Why did we, forgetting our youth, drive this old motif into our minds?
To tell you the truth, with this cartoon I have an unusual history of acquaintance. The first time I came across it at the age of 8 or so on TV, I don’t remember at what point, but then it dawned on me that there is a continuation of those very much loved by me ' Bremen musicians' But I was able to see it only in fragments. And a few days after that, my mother and I went to the bookstore, where I found a book ' Bremen Musicians' authored by Livanov and Entin, the writers of the cartoon of the same name and its sequel. So, in this book, the plots of all three parts were retold in prosaic form, and that’s where I was glad to finally find out fully what happened to Troubadour, Princess and their four animal comrades after their extreme escape from the royal castle. And I liked this story, except for the ending, it seemed absurd to me at the time (the final act was markedly different in the cartoon). A lot of water has leaked since then, and once in the summer camp I had the opportunity to take part in the production of a play based on those two imperishable cartoons about romantic and freedom-loving musicians, and on returning from the camp I remembered that there is a third part, since I had access to the Internet at that time, so viewing was only a matter of time. But I will not pull the cat by the tail (or else God forbid he pulls his back) and say: in the form of a text, this story was perceived much better.
It is no secret why the first two cartoons are so loved by more than one generation and not only look with pleasure by children, but also with no less pleasure reviewed by their parents, and the third is quickly forgotten? Yes, since these two masterpieces from Soyuzmultfilm are about the eternal, about what will be repeatedly put forward as models of morality, about what will be close to each of us. The new '... Bremensky' is the most obvious mockery of the ill-fated nineties (even a reference to the famous departure of Boris Nikolaevich from his post managed to do, albeit in the plot of the cartoon it was just a production), which by our days has completely lost relevance. Children will not understand this cornily, and there is no need for them to do this, and adults will prefer it much more willingly, as well as the period itself, to which ' is dedicated' cartoon, to forget. It works as much as it does with humor. Political jokes about foreign leaders are not funny, because the political situation in these countries is changing, because, for example, when Obama is no longer in power, jokes about him are no longer accepted properly. And if we have what we have, in terms of the sharpness of satire, the cartoon has nothing to boast of. However, the idea of a bank, the building of which has the shape of a pyramid, having 3 identical letters in the name and in which bandits sit, is quite funny, but everything else seems to have been composed according to all patterns ' reincarnations of the 90s & #39; Because of this, there is no creative courage. And moreover, it was even forced under censorship: as it turned out, the song about the bride, which was performed by Donkey, Dog and Rooster, was stripped down (there was another one between the two verses that appeared in the cartoon, which sounded like: ' But the brides are surrounded - they have savings). Now they have abroad everything that got gra... gra... gra... gra... gra... & #39; Well, if you do, then do it to the end, what is there?
Another, no less important problem - 'New Bremen' painfully sin parasitism in the previous parts. This is expressed, as many have repeatedly noted, in the songs. Moreover, it will be noticed not only by those who know all the songs from Soviet masterpieces by heart (like me, for example), because the creators even swung at the title song. And completely new songs are not remembered at all, except that the song of Troubadour Jr., and then only because it sounds twice in the cartoon. Speaking of Troubadour Jr. Based on the name, it was he who was supposed to become a replacement for his father and his motley kamrads on the field of stray artists, and in this respect the idea was very good - the young man wants a new sound, but he should understand that without musical education he will not get this sound. In this regard, it could be an indicative scene of the demonstration of lessons led by the Cat, Donkey, Dog and Rooster, but the irony is that the cartoon itself is ' a new sound' which could be a worthy replacement for the old, does not offer, but only sluggishly imitates the old. Why the behavior of the boy is perceived as a riot caused by a surge of hormones. And the main character in the end, he did not become, but simply performed a plot function, the main center of the story here rather became the King, and the basis of the problems was his shattered authority in contrast to the rich Atamance, which for complete happiness lacked only power. Atamansha herself, perhaps, was the key factor in the hatred of viewers for this cartoon. And indeed, would rip off the hands of those animators whose ideas reflected on this character. And the male voice, oddly enough, she was much more suitable, although Babkina did well with the voiceover. As for the rest of the old friends, then the radish is not sweeter. Beasts (and Rooster) most of the timekeeping was more intersnooze, Troubadur Sr. and did not perform any plot role at all and was rather a means of popularizing Kirkorov among the children's audience, the detective was very distant from his former incendiary. On the contrary, the princess was pleased. If earlier she was rather the object of salvation and just sparkled in the frame with her bare feet, then here her clothes are much less revealing, and she received a scripted kick, so that in the end, the cunning plan characteristic of the plots of the previous parts comes from her, and not from her husband with his kennel.
One might wonder why everything turned out so sad, despite the fact that according to the credits, the old guard was assembled - the script was all the same Livanov and Entin, and the composer is still listed as Gladkov? Keep in mind that while working on the artistic aspects of the first two parts, all three were under the wise direction of Inessa Kovalevskaya. And I’m more than sure that if she had made the third part (and she, thank God, is still alive today), everything would have been much more comforting. And so, under the direction of an absolutely unknown figure, we have a faded copy of the cult Soviet classics, seasoned with false topicality. Against the latter as a phenomenon in art, I have nothing, you want to remove something with geopolitical overtones - please, the flag in your hands, but did Bremensky need this subtext? The question is more rhetorical.
Perestroika strongly affected the quality of our cinema, already in the eighties began to show signs of decay. However, our animation suffered even more than the movies. After 1990, only single cartoons turned out to be good, and the continuation of old works until 2005 only did that disappointing. “New Bremen” is clearly a little late with the release, because the nineties are already over, but this unnecessary sequel is a great example of how bad our affairs were at that difficult time.
So, the focus of the triquel is Troubadur the Younger, who in the course of events meets with familiar characters who have managed to grow old and become stupid from such a strong change in the world order. And before I start to scold from a bunch of shortcomings, I note the good and even excellent quality of animation. Surprisingly, at least in this “New Bremen” surpassed the old. Unfortunately, all the advantages end in animation, and already in the first minutes you can face the main drawback - a disregard for the main events and messages of the previous parts. Despite the King’s undoubted well-being, he finds himself in the plight of an abandoned pensioner, and a gang of robbers becomes an obvious allusion to our oligarchs. In a world dominated by absolute monarchy, such a revolution seems strange, to say the least, and therefore unnecessary. The same inexplicable change in the positions of positive and negative characters after seven years will be repeated in the remake-sequel "Irony of Fate".
No less significant disadvantage is the complete lack of desire of the creators to use new songs in the sequel, minus the primitive No matter what, do not cry and do not be timid. The sound of familiar melodies with other words encourages you to throw a stale tomato into the screen. Have a good conscience, after all.
“New Bremensky” did not ignore the modernization of everything that is happening. And although this remark is even more applicable to our later cartoons, at the turn of the millennium it was worth starting to sound the alarm and think about whether steampunk, even in some Soviet films, was an unnecessary ingredient, is really necessary?
Summing up, it is worth noting that “New Bremensky” is an example not only of how bad everything was with cartoons in our country, but also that any sequels should be approached with caution so as not to spoil a successful franchise, even if it consists of only short films. Exclusively due to good animation, I free this cartoon from the lowest rating.
If in general compared with the two original cartoons - 'New Bremen' absolute emptiness, they simply cannot be put in one line.
Firstly, there is too much subtext of the events of the 90s. This is the bank 'Byaki-Buki' and the methods of the atamanshy for seducing the king, and the devastation that is happening in the kingdom. As the detective sang: 'Now thieves are all actors.' In general, do not slap, do not slap.
Second, depravity 'New Bremensky'. Atamansha, in a terribly revealing outfit, who also danced around the pole in front of the king to seduce him and become queen. And in 'Sphinxes' in the form of an atamance, to put it mildly, not a lot too much with the breast. Apparently, the authors took advantage of the fact that in their time it was no longer so tough and turned around to the fullest, exposed talent, so to speak. It's dirty, it's unethical - why would children see it all?
Although, despite all this, some highlight in the film is present. This is the energetic style of most songs, and even the plot of the cartoon.
Whatever it was, 'New Bremen' retained the main idea of the entire trilogy, if you can call it that. And in the new part, still, there is something to grasp.
We can say that I watched the premiere of this work on TV screens of Ukraine – there was a big advertisement, announcements were constantly spinning, and now... waited – on December 31, 2000, having gathered with my family at the screen, I began to watch “New Bremensky”. To say that I was waiting for a sequel is to say nothing, because my parents and I are real fans of two Soviet cartoons.
And what did I get as a result? Pain and rage? Nope. Rather, a sense of embarrassment mixed with bewilderment. As a child, I didn’t remember a story, a single song, or a single “new image” of the old characters. The cartoon was - and passed. I never saw him again and never saw him on television. I didn’t remember it not because I didn’t like it – I might like to watch it again, but the triquel in my memory did not catch on, as if I had never heard of it.
Only recently did I mention it because of the hype on the internet. Found time. I have watched the entire movie. Should I watch it? Of course not . This script, written on the animosity of that day, is a kind of protest against the 90s system. Many people protested then. Especially in the soul fell the children’s writer Eduard Uspensky, who considered it his duty to explain to young children all the dirt of “dashing” times with the help of favorite characters in the books “Business Crocodile Genes”, “New Orders in Prostokvashino”, etc.
QUESTION: Why does a child need this shit? Yes, of course, a teenager and an adult should know the history (including the 90s), but still Crocodile Gena, Cheburashka, Uncle Fedor and his pets, and of course Bremen musicians for the audience 3+, no matter how much they are loved by all other age groups of the population. By the way, the old Bremen also had small subtexts ("Beetles, for example), but they were inserted so skillfully that the cartoon managed to pass the strict censorship of those years, making them practically invisible.
Trikvel is so eager to stick a little viewer “black” The 90s, which is carried away, "scores" on all other components of a good cartoon - the plot, characters, and most importantly - musical numbers - the highlight of the Bremensky series. Babkina, Penkin, Kirkorov and others are not equal to Anofriev or Magomayev. All the characters are dull, and it’s not about old age. The faceless son of Troubadour and Princess, pushing ineptly down our throats the idea of “Parents are not cool!” is not at all old, but for some reason the cartoon does not add joy.
The only one I remember is the Atamansha. Oh, my God. I forgot there were such disturbing scenes. Was that what Vasily Livanov wrote? Although, what is surprising, if Alla Surikova first gave birth to the “Man from the Boulevard of Capuchins”, and then after more than 20 years, the “Man from the Boulevard of Capuchinok”. Old age takes its toll.
The saddest thing is that in my childhood there were records with fairy tales, among which were Bremensky. What would you think? "New Bremen" also have their own audio tale on CDs!!! If you find one, I advise you to buy and burn it, just like the discs with this “work”.
Yes, few of the representatives of relatively modern Russian animation so got on nuts as a specified creation. At the same time, the first two parts of the cartoon people admired completely forgetting that its modern sequel was created by the same authors as the famous original. Has Vasily Livanov and Yuri Entin for almost 30 years since the premiere of the first “Bremensky” lost their talent so much?
I don't think so.
And it should be noted that their work in this case was not associated with singing and dancing in the frame, namely with the composition of the plot for a new cartoon, and this kind of creativity can be practiced until old age and quite successfully, unless of course we are not dealing with insanity.
And here arises a quite legitimate question: so only fair to such an extent indiscriminate criticism, which at first after the release of the cartoon was uninterrupted and unambiguous and now the picture is stably scolded, albeit not so often.
Every opinion is curious, but it is alas subjective and of course mine will not be an exception, so I want to make a reservation that I do not claim the ultimate truth.
To begin with, my review is designed to correct the annoying omission associated with the fact that no one, even 16 years after the release of the cartoon, ever bothered to analyze it completely, but only limited itself to rude, often unflattering reviews, dictated more by emotions than reasoning.
Let’s start our conversation.
Back in 1969, and it was then that the first part of the famous animated saga was released, none of its creators even suspected that it would acquire the status of an ageless classic.
If you understand how and by whom this creation was created in a cultured and educated person, just hair will stand on end.
The author of the idea was Vasily Livanov, an undeniably brilliant actor, but not the director and poet Yuri Entin, who, as far as I know, did not work in animation until then. The only truly professional person was the composer Gennady Gladkov and it is not surprising that the songs behind his authorship ensured the popularity of the film and became its soul.
According to the musical plans of the maestro, the script and images of the main characters were built, this brilliant music managed to level the inexperience of the directors and made the film whole.
It is thanks to Gladkov’s talent that the film in which the actors do not utter a single word, but only sing has become so fascinating that it does not let the viewer go until the last second.
As a result of all this about the musicality of "Bremen musicians are still legends, but here still have their "buts".
There is a lot of music and its average level is quite high quality, but the first part is remembered primarily by the title song of the main characters, and with a stretch of vocal opus of terrible forest robbers led by their atamance.
That's all it is.
The second series is clearly contrived plot and not always in harmony with the spirit and color of the original was afloat thanks to the brilliantly performed by Muslim Magomayev aria “Ray of the Golden Sun”, which after the premiere healed an independent life not only on pop platforms, but also in the ears of grateful listeners.
But if we move on to the conversation about the final part of the “Bremensky” then here we can make a conclusion capable of knocking many down that it is from the traditional point of view of the musical component that the creators succeeded the most.
I can’t vouch for everyone, but my friends and I, after watching the “New Bremensky” in the then still running VHS format, sang songs from the cartoon daily and for a very long time, and a recent re-watching of it showed that we were not forgotten. 16 years later. Conclusion: for me, this is the only one of the three parts of the franchise songs from which are remembered in its entirety and without exception, which in the first two cases did not happen.
This proves that the creators by that time still remained in the powderboxes a fair amount of gunpowder, which shot quite spectacularly.
The musicality of the production, as often happens in such cases, did not harm the plot, but became its integral part.
By the way, the storyline turned out to be quite good and probably the most complex and diverse in the entire trilogy.
This is not a slightly beaten love story of representatives of different classes, but a real social drama reflecting the social changes of that time, which are not at all outdated to the present day, as well as the topic of the conflict of generations that always causes interest.
Troubadour Jr. the main character of the film in many ways became an captured picture of the youth of the 90s.
His reluctance to live according to the outdated principles of parents and teachers is very reminiscent of the spirit of rebelliousness (not evil and quite justified), which was the character of those who were born during perestroika and did not always understand their parents brought up in Soviet times.
The son of Troubadour seems to want to say:" I'm not as bad as you think I am. I'm just different, but I'm talented and I'll prove it to you.
As for the work of artists, the general style of the original was sustained and still in demand, which indicates the undoubted talent of artists who began work on this cycle of cartoons because it was their basis that the animators used when creating a triquel.
Regarding negative reviews about the too frank image of Atamanshy I agree not only because it is too much for children, but also because it does not correspond to the meaning of the image.
After all, Atamansha is the main antagonist of the film, and not some lowly courtesan.
Same thing with the karate detective.
Well, this behavior does not correspond to how this image was interpreted initially (although again the song is cool).
Songwriters Livanov and Entin also guessed.
It may seem that the presence in the picture of such names as Boyarsk Kirkorov and Babkina-advertising move, but it is not.
Singers to their work reacted creatively and responsibly, because they were perfectly familiar with the original cartoon and understood that they could not afford to hit the dirt face.
Kirkorov, who was not yet fully opposed at that time, proved himself not just as a singer, but as a person who imbued himself with the image of his hero Trubadur in his performance, who started playing with new colors.
Boyarsky surprised. I didn't think he could sing in such an unusual voice. The king turned out to be truly touching, and Babkina proved that she can perform not only folk music, but is able to act as a representative of a purely pop direction.
In conclusion, I want to express my humble hope that my review will make you reconsider the alas forgotten cartoon today and perhaps change your opinion about it for the better.
A controversial cartoon that should be considered separately from the Soviet classics.
The cartoon was liked only because of the current songs, which are beautiful in themselves, regardless of the main plot.
“He who pays more, I serve him!”
“Outwardly, you are like an angel, pure, and in your soul a repeater!”
Put on false masks and fools immediately believed us!
Not a bad satire for adults, with obvious allusions to post-Soviet Russia (in fact, not only to it), and the ensuing vices.
Nothing bright and inspiring from the first two parts. The cartoon rigidly and straightforwardly exposes such human qualities as greed, lust, venality, thirst for power, which in this picture comes to the fore, in contrast to romance, family values or the conflict of generations.
What is the cost of a detective who serves the one who pays the most, a security guard who is slowly looking for robbers because they have money, Atamansha, who got rich, judging by the references, on pyramid schemes? Hard, depressing, but at the same time very comical.
The third part, in fact, completely distorted and turned upside down the Soviet classics, but the cartoon is original and good in its own way, and therefore has a place to be.
This cartoon spoils the fact that it is a continuation of the cult dilogy. That time behind the glass, it was not to touch from the present, it was not necessary to try to attach modernity to it. But since you did...
I remember the first time I saw it, I was shocked and horrified. What have they done to our Bremens? But “I was wrong, wrong, wrong” was done, in principle, not so bad. Now, reviewing it more than fifteen years after its release, I understand why the best ratings put this cartoon viewers-teenagers, they do not catch the eye of love for the original, and they do not see much difference between the first, second and third parts. In another thirty years, the difference will really be erased, all parts will become artifacts of bygone eras.
Drawn very decently, in the general style of the original, the plot, by the way, is not worse than the original for sure - the difference between the abduction (or rather, both abductions) of the princess and the abduction of her bastard escapes me. The finale, although predictable, is very much in the spirit of the previous parts, our roof is still level with the head... sorry, the sky is blue. Yes, the songs are not so bright, except that the couple is remembered - the title "Don't give up" and "Never this time" (here she is generally excellent). At first, the Boyarsky King is somewhat surprised, but then you get used to it, he sings from the heart, and he for the most part turns out to imitate a weak tenor. Kirkorov is also not bad - in any case, the image of parents, still too young, too narcissistic and in principle too bohemian to raise their son, he and the performer Princess turned out to be a hundred. This pair of older flower children is very realistic. Not the worst kind of parents, of course, but not the best far away. Troubadour Jr. doesn't cause rejection either. An ordinary kid, who does not want a moist classic, but a new sound, only then he will understand how he will need a musical education, which the old people have drilled into him.
The only serious disadvantage is a vulgar atamansha, seemingly the owner of a large bank and a criminal authority, and dresses and behaves like a cheap prostitute. Why? If she were a really cool and cruel businesswoman... come on, just a female version of the new Russian in a raspberry jacket, brazen, fingered – it would still be much better. If it were not like this, the cartoon would have been taken many times better, the average score would have been six points, almost sure. Whoever thought of it was a bad idea.
A reduction in timekeeping would also benefit the tape, a lot of detectives and bandits. Cut down to one song from both of them and it would be fresh. I just want to advise you to reshoot: redraw the scenes with the atamance and reduce to at least half an hour.
The rest is good. Much better than that failed film with Abdulov. The cartoon is not to blame that the first two parts are a masterpiece, and he is an ordinary cartoon.
7 out of 10
“New Bremen” is the final part of the “Bremen Musicians”. If this is the final part, then you need to make every effort to create this picture, because the two previous cartoons about the adventures of Troubadur, Princess, Donkey, Dog, Cat and Rooster have become classics of Soviet animation. What can I say?
The plot of the cartoon is quite good. And the animation is even better than in the previous parts. But there are a few downsides.
The first drawback: the vulgar outfit of Atamanshi.
The second disadvantage: obscene behavior of Troubadur Jr.
The third minus: some cruelty (an episode of Troubadur’s son’s disrespect for Donkey, Dog, Cat and Rooster, when the latter tried to teach him “classical music”, a battle with the Genius Detective).
I want to express my sincere gratitude to Vasily Livanov, Yuri Entin and Gennady Gladkov for creating three wonderful cartoons about the adventures of Troubadur, Princess, Donkey, Dog, Cat and Rooster.
6 out of 10
Since I grew up on all three parts, I can’t say that one is worse than the other.
Every song is a bit of a childhood for me, and some ("Sweet Son) make me cry even at a conscious age. And the final scene turned out to be very funny and touching at the same time - a little donkey, a dog, a cat and a cockerel with a new Troubadour go on a new journey - and therefore their adventures are not over. But a sequel is unlikely. First, the authors themselves understand that no one wants this part anymore. Secondly, Gladkov is currently busy with a new project, The Mystery of Princesses, which we will see in August this year. I wish him the best of luck.