Poor bearer The two-part film “Do not shoot white swans” by Rodion Nakhapetov can be counted, if you wish, for a serious hypostasis of the folk comedy “Love and Pigeons”. Where instead of Miti's furry uncle, alkashi-sabashniks from the "Uh Brigade", the city Raisa Zakharovna is replaced by one-minute tourists, and, of course, the double of the character of Alexander Mikhailov is the poor man Egor, dissolving without a trace in nature, where fussy goosesses do not take into account the trajectories of cast-iron systems, centuries-old limes do not read the announcements of the zagotkontor, and white swans do not hear the sound of elevated triggers. The family and fellow villagers consider Yegor Polushkin an eccentric, knave, but there is no village without a righteous person, without her conscience. This is the message Rodion Nahapetov put in his film, which, by the way, is appreciated by users of film resources much more than other works of the Director.
But, as befits good tapes of Soviet times, everything is not so obvious. And is it possible to admire the purity and naivety of the hero Stanislav Lyubshin, seeing how he, without hesitation, hangs the bream to his own son by inducing the city trench, especially since the one who spread his fingers with a fan just burned an anthill, smoothly spitting this into the vulnerable soul of a villager. Oh, so it is vodka to blame, but after all, alcohol only removes internal barriers, and what a person then does, stabs passers-by with a knife or explains in infinite love to each pillar, depends on the person himself. And the next day, sleeping under the side of the pig in the barn, Egor does not think to somehow improve relations with a teenager who was hit and left for the night on the island. On the contrary, he came himself: “Sorry, Dad, it’s my fault, I could not persuade you not to drink!”, “Come on, son, everything is fine.”
And after all, this is not an isolated episode that shows the poor man’s dislike for people, even for his relatives and only ones. For all two episodes, the father, if you can call him that, never approached a newborn child, did not play or google with him, why, here are the birches - this is good for the soul. The wife beats, working day and night, and Egor in a sober mind and consciousness for other people's money buys swans in the zoo. It's okay, love, you'll pay off your debts, not for the first time, but I'll have a party, and invite people to it. Or you need a teacher (Vera Glagoleva, part-time wife of the director) to make repairs – this is an urgent matter, although the family lives in a house for years, more like a barn, here permanently unemployed lack of leisure.
But not Egor alone breathes the picture. The acting ensemble, according to the tradition of Soviet films, is tuned and gives the desired crescendo in the required intervals. If you look for some kind of falsity, then purely subjectively does not pull the image (not a game) of Ivar Kalninsh on a forester from the outback, it is painfully glamorous and imposing, and Nakhapetov himself had to voice, probably the Baltic conversation also dissonated. Children are natural and adults are natural. And, of course, nature, although the duty pebble in the garden of color reproduction film still throw.
Most now have native nature rhymes, at best, with picnics. Or the city parks. And the ability to see the camp of a girl in a fallen tree, in the officially prescribed coloring of rescue boats - the need for silhouettes of ducklings and piglets is given to units. And even though they are all weird and unattractive, the world without them becomes monochrome. Do not shoot white crows, do not shoot white swans.