle Senya) , L. Kmit (grandfather Misha) - this is generally the same magnitude Petka from the famous ' Chapaeva'.
10 out of 10
The first part of the trilogy is about the pioneers (by the way, not yet pioneers) Misha, Genka and Slavka, unravel the mysteries of the murder of a naval officer and his dick in the fight for the cause of the commune... just in the name of a bright future.
On the one hand, this is an example of children’s socialist realism in cinema, on the other – quite honest and eternal romance of youth, stolen from Mark Twain and Robert Lewis Stevenson and talentedly reworked on the Soviet way by Anatoly Rybakov. Therefore, it is revised even in the absence of pioneering and the like. In addition, Fishermen class battles Civil makes purely personal and with a moral background. However, the class enemy becomes a murderer and a villain quite according to the canons of Soviet cinema. Although it is more correct today to watch the curtain as a children's, first of all, an adventure film. For the factual absence of this genre in our cinema now - it would be right.
I would like to point out that it is the real boys, not the Real Boys, because there is a deep chasm between them! Of course, I am on the side of the first, not the second.
... A Jewish boy, in the future the most remarkable domestic writer Anatoly Rybakov in the years described in his novellas “Kortik”, “Bronze Bird”, “The Last Summer of Childhood” and in the global novel “Children of Arbat” he lived and husbanded in Moscow on the Arbat (" I am a nobleman of the Arbat court” – Bulat Okudzhava, by the way, the author of the poems of the title song of the mini-series “Kortik”). And so he wrote about what he knew not by hearsay, but about what he saw, experienced and experienced himself. He wrote the truth! And we just can't help but believe her.
In my Soviet childhood, I read all three stories with enthusiasm and watched mini-series based on them on TV. Because they were about real kids like the guys in our backyard, like me. Of course, there was a 50-year difference between us and them, but it wasn't really felt. We also played knives, hooliganistically shot with slingshots and much more, fought and feuded with boys from neighboring streets-districts. And for us, the cry of friends “Petka, come out into the yard!” was equivalent to an invitation to the “higher world”, but what there, in real life. For the yard, the street, then brought up future men no worse than “family and school” (the magazine of the same name was published). There we found friends for life, there, through soured noses and torn shirts, acquired the concepts of honor, justice, and courage. There and then it became clear who was worth what and who would go where in life (sorry for the exaggeration - who was in prison and who was in astronauts). Children feel all this very clearly, believe the former Michurin boy and the red-tie pioneer (one did not interfere with the other!). Here are all this, as well as the most exciting adventures, and narrate three stories by Rybakov and three series set on them. It’s amazing that the writer himself wrote the script! “Kortik” turned out to be a very competent “screen adaptation of a literary work” (in the 70s of the last century there was a special film section “Ecranization of Literary Works” on Soviet TV), and not a simplified and remade film “based on motives”. Here we have already talked about the highest quality of acting (especially children's - 100% natural!), about the excellent directing and camera work (I really liked the very first, introducing to the era panoramic shots - driving through the battlefield - a bush on the dried steppe grass, plunged into the ground checker, etc.; I immediately remembered the song "There is far, beyond the river ..."). I will note only the beautiful music of the famous Soviet composer, jazzman and singer Stanislav Pozhlakov (died in St. Petersburg in 2003 in poverty, abandoned by everyone, or maybe killed...). And in no way can we ignore the attention and kind words of the studio that released Rybakov’s creations on our screens. Belarusfilm! In general, I consider Kortik and its sequels one of the best domestic films about children and for children, as well as for adults who were also once real boys and girls. Very instructive and educational film, especially for the current peers of the heroes of “Kortik”. They also go to school, study in different studio sections (at least some communication with peers), and then sit at home at computers like little adults. And no one shouts to them, “Petka, come out into the yard!” At least because the courtyards have become a parking lot for cars and even in football there will not play. And there is no longer that true freedom, surveillance, which so cherished the heroes of the stories of Anatoly Rybakov and us, subsequent and already aged generations of real, real boys. And very painfully, the question arises: will the current “room-hothouse” children be able to intercede for a friend in a difficult moment, protect the girl from hooligans, help the old woman cross the street and bring her heavy bags to the entrance? We all have to answer that question.
Soviet cinema added to the world collection of films with truly brilliant creations. Time may have played a role, and severe censorship has had a significant impact. But still, talent, devotion to art and a special reverent attitude to film as a creative product, not a commercial one, created an invaluable, great collection of masterpieces of Soviet-era cinema. Where a separate place is occupied by adventure youth films, such as the famous "Elusive Avengers", "Two Captains" and of course "Cortic" in 1973 according to the story of Anatoly Rybakov.
Kortik, a remake of the 1954 film, received a subsequent television adaptation in three episodes in 1973. Almost 20 years later, in color. The story of Anatoly Rybakov “Kortik” was so full of events and diverse characters that it hardly fit into the usual format of the movie. Three series were presented to the audience, connected together by a common plot - "Cortic", "Bronze Bird" and "The Last Summer of Childhood". The film takes place during the Civil War in the former Russian Empire. Misha Polyakov, an ordinary schoolboy from Moscow, is visiting her grandparents. And one day, with a crony friend Genka Petrov, they find an old ditch. Later it turns out that his master was an officer of the battleship “Empress Maria”. Kortik is fraught with a lot of mysteries and secrets. And for some reason only he is wanted by the leader of the gang, White Guard Valery Sigismundovich Nikitsky. Young heroes resort to the help of Sergei Ivanovich Polevoy, commander of the Red Army. Now their mission is to preserve the found crust and protect it from the hands of enemies. The adventure begins. And the secret hidden in the curtain will gradually be revealed to the brave heroes. Meanwhile, the enemies do not sleep. They are on their heels...
The painting “Kortik” now looks with aspiration. Remove the light touch of ideology imposed by a bygone era, and get a high-quality adventure mini-series with elements of detective and action. The old school of directing makes itself felt. Reference excellent camera work, thoughtful scenario create an atmosphere of dynamics of what is happening. Acting skills are beyond praise. Today’s artists can only be envious. Stanislavsky himself would have believed. Watching the adventures of the heroes, the viewer truly sympathizes with Misha Polyakov, his friend and commander of the Red Army Field.
Drama is an appropriate addition to the picture. A slight aftertaste of something untimely gone, clean and naive in a sense will remain even in a young audience. Perseverance of spirit, inflexibility of character of the main characters and belief in the best distinguish this feature film from creations of our time. Perhaps these are the true values worth fighting for. And the pseudo ideals of the present era are only fiction and bluff.
"Cortic" is a timeless movie. Mastery never goes away. The masterpieces of cinema will always be alive. Finding a response from responsive viewers. Unfortunately, this is hardly seen on the screen. Only here the alliance of good acting work, skill and genius of the director, professionalism of the operator created a truly high-quality adventure youth film "Kortik". A wonderful, interesting mini-series of the past.
An interesting Soviet adventure film for children, based on a very famous work. To tell the truth, the book seemed more interesting to me, but the movie is also good.
I am sure that small tomboys who dream of exploits and heroism will be very interesting to watch their peers on the screen unravel the old mystery, conduct their own kind of investigation, which makes them become spies, heroes, and just good.
Indeed, the film is an interesting adventure that young guys get into, and it is the fact that children of the same age will sit at the screen that will play a huge role in the success of this film.
However, personally, I have some remarks rather not about the film work, but about the story itself. For example, the main character here is very correct, so to speak, "climbs everywhere and shouts about justice." Honestly, I don’t like these people because I think they do it out of self-interest. But, this was the image of the pioneer in those years, and it is not surprising what it is all about.