Once upon a time, I believed that ALL Eldar Aleksandrovich Ryazanov’s films were brilliant, and that everyone who starred in his film at least once became famous. That he can make a star out of an unknown actor. I still think so. But that doesn’t apply to the movie Prediction. I can only praise him for being much better than Carnival Night 2.
Now such films are shot at once, they filled the airwaves. It can be shown among others, and you will never guess that the director is the great Eldar Ryazanov.
The plot is simple. First, the wife cheats on her husband with a man who also has a civil wife. Emotional justification for this action is not given, so could do, apparently, the Frenchwoman. She fell into his bed too quickly (at home, by the way!).
Next, the authors of the film try to prove to us that it was correct and logical. I didn't do much. The main character, who left the woman (very pretty and in everything correct, worthy of all kinds of love), left her for nothing. Because. Like I don't love you. He lived with her for eight years, and then he saw a woman in the museum, and in the same second he fell in love. Well, I guess he's got blondes disgusting, by default, and a brunette was his dream. Because I didn't know how she was better. He wanted to. A new female body. The movie is an excuse for womanizers. This is not a convincing excuse.
Turns out I saw it in 2011. . . I forgot. . Then the review did not write what to write now? A film for people of that time, 30 years have passed. . I take this film as a parable. His dead wife is the USSR, Lyudmila is a new country, “married” to a furniture store seller. "Killed my youth," remember? Yeah, that generation of young people was just "killed." . .
In the abstract 'KinoPoisk' defines the film 'Prediction' (1993) as 'Thriller, melodrama, detective'. The melodrama sounds like a side theme in the film. No detective at all. Thriller - yes! but a thriller of some kind ... too built, too literary.
They made a master film! Great professionals - and Eldar Ryazanov, and cameraman Valery Shuvalov, and composer Andrei Petrov. The plot is thought out to the subtleties, to gestures and pauses. The actors play wonderfully, although ... there is a discrepancy in the game of Basilashvili and Sokolov. If it's one hero, only 25 years apart, then the similarity and commonality should be felt more strongly. Yes, in youth people are sharper, more determined, not so inclined to analysis, but after all, more subtle connections, common habits should be traced. Although people change with age, but genetics can not be canceled.
It's not a claim, it's a thought. A work of art should be judged only by its own laws, and I watch a film from the twenties, from a different existence (a distance of almost thirty years!), and much is perceived not as a story about life, but as a literary game - from the reaction of an elderly writer to his young alter ego at the beginning of the story to the sudden wind and blank sheets in the finale of the film. The game is talentedly played, and ... you can see the carefully thought-out nodules of the plot, the nuances of dialogue, which are invisible when you see not a mental idea, but life.
When viewing all the time I want to compare this Moscow love with ' The irony of fate' despite the disturbing, sometimes mystical, uplifting atmosphere, conveying the spirit of the early 90s. There is something in common in the style of storytelling - suddenly a second person breaks into life, sometimes he is very superfluous, and then there is a similar comicality in the dialogues. Again, lyrical music, the same soulfulness of conversations, even cherished poems are quoted... And the image of Moscow love here is also not an end in itself, it is subordinated to the symbolism of characters in a difficult, transitional time for the homeland of the change of formations.
His wife (the former country) died, and he was replaced by a young woman who did not know what she needed from this life, floating where she would bring it. It seems that she managed to settle down well, but life was not at all as it seemed. The split personality is also not accidental, the young version of the protagonist is a new citizen who also does not know what to expect and easily offers to evacuate the country. The instigator, the hero of Roman Kartsev, is unusually relevant in the light of the changes of recent years, as well as the incessant fermentation in the minds, riots, including criminal ones, which constantly loom in the background when the action is transferred to the fresh air.
Can the predicted fate be changed? Only after assuming great responsibility, as follows from the wise decision of a man born in the USSR, he remains with his young country. There are many trials ahead. Thanks to Eldar Alexandrovich for the film!
': Prediction ' is not a drama. This is a thriller with elements of mysticism. I’ve noticed that these films are often given the wrong genre labels.
The plot ' Predictions' interesting and non-trivial. An aging writer is predicted to live only a day, and at home he meets a younger and more brisk version of himself.
The film has pure love, and dynamics, and mysticism, and psychologically dramatic moments. This is a very, very unusual film, it has several genre facets.
Special attention should be paid to the atmosphere. She's gorgeous. Yes, these are the foggy, gloomy and disturbing 90s. The spirit of the perestroika era is felt in every frame. The streets are smoke, they seem orphaned and gloomy. And how beautiful is the scene when empty sheets rush along with golden leaves on the pavement? Cold autumn. Old courtyards, remembering the secrets of their visitors, leaf falls. But it's Ryazanov! He always subtly and perfectly conveyed the spirit of the era in his films.
The operator also worked to fame, who was able to qualitatively remove all the visual beauty that created this unique atmosphere. Water divorces on glass, asphalt, shiny after the recent rain, black night - a restless wanderer from other worlds.
I didn’t really like raising the topic of antisemitism, so the score isn’t that high. It was only a tribute to fashion when, together with glasnost, the Jewish question rose sharply ' Now, in our days, this is perceived precisely as a label of the political current of another time, a time that has gone into the past. Something like an attempt to raise the topic of topical harassment, when it plays no role in the plot.
6 out of 10
Eldar Ryazanov has a lot of great films, but in my opinion, the film “Prediction” is the best. It is much more serious than, say, the “Promised Heavens” and closer to our lives than “O poor hussar, speak a word.” No, I can’t say anything bad about these films – they are my favorite, also real, sincere, but not ruthlessly realistic, like “Prediction” – this film is like the confession of a person who seems to have achieved everything in life (or he thought so), until the plot twisted. Fatalism? Well, in my opinion, this is exactly what Ryazanov lacked in his past works - after all, who remembers not the dashing brother of the 90s a la "Brigade" or "Brother", but precisely the sense of hopelessness inherent in millions of ordinary citizens (and not hundreds of cool "brothers", as it is now fashionable to promote), he will understand me. If in one word – I repeat: this is a film-confession, which is impossible to watch without tears, and it is shot with Ryazanov’s inherent subtle humor and apparent ease, behind which lies a colossal directorial work.
Special thanks to A. Malinin for the magnificent romance, which became the leitmotif of the film - it is like a bridge between the outgoing era of albeit primitive, but still morality and a new freedom, bordering on permissiveness and lawlessness.
The last worthy film of Eldar Ryazanov and one of my favorite of his works, definitely a masterpiece. It is a pity that then the Master began to shoot what censorship words can hardly be called, but this is another story and has nothing to do with this film.
I love this film very much, it hooked me for the first time, it is depressed, sad, in some ways hopeless, but imbued with depth. The main idea is how the youth of the hero was “killed”, this is shown by the example of the shooting of the hero Andrei Sokolov, however, as much as I watched, I always could not understand who was behind this event. Is it from Bloody Gabney, sorry, Poplavsky, or is it her husband? Moreover, the line with this killer executioner was not even completed, it somehow abruptly ended. But since these are not the key moments in the film, I never considered it a disadvantage. The main point is conveyed and fine. The final leaves an ellipsis, everything in the fog, but there is some hope, despite the words of the second Oleg (let’s call him that) that this country has no future.
It is worth noting the production, and it is impeccable - filmed for pennies, but with a soul, and you can not buy it for any money. The atmosphere is simply brilliantly conveyed - the atmosphere of the 90s, the atmosphere of autumn, the noise of the wind, thick fog, grayness, longing, dullness, all this is done at the highest level.
Acting is definitely worth a lot. One Basilashvili is worth it! He simply dissolved in the character, revealing the image of the hero, passing on the screen his state of mind. Andrey Sokolov was as good as ever. The fact that he played in such a young director as Ryazanov and in such a level of the film says a lot about his level. The rest of the work did not disappoint either.
Oh yes, I forgot to mention the wonderful music of Andrei Petrov, it is very touching and touches the soul.
I want to thank the professionals who created a masterpiece film in such conditions for a penny. That's not going to happen now.
The early 90s of the last century was a very difficult time for cinema. Most directors were confused. What to shoot? Why? Only two directors were able to feel this time - Eldar Ryazanov and Georgy Danelia. It would seem that they began to shoot ordinary melodramas, but their paintings very accurately show the spirit of that time. Tanks driving freely around Moscow in the early 90s, people's rallies, a dull atmosphere. This film shows exactly what happened in the 90s.
The plot of the film is as follows: the writer Oleg Goryunov comes to Moscow. At the station, a gypsy woman predicts his death in a day. He does not believe her, but the prediction of the gypsy begins to come true. Coming home, Goryunov finds himself there in his youth.
The script of this picture is purely philosophical. The hero tries to deceive his destiny. But no one has left her yet. Everything is coming true, but not exactly as the gypsy predicted. In the film, Goryunov is an unhappy, lonely man who has not betrayed his ideals. He's smart, honest. Looking at him, you begin to feel sorry for this hero, realizing that he does not have long to live. As I said, the film is just imbued with the spirit of the 90s. It was transmitted very accurately and skillfully. I've already talked about it.
The main role here was played by a wonderful actor Oleg Basilashvili. He completely revealed the image of the main character and literally bathed in this role. Irene Jacob liked it. Her character turned out to be very feminine and attractive. Not left unnoticed here and Andrey Sokolov, who at that time was still a novice actor. I liked Alexei Zharkov in the role of a villain, but I think his hero was clearly superfluous here. Poplavsky’s storyline in the middle of the film suddenly cut short.
Many argue, after which film was distorted in the work of Ryazanov. In my opinion, the film “Prediction” is his last worthy film.
The film was shot in a very difficult time - 1992-1993. The country is rolling into the abyss, and as one of the heroes put it, “This country has no future.” Run. No support for cinema can go, and yet this film was created.
I would like to highlight the good directorial work of Eldar Aleksandrovich Ryazanov and his worthy script. The fact that there was no money was not his fault, and it was not his fault that the film turned out to be somewhat cheap. But against the background of the “black” of that time – as a glimpse.
The story in the film is philosophical and difficult. No, this is not the former Ryazanov, who shot “Zigzag of luck” or “Italians in Russia”. Indeed, the movie is somewhat gloomy, sullen, and blows hopelessness. But... Ryazanov would not have been Ryazanov, and at the right moment he put up a satric fragment with Roman Kartsev (the proposal of self-immolation in protest against something, and against what – it does not matter). It's just brilliant and relevant so far, for that to the master of bravo.
All the actors were amazing! And especially, of course, I would like to note the game of Basilashvili, Sokolov and Kartsev. Basically, it is a marvelous acting and good directing that drags the film.
It is a pity that further films by Eldar Ryazanov were much weaker than earlier creations. And even in this film, unfortunately, his creative crisis is already visible. A little, but still visible.
The film is worthy of being watched. Definitely worthy. Thank the Master!