I don't know what to write. I just watched the movie and am impressed. A penny budget, in fact, two actors and a simple linear plot. But the film is multifaceted and at the same time holistic. I can't find the right words to describe it. I pay attention to one side of the film and understand that I miss all other sides, and therefore the description turns out to be flawed, biased. One thing is for sure: this is a very underrated and undeservedly forgotten film. I'm glad I accidentally stumbled across a passage and decided to watch it.
A remarkable finding of the director is that the performer of the main male role plays not so much a killer, but primarily Death itself. The further along, the more clearly the garbage man reveals himself as a demonic figure. In his appearance, the features of a sullen mower begin to appear. Already in the scene with the removal of the deceased from the house, there is a hint of the connection of the character with the afterlife. So this is a film about a girl meeting her death. She is looking for her, almost getting into an accident in the very beginning of the film, then seeks to delay the inevitable, flirting with the thug in the bar and recruiting him as a defender.
There is a conflict between two life scenarios. The heroine’s use of illegal substances shows her commitment to the motto “Live fast, die young.” However, a very benevolent Death is ready to forgive the girl many pranks, if only she freaks out and agrees to stay in this city.
Date scene. Guskov comes all in black, as befits a gloomy reaper, knows everything about the life of a stranger. Death on a short leg with the mighty of this world and, more correctly, all doors are open to it. Finally, the final scene - being unable to try on life in the backwaters, the heroine makes a desperate attempt to symbolically pay off Death with other people's money, but this is not a sincere sacrifice, so her days are now numbered.
Interesting solutions such as the scene of the fall of the couple from the ice slide, apparently, in the world of the dead; housing garbage man, equipped clearly in the basement, that is, some underground kingdom. The action takes place in winter, when nature sleeps or dies. In other words, a kind of variation of the myth of Hades and Persephone is being played out before our eyes. Moments such as the absence of any detailed scenes of intimacy, so typical of Western cinema, the sudden inclusion of the military theme speak of the dominance of Thanatos over Eros and anticipate the sad ending.
In films with an unexpected ending, the script is the key element. The plot can be as confusing as you like, but according to the law of the genre at the end, all the ambiguities, ambiguities, inconsistencies that manifest themselves in the course of the action, hints should receive any, but logical, consistent and systemic explanation. Here, after the denouement, the action that took place earlier looks complete chaos, unrelated to it. I will not even begin to describe the numerous absurdities in the course of the film: first, so that there are no spoilers (maybe someone else will be worthy of watching it), and secondly, there are so many of these scenario inconsistencies that it is boring to write about them in detail and even more difficult to read.
If you wish, you can, of course, abstract from the failed dramaturgy and look for the merits of a fairly simple film in the plot, leaving abstract arguments with a philosophical bias: say do not find fault, these are all irrelevant conventions, assumptions, and in the existential sense, it turned out to be a film-parable about the moral choice of a person and the meaning of his life. Only so, general meaningless phrases can be said about any of the 340 thousand films in the history of cinema, and the departure from the analysis of a particular film with an assessment of its merits as a cinematic creation essentially means that in this case there is nothing to evaluate.
To each his own. Samurai saga. Part four. Detachment
Men are a thousand times more concerned with the acquisition of wealth than with the formation of their minds and hearts; though what is in man is certainly more important to our happiness than what man has. Arthur Schopenhauer Be a lamp to yourself. Be a refuge for yourself. Hold on to the light of your lamp, and seek no other refuge. The Buddhist Sutta
He and she. Nomads wandering through the bumps of life. He and she. Compatriots are antipodes. He and she. Beginning and ending. She has the outer gloss of a wardrobe and an iron horse on parcels, he has a crowbar chisel in his hands and a scorchy simplicity in his face. Their meeting is destined for fate and for us their history in all its glory. Who is He and what is He? Why is there such a meager reality of existence behind the gaze of a strong confident beast? What's wrong with it? And she? Plotted combat coloring of the face and suddenly "to us" in a deaf tmutarakan... Why? Who? Such is the prologue - a saying, not a fairy tale, a fairy tale will be ahead.
And the "fairy tales" in the "Lumpster" - what is necessary. The director chose, uses a very interesting narrative technique. He and She read each other like an open book – a game: I will talk about you and you about me. And now the vicissitudes of the lives of our heroes breathe the experience of past years. The ways of becoming personalities from school, from almost the first life society-micromir - joy and pain, despair and acquisition, the formation of one's self in adjustment and rejection. Hardening. Character through the crucible and the anvil. The masculine and feminine principle is human. But it's different. He is the Way of the Samurai. It is a weaving vine on the tree of life. He knows himself in a series of tempers and battles. She's a fluttering moth pinching nectar. He is a master of the spirit who has curbed the flesh. She is the ashes of her own self.
Here's the second shouting: "To the barrier!",
And everyone shoots a chimera.
The result of love and conversions
Each other in their own faith.
... She seemed unearthly,
When she was nobody's wife.
And then all my life one lucky person.
He was suffering from guilt...
... You are my unfulfilled plan,
It's like a winter thaw.
A candle lit in the dark,
Destiny Continued by Darkness
For myself, I have outlined The Trashman as the fourth part of the saga, Detachment. It is in this film that the rehashes of “The Joke” (1988) sound – Olya says about them, “Tests for real men” (1998) – martial art in demonstration is placed here. And finally, the third film is a harbinger of the events described - "The Fun of the Young" (1987) - a duel through evasion, wisdom. All these are stages of growth of a man, but not a boy.
Excessive thickness of clothing constrains the movement of the body: wealth interferes with the movement of the soul. Demophile
Treat your thoughts as guests, and your desires as children. Chinese Proverb
A young beautiful girl in an expensive car in a remote town and a garbage man who first meets her on a frosty morning. Who's in charge of the movie? Are you thinking of a drug courier and a killer? It's not all that simple.
As the main character says – you need to start remaking the world with yourself – just clean up the garbage for a start, and then call other people to the barricades for a better life.
Where else would you see a garbage man shaking hands with the mayor of a town, and that's an honor for the mayor, not the garbage man? As a son, the mayor's jackass transforms when he begins to sing songs.
Gradually, unobtrusively, through the game, the viewer is increasingly convinced - not in money happiness, all of us must become garbagemen - to cleanse your soul of unnecessary junk, excesses and the desire to remake first the world, and then yourself.
10 out of 10
In the state town where the young capital person stayed, she knows no one and no one knows. And she doesn't seem to have anything to do here, but she's here for business. Simple at first glance, the garbage man is the first person the madam meets on arrival. And something in it immediately alarms her, something does not give rest, and she decides to solve this human mystery.
Lyrical and touching in its own melodrama, unfolding in a significant period of the winter fairy tale, confronts two strangers. Different views, principles, priorities, and seemingly nothing in common between them. But why did they meet, why?
There is something indecently emotional in the work of the director of Shengelia, something that takes both the soul and the heart, making one wonder and marvel at the organicity, ingenuity and talent of the director.
Here is his next work – “The Trashman”, touching in content, sad in form and even more honed than “Classic” in skill. But the genres are still different: the film of the 98th year can be described as a melodramatic action movie, and “The Trashman”, despite all the plot drifts of the director towards crime, as pure melodrama. And yet, the visible differences in the paintings are much less than similarities.
Moreover, similar motifs begin with the title of the films: “Classic” and “The Trashman”. If the former denotes the hero’s nickname, the latter, in turn, names a profession – and this is a difference. But stop. For the entire timekeeping of the tape, we still do not recognize the real name of the hero (the fact that it is not in doubt). For us, he remains just a garbage man, despite the double bottom. I mean, it's his nickname, whatever you want. Again, these are similarities.
As in the previous picture of Shengelia, the viewer gets into a stately town, lost among the snows in the European part of Russia (as it turns out later, in Yaroslavl). The action of both tapes takes place in winter, but in terms of dynamics, the “Lunterman” is significantly inferior to the “Classic”, the benefit of the action in the picture is not much. And the main characters of the films are similar in their aspiration – they are honest, noble people who do a useful job, bring benefits to people (in one case with the help of talent, in the other with the help of labor). It can also be noted that Guskov’s heroes in these films of Shengelia have a dream or goal to which they strive (even if their means are different in achieving this goal), and they strive for it through reincarnation. Here is another similar feature – the characters of both films pretend to be those who are not in fact or until a certain point were not.
Also, a similar feature in "Classic" and "The Trashman" is the cast. In addition to Guskov from the previous tape of Shengelia, Evgeny Serov and Mikhail Shashkov migrated to “The Trashman”, who played Savitsky’s henchmen in “Classic”. Smoothly moving on to directing, it should be noted that this film is one of the last worthy representatives in the filmography of Georgy Shengelia. After him, the director created several more paintings, but all of them are completely devoid of the charm of purely Russian cinema, some natural melancholy, life stagnation, hopeless optimism that were present in Menials, Sagittarius restless, Classic. And “The Trashman”, as if sounding a refrain to the outgoing talent of the director, the last worthy representative of this small but fruitful list, although there is an opinion that “talent, they say, can not be drunk.” You may, gentlemen. This is Russia.
If everything is conditional in a movie or a book, is this a parable?
It's all conditional. And all this is gathered in a conditional small city (conditional cities are always small). There's one hotel. One banker. One limo, black. One casino. Apparently, one housing and maintenance office. And, accordingly, one janitor. Why he's a garbage man is unclear. In his workbook, he clearly has an entry “janitor” should be. Oh, no, he also has a colleague who is too lazy to cut ice. Probably one. And, of course, there is one visitor. And one romance.
Yes, in the parable everything should be conditionally symbolic. But the conclusion, after all, assumes a wise and, so to speak, recognizable. Such that most ordinary people can try it on themselves. What would I, the representative of most ordinary people, try on from these conventions-symbols? Except that the provincial saying of the heroine, about which the hero speaks - hello from his native city. True, the heroine has outlived this saying in herself, but mine is still with me.
I agree, I find fault. And all because of the opinions of others before viewing. With the word parable, the phrase feast for the intellect and the name Okhlobystin. Okhlobystin, Okhlobystin... One of the most talented playwrights and screenwriters of modern Russia. I have a different idea about the most talented playwrights and screenwriters, about parables and feasts for the intellect, and not least because of such reviews, I took the film biased.
Primitive is not a parable.
There is a network of cutting frames from this film to the song of Alexander Novikov. That’s more interesting than in the movie itself. Because if you remove the content from the movie, turn off the sound, and watch only the picture, a pretty decent shape will remain. Professional, and even beautiful actors, convincing interiors, cute Russian winter. But only the form. And the parable conflict of worldviews, seen here by fans of Okhlobystin, is also a form. No content.
A parable, a worldview, "someone must," an underrated film... As the main character says almost at the very end, I do not understand one thing: do you really believe in all this?
I disagree with previous speakers. For the battered: 'Not so terrible devil.. (etc.) - has nothing to do with this film.
Everything here is much more frightening and prosaic than anyone might think. A parable? A fairy tale? It is a life of prose and prose. He realized he was exposed, she was miscalculated. So there was a skeleton in the grouse, but later. And we just didn't see it.
Explain 'on-fingersAh'? I'll try. . .
For three years ' lie down ' and where - in the nearest suburbs? Well... You have to have either a very large brain or a very small brain. Now, you don't believe me anymore, do you? I agree, there is clearly a brain there with remarkable abilities. That is, not a creature that trembles, has the right to lie down and not shine. And the mayor knows for sure, too. Yes, and the city heard, judging by the reactions of t. p. ' second plan'.
I understand that the public was misled by the careless (as it were) work of make-up artists: in Nice, in the nose on the floor, a neat hole had to be ' checked', in the above variant ' parable'. But there was no hole, and there was no that 'Nice' What happened, ask? I've already told you so many things. You're not here, not Hollywood. Here is Russia, Mother... The prose of life. You litter it, clean it up.