The saddest comedy And it's so sad that it's so funny.
That’s what an interesting thing – 2001, the very beginning of the 21st century, behind the ninety-severe years, and it seems that our cinema was filled with the notorious “cult of violence and sex”, and the film is Soviet soulful, funny and even some kind of native. Although, in general, there is both sex and violence here, on the other hand, try to prove that they were not in Soviet cinema.
The film is woven from several mosaics, each of which has its own bitterness, its own sorrows and its own fire that warms the soul and gives hope. And let the suite is mechanical - for the heart it touches no worse alive.
Two completely different people, working in the same factory, go on a very sad journey - to take the body of his deceased colleague and bury him on his native land. When you get involved in something like, ‘Let’s drink it,’ it definitely starts to go the other way. And then there comes the black humor, which is so little (lucky!) in our films, and here you have a mixed feeling – your mouth opens to express surprise and at the same time to laugh.
If now there was an active promotional campaign “Mechanical Suite”, the endless producers and businessmen from the cinema would say at all corners: “it is so in Russian”, “this is the whole Russian soul!” – absolutely vulgar phrases, and, fortunately, the creators did not bring this wild straightforward banality into the film. Only Zinaida Sharko, carefully stroking the grave of a man on whose cross only a plate with a number flaunts, affectionately says: “We live in Russia.” And this is all, and everything is clear at once, not the need for empty wording.
Many people can praise and admire here: from the music Leonid Fedorov to the stunning acting ensemble - not to mention the fact that Garmash and Khabensky appeared here in completely unusual images, so also episodics - Kuznetsov, Vorobyov, Bashirov and others have already led to wild delight by their appearance.
All the stories are intertwined here kind of on purpose - but there is no more skillful shuffler and magician than life. And now Lyuba (Dobrovolskaya) is faced in the police station with the object of adoration (Zibrov), and Mityagin (Porechenkov) only after all the fun in which he scrolled, understands the simplest values (such as the “friend is not just a word”).
I still won’t put a dozen, because some plot events hung in the air, and phantasmagoria, juggling black humor, after Mom’s films, you expect a more tarnished one, or something. But nevertheless, the Suite left a pleasant, sweet sadness, which is also good.
8 out of 10