The story of a high-aged fool with a midlife crisis, his wife kicked out, seeing a mistress, at work tired of his lies (which he for some reason denies). And the mistress just switched to another. And he's bored with the rebel. It is very easy to see in the hero of Yankovsky the metaphor of stagnation, when the rebels craved the storm and rebuilding, and then broke their neck. But rather, this is another image of an extra person who is no longer needed not only, but also for himself. But the male viewers recognized themselves.
The film is about an urban fool, a high-aged teenager who in his 40 years has no concepts of responsibility, duty, honor, honesty, and other necessary social qualities. All around him are normal people, ordinary people, with their own difficulties and peculiarities, someone worse, someone better, and all together make up a normal healthy society, no one “pulls out of the crowd like an old radish”. But the main character constantly behaves like an unscrupulous scum, accustomed to the fact that everyone around forgives him outrageous behavior, rudeness, immoral antics and other game.
The positive point of the film is that the shown society demonstrates stoic patience with GG, people around him often sacrifice personal time, personal comforts for him, constantly extend a helping hand, behave like friends with him. For his part, he is used to such condescending behavior and openly exploits the patience of others. It is good that at least in parts he pays off debts, so he is not completely lost. (More likely, just calculating to keep borrowing.) It is difficult to say about the correct degree of patience of those around him, but the most reasonable attitude to GG showed his elderly employee, who condemned his behavior. You can not only forgive and cling: a good blow to the face, as you know, replaces several hours of educational work.
Demonstrative blackmailing behavior is an important sign of a hysteroid personality, which is often demonstrated here by GG. In social terms, this indicates heightened selfishness, pampering, and in adulthood - about neglected imbalance in character. It is very difficult to have such characters in your environment, and it is better to stay away from them, because they are always subtle psychologists and clever fraudsters. This man, hesitatingly, easily exploits the theme of loving a mother he doesn’t really love. He only loves himself. Shown episodes of tenderness to the daughter – rather, lulling your own ego through the actual introduction to socially significant phenomena: marriage, children, family hearth. But he doesn't realize these values, and he doesn't really put them at all. This social geek is constantly faced with a difficult choice: the good, the very good and the best. There are no real problems in his life that would make him overestimate what he has.
It was a difficult role, and Yankovsky coped with it perfectly.
Different human types are perfectly played, including thanks to the participation of the stars of our cinema.
Conclusion. This drama teaches nothing good, and simply shows a certain degree of moral "day" that some people can be. There's no real protagonist here.
Or is it not the midlife crisis at all, but the time when events occur and how this affects the individual?
Born during the war, he knew the privations of the first years after it, hunger, portable childhood. He may not have had that childhood, his mother was alone. I had to grow up early.
If the older generation had quite specific goals in 25-40 years - to restore the country, develop industry, build cities, the main character to his 40th anniversary is completely lost, does not know where to move, what to believe, what to strive for.
On the one hand, he wants to feel life, try it, feel it physically - he gets a young mistress, chases a ball with boys, rides in a freight car and runs after the robbers of goods, jumps into a cold river. He always needs to move around. On the other hand, he wants to hide and sleep. Sleep is a refuge from reality in which nothing important happens. So at every opportunity, he settles down and sleeps.
It's like family and work. Just like everyone else. This idea that everything and nothing else will be interesting in life, I think, explains the strange actions and defiant behavior of the hero - he still wants to prove to himself that everything is ahead in order to live this life again and in a different way. But he is constantly returned to reality, from which he hides in his dreams.
Well... This is a beautifully shot, subtle, melancholy film, built into a line of films about the crisis of middle age, experienced by an educated and not alien to reflection (but often alien to the basics of morality). The closest comparison is Zilov from "Vacation in September".
Available: an impressive gentleman of the age of forty; a difficult relationship with parents; a consumer attitude to a woman; rethinking everything and everything; a pleasant environment of an unpleasant hero (here is a win-win option for the conflict - surround an unpleasant character with kind, honest and good, and at least write a three-volume book); the composition “wandering” (very inventive, by the way - the episode with the train is magnificent).
That is, mentally, I understand that the film is strong and deep - and one of the uncles with a crisis of forty years can naturally become a friend - but still very specific in terms of selecting the target audience. We can say that it is generally too specific - if the same "Vacation" carefully explores many universal topics, then here the topic is essentially one, and all the others are tangential. And, accordingly, a small group of Central Asia will penetrate to the depths of their souls, and the rest ... keep their fists to make the midlife crisis pass either by or not too painful, and enjoy acting: Yankovsky as always is magnificent, and around him wow-go what stars revolve.
But for those who are experiencing this midlife crisis, I would prescribe Flights almost medically.
Remember what you said yesterday about wings? My wings have grown, and there is nowhere to fly.
On the eve of his fortieth birthday, Sergey Makarov sums up the interim results of life. He does not love his wife for a long time, does not communicate with his daughter, can not bring himself to go to his mother. Neither work, nor a young mistress, nor friends bring him joy. It seems that he just lives (flying in his sleep and in reality) by inertia until the accidental finale.
In the Soviet Union, there were many excellent films, the approximate genre of which can be defined as a tragicomic philosophical parable: the famous “Autumn Marathon” and “Vacation in September”, and, for example, the lesser known Georgian “Lived a Songbird”. Director Roman Balayan, explaining the task to the actors, described the future film as follows: a film about a tree that stands in the water and dies of thirst. The main character in the stunning performance of Oleg Yankovsky (perhaps his best role) is a typical “superfluous person” who lives in an existential crisis and does not understand what he wants from life. At the same time, people around him still love, appreciate and forgive him, despite the constant antics, lies and infantilism.
The direction of Balayan, the benefit of Yankovsky, the amazing cast (Gurchenko, Tabakov, Menshikov), the contrapuntive soundtrack, the depressing autumn atmosphere and the smooth, almost plotless narrative rightfully makes the film one of the main film statements of its time. “Flights in Dream and Reality” can be safely called a Soviet art house, after which the viewer is given a wide field for reflection and reasoning about the personality of the hero.
8 out of 10
On the depth of the moral crisis and the fall of the Soviet intelligentsia and not only it.
Sergei is 40 years old - like he is loved, there is a family, there are flights, but... where to get away from the midlife crisis.
By and large, Roman Balayan repeats the dispositions of major figures of Italian neorealism, or, if you will, the new Odyssey. His hero Sergey rushes for no apparent purpose between a bunch of objects, but he is always carried aside or nailed nowhere.
Three women: one has everything but debt, the other has nothing but debt, the third has a car by proxy and... friendship? On her side, love... Taken from a friend (and boss) A job that has nothing to do with it. The mother who goes and goes and does not reach... There is nowhere to go and nowhere to go.
This would probably not be so scary, because the midlife crisis is not specifically a Soviet phenomenon. Another thing is that the situation around the hero is specifically Soviet and the film was shot in 1982. The most that is stagnation, and the engineer himself comes from the generation of sixties, which could not, or perhaps did not want. In any case, it has exhausted itself, especially against the background of young and ignorant authorities (Oleg Menshikov), in which one can guess strength, cynicism, lack of moral anxiety from somewhere in the future. But they grew up out of a devoured and deprived generation. Alas, Merezhko, Balayan and Yankovsky dug already painfully convincing ... and harshly. I wish I could sympathize with the hero.
You can watch the Autumn Marathon a thousand times and discover something new each time. It's flat here. And the hero of the main character is not sorry. Although he also tries to be humorous about life, his humor is humiliating, he makes fun of others, wants to make them small. It’s not funny, to be honest.
To be honest, all the heroes are pathetic. And there's no ending in history. In the "Autumn Marathon" also begins the second round of the race, but the hero tries to be good with everyone, and in "Flights" he does not even try. He likes to sting and feel sorry for himself. And yes, he does not utter this memorable phrase about vodka and port, after which there is a kind of denouement, a decrease in tension, or something, when it suddenly becomes clear that he found within himself the inner strength not to sit and not to suffer, but simply accept everything and laugh about what happened and his life in general.
Honestly, “Flights” is a good movie, but it leaves an unpleasant taste and does not want to watch again, especially all these dirty streets in the film, which you are already fed up with in everyday life.
Yankovsky plays very well, not inferior to Basilashvili. But the plot was blown.
Can a person grow up at his own will? Not a boy, but a husband next Monday? What events are going to happen? Where's the rubicon? How do responsibility, the ability to stand firmly on their feet, determination and strong, blind self-confidence mature in the mind?
We all come from childhood, and perhaps the circumstances of our lives in our early years formed those attitudes, programs, patterns that prevent us from realizing who we really are. Could it be that a boundless fantasy, day after day, night after night, has built up an image of a non-existent I, so different from the one we have to deal with? And this conflict, like an insatiable monster devours all emotions, feelings and vitality, forces you to commit insane acts in the hope of getting rid of the pain of this fire, this eternal dissatisfaction.
A clown, a liar, a dummy and a scumbag - that's how society treats our hero. Sergey Makarov, performed by the brilliant Oleg Yankovsky, is a forty-year-old child in an adult body, painfully looking for a point of support, the true center of his inner world where these things did not occur in other people.
He has an unloved and long-disappointed wife. A young mistress you can't keep for long. A little girl who doesn't inspire Sergey. There is a real but unfortunately one-sided love, devoted and unfailing. And there is a mother, from whom he once tried to find shelter, but a ruthless life picked up the hero in a stormy stream and threw back into the squirrel wheel.
Perhaps ' anguished searcher' this is not about him. He seeks nothing, seeks nothing, and experiences nothing but dissatisfaction. He is a dry leaf in the wind, a snowflake in a blizzard, an aimless and useless unit of the universe.
He would understand that the center of the cyclone is in himself, not a dry leaf, but the wind itself! Not a snowflake, but a snowstorm!
And the posture of the embryo will help him. . .
A well-known philologist said of the books of Virginia Woolf: "Her books are nothing about. They are something in themselves.” This phrase, I think, best characterizes the film by R. Balayan. "It's nothing. He is something in himself.
The fact is that there is no definite plot in the film, and the most trivial question: “What, in fact, is the film about?” can not be answered for sure. Well, a man's life. Well, he's getting ready to celebrate his birthday. And, by and large, there is nothing more to say. Not out of fear of spoiler, but simply because there are no major plot twists in the film. In the beginning, we already know that our hero is married, has a mistress, and the fame of an avid liar. By the end of the film, knowledge of this character will not be added. However, the lack of a clear final goal (such as getting money, finding the love of a life, or something like that; what characters in popular movies often find themselves looking for) does not make the picture worse. On the contrary, while watching, you understand well what the author wanted to convey – the atmosphere of despair. The atmosphere of some kind of incorrectness, a vicious circle or lostness. The hero seems disappointed with his life. Despite the already bad picture of life, everything begins to collapse, but Sergey (the main character) does not try to save anything, but only swims with the flow. Sergey always quarrels with someone, falls from somewhere and loses his loved ones. It is difficult to call the main character a positive character, the viewer rather feels sorry for him. An important point in the story is the pseudo-fainting of the hero. He pretends to be sick, hoping that his mistress will return to him. In the final scene, where he pretends to drown, his friends still try to save him, get him out of the water, but once they realize he's cheating on them, they immediately turn away, leaving him alone. And this happens every time, Sergei is offered a helping hand, and he turns out to be only a pretender, which he did not drown. The hero “is happy to be deceived himself”, getting confused in the circumstances he created. He wants to find a way out, to relax. But it only gets deeper and deeper. My expectations were somewhat misguided. The director does not give us any answer to the question: how to get out of this situation? He's just asking.
P. Special praise should be expressed to the operator and director who created such wonderful film frames.
Modern cinema sets the rhythm: faster, higher, stronger. Stereotypes rule: if the genre involves shooting, then it will definitely be. And when you watch another picture, you involuntarily think: is there a movie for the soul? Can you see yourself in a movie hero? At the same time, you are not an alpha male, not a Terminator, not a Savior of the world, but a simple engineer with everything going awry. Yes, there is such a movie and this is the film “Flights in Dreams and Reality”. This movie is about all those who are confused in everyday life, who are trying to be honest with themselves.
In the late Soviet Union, it was possible to make a movie about Little Man. Clearly, there was a certain risk involved. Who is the Hero of our time? Miner? Steeler Savchenko? No, fatigue runs through Sergei Makarov’s every move, but he is desperately looking for a way out. Getting out of a situation where there is no way out. You can't go above your head. But few can raise a revolt against the terrible routine, against the established order. Is Sergei funny? Is he pathetic? Maybe. But he has a profound right to revolt, to revolt against established rules. Existentialism permeates every minute of this wonderful film and only those who are faced with the horror of everyday life, with the incredible passage of time, can realize the tragedy in the behavior of the main character. Midlife crisis.
Of course, this film is recommended for viewing along with others: “September Vacation”, “Autumn Marathon” and the beautiful “The Arragement”. In all these paintings, one motive sounds: the revolt of a lonely man against the prevailing, natural circumstances.
Don’t watch this movie unless you’re ready for existential questions. Don’t watch this movie if you’re used to seeing winners and heroes in movies. Don't look if you're not sure. See if you feel that half of your life is behind you and you have never found yourself. This is a film about the Equator of Life.
I remember when I was a child, having heard the conversation of adults, my memory retained a certain image of an unusual film. Viewing was constantly postponed due to reasons, circumstances. Several times, trying to turn it on, the mood instantly changed and the choice was made in favor of other paintings.
However, a high rating, a brilliant cast, description promised an evening in the company of a deep existential crisis film. The one-and-a-half-hour picture was barely inspected to the last frames ...
The fate of the lost man who drove himself to the margins of life. Being surrounded by women who do not respect themselves, ready for the sake of a fraction of his attention to much, he uses them without bestowal, while believing himself to have this right.
Wife, mistress, girlfriend in love, co-worker, passionate about him, random woman on the tracks, daughter, mother who has not seen him for many years. An anti-example of a man’s performance of his social roles is revealed in various situations. It becomes hurtful and sad for women who allow themselves to be treated like this, in a sense agreeing to this. But such examples can be seen everywhere in reality.
And it would seem that the final scenes should cause pity for the main character, tears - give us hope for correcting mistakes, a chance to change everything in life. The director leaves the continuation of this fate to the decision of the viewer. .
But the question is, with this level of awareness, will insight occur?
5 out of 10
Sergei Makarov could not accept that people do not fly. 40 years were brought out so mockingly, emphasizing that he had enough time for this humility.
Like a student in a class, he was engaged in an unknown task during the break, and now the lesson and he urgently needs to leave. And you can’t go out because there are adults, conscious people around. They are unlucky, but they walk on the earth.
Sergey has nowhere to go, he most of the film runs away from reality, in which he has nothing to lean on (find plumage). Driven into the 4th corner of his birthday, he finally decides to be sincere, he puts himself on the rails of human condemnation in the hope of being noticed.
Among those who have not yet had time to feel disgusted with him are women with whom he still has weak hopes. They represent the past (which cannot be returned), the present (which has come to an end), and the future (which is hazy and unknown, besides it flirts with a strong opponent who cannot be defeated).
Obsessive laughter, riding on a wooden swing of Alice, during a holiday in nature, what else causes in Sergei the last of his known feelings is fear.
Atrophy of feelings is not a complex of transitional age, it is a disease of self-disappointment. Sergey cannot help but hurt absolutely everyone around him, because he is not a healing wound. He crossed the threshold of pain, beyond which the emptiness began. He understands this and wants to regain his feelings, even at the cost of his own life, because without flights he has no life and will not be.
A film about the emotional discomfort of a person. Sergey Makarov will soon turn 40 years old. But recently Sergey lives in constant experiences, he is not happy, discontent releases on his wife and colleagues. Colleagues both can and suffer failures and even deceptions of Sergey. Natasha, Seryoga’s wife, did not tolerate his communication with Alice and kicked him out of the house. In the evening he came home and Natasha said everything she thought. He breaks down the door, kisses his daughter Mary and leaves. The next day he returns to the city, in the evening he comes home to Nikolai Palich, his classmate and boss, and asks for forgiveness for everything he did. He forgives Seryoga. On his birthday, Sergey breaks down and at the end of the film lies in the hay. Therefore, the hit "Colorful fairs" with the words "I try, I manage." “Sadness will come” fits well into the film.
I feel sorry for Sergei Makarov, despite his wrongness towards others. Someone is not happy, the influx of feelings – this happens to any person, even me. But you have to be able to hold on.
“Flying in Dreams and in Java” is one of my favorite movies. I watch this film on February 23 every year, on Oleg Yankovsky’s memorial day. I want to say thank you to the creators and actors of this film, an excellent film on the subject of experiences and in the USSR (even during the years of perestroika) films were able to shoot.
Greatly selected actors, wonderfully conveyed the spirit of the time when everyone was more or less equal at work, where it was impossible to stand out from the crowd just because you have a new phone. Everyone lived as they were, without embellishment and false self-importance. Oleg Yankovsky, Lyudmila Gurchenko, Oleg Tabakov – they all create a pleasant company, long familiar to us from domestic films.
People and their actions are natural and unpredictable, as in life. It is worth noting that among the heroes of the film I recognized my friends! Disappointment, hopelessness, loneliness, misunderstanding – all emotions are understandable without words, without facial expressions. Every feeling of the heroes is felt on their own skin. The seemingly indescribable air, changes in weather, paint and nature itself appear before the viewer so clearly that it seems to even begin to smell of autumn dew, wet haystacks scattered here and there, the dampness of fog is felt ...
Delight, the inability to repeat, the need to feel again - these are the first sensations that are absorbed after watching a movie. Thank you immensely and incredibly grateful to those who worked, who embodied and created such a masterpiece!!!
Awesome movie. The life of a man is perfectly shown, without purpose, without love, without a king in his head. I'm not afraid to write this Cinema!!!. A 1982 film. More than 30 years have passed, 10, 20, 30, 50 years will pass, and his character will be recognizable among the people around us. "Clown" - as the hero O. Tabakov told him. And the point is not that the main character is 40, and he seems to have nothing behind his soul. And the fact that the main character is already 40, and he does not want to change himself, to look for his way of life, to light the fire around him and look around. Look into the eyes of people around him to see the answers to his questions. He doesn’t even want to ask himself questions. But no, I'm sorry, he asked one question, not to himself, but to his wife and mistress at the beginning of the film. I received an appropriate response from them. Will such a person have a future? The authors give the answer at the end. The episode with the haystack is simply brilliant and IS sad.
No options
Having starred with his wife Lyudmila Zorina together in the picture of Roman Balayan, Oleg Yankovsky firmly staked the place of a certain sex symbol of Soviet cinema in the mid-80s. Just look at the movement of his lips in the direction of the beautiful half of humanity, how they stretch and tease, it will immediately become clear who is the master in this game.
At first glance, it may seem that the picture is about nothing. What kind of midlife crisis? There is no such thing as a strong and whole person. But the problem is what we have. How many of them were in the 80s and now bear their numbers. Another thing is that the hero of Yankovsky is to some extent selfish, even somewhere egocentric, but the essence of the matter does not change.
The first seconds of the film, Balayan immerses us in his metaphor. Wake up at night or in the morning, Sergey sits down to write a letter to his mother. Lines are not given and as a result, the paper turns into a lump, which is then compressed, then decompressed, like a mother's heart, maybe to some extent the heart of Sergei himself. And then Yankovsky's hero slips out into the street, gets in the car and drives in an unknown direction. He keeps going and going, everything runs. I'm lying. No, he has a certain motivation. Sergey wants to meet young and young Alice. But, as we know, God marks the sheep as a result of which two butterflies, as he put it, meet and catch him hot. Is Makarov ashamed of his behavior? I don't think so.
As the hero Valery Khlevinsky from the movie "Eternal Call" said, or maybe you dropped the rod, walked and walked, and dropped somewhere? Such a parsley happens with Sergey. Everything is, live and rejoice, but it does not work. Maybe getting away with it leaves everything unpunished. The friend boss cannot reason, although he tries, Larissa’s former mistress does not have the influence that she used to have, only gives the car. In this regard, of course, his act does not look very cruel, when at work Sergey makes it almost clear about the connection between Larisa and the head of Nikolai Palych. It hurts him to do it. But probably there were bright moments in his biography, there were joyful moments spent with his wife, with his daughter Masha, etc. Here just happened to prove himself when he disperses the gang at a freight train. That's a cocksucker. Cruel? Yeah. But when you look at Yankovsky's hero, you don't feel disgusted, that's what it is. A moth flying into the light. A sinner, but not without the spark of God. That's why we love him.
One of the best paintings about the midlife crisis of the 80s of the 20th century, it continues the literary tradition of the 19th century, Chekhov’s works, Vampilov’s plays Duck Hunt, etc.
It so happens that many paintings with the participation of Oleg Yankovsky are characterized by the motive of the flight, the inner throwing of the hero, who found himself in disagreement with the existing reality, with which he cannot build normal relations, due to the fact that the hero is not understood by society, even though everyone is loved. As a result, all this flows into an absurd run to nowhere, which becomes an illustration of all his emotional experiences and breakdowns.
The film is very deep, despite the fact that the story itself is very simple - it depicts 3 days in the life of a 40-year-old intellectual, including the day of his anniversary, which only increases his lostness and isolation. Both the inner contradictions of the hero and his entanglement in life are perfectly conveyed by Oleg Yankovsky. Ironic fatigue, hooliganism, a magnetic look with a squint, the ability to so expressively keep silent so characteristic of his acting make the image so super charming and relief, it is impossible to take your eyes off him throughout the film. He does not let us catch what kind of hero in front of us – seemingly everyone loves, but at the same time he is isolated, rejected, a superhero and at the same time a seemingly loser who cannot live like everyone else, who is in search of the most incomprehensible things and truths, who needs to move somewhere, go, always lacks something.
The wife and mistress, with one of them the hero is connected by duty, with the other - everything except debt, by and large, and stand, and with the other he has quite little in common, only an attempt to somehow escape from the boring routine, but unsuccessful. Larisa Yurievna (the character of L. Gurchenko) is perhaps the only person who, if he does not fully understand, loves and accepts him as he is, sometimes playing along with him in some buffoonish actions. Although all this buffoon hooliganism is filled with drama and sadness, it is like an attempt to draw attention to these moments, a bitter attempt against a double public morality that will always justify beautifully concealed lies and reject sincere but unsightly truth, this desire to lead everyone to a certain average appearance and will not focus on the personal differences and properties of each person.
Everything ends, however, with the same isolation, remoteness, an attempt to warm up, burrowing into a haystack, and to be alone with yourself, fenced off from everything and everyone. .
It's hard to feel this movie. Yankovsky plays not only the midlife crisis, but the crisis of an entire generation. What kind of generation, these people of the 70s, the era of Brezhnev stagnation, I do not know. And about the crisis of middle years in my years to think — not the time.
The camera does not let Yankowski out of the frame, and you might think that this is a metaphor for emptiness / boredom, from which you can not hide. The hero runs without knowing where, clarifies, grimaces and sad. Looking at him, I remembered Baron Munchausen several times. Do you know what brings these characters together, apart from actor Yankovsky? Joke and contempt for "decorum." When they make fun of everything, they don’t just laugh at the most important things. However, the baron is eternal, fabulous, frivolous and serious at the same time - on this holiday of life. And the hero of this film is a joker because of the despair that overtook him for the fortieth anniversary.
I'll look at it another time.
The Midlife Crisis in an Era However, behind all those political and economic, accompanying the USSR, was somehow forgotten the essence of the individual citizen. And Balayan in the early 80s, in collaboration with Yuri Merezhko, created a surprisingly necessary and multi-layered picture.
One of Oleg Yankovsky’s favorite roles. Flights... has its own atmosphere. At the moment, I perfectly understand the hero of the picture - Sergey, his experiences and throwing. There are even similar moments in my personal life, which undoubtedly strengthens my attitude towards her.
The director pointed out and pointed out the problem. The problem is not one particular person (as it seems to me), but ultimately society. This is reflected in many scenes, especially in the “working hours”, when Sergey is scolded in the team, and he responds to them.
As Balayan himself later said: “Flights...” – accumulated bile state, which had to be thrown out.
Great cast. Memorable music that adjusts to the process of thinking while watching. The style of the main character deserves special praise: sweater, fashionable jeans and sneakers made the character of Yankovsky a superstar of the 80s.
What else can I say? "Flights..." must be watched. .
Roman Balayan’s masterpiece “Flights in Dream and Reality” (1982), which was included in the list of the best Russian films, according to the guild of film critics and film critics of the Russian Federation.
"Flights in Dream and Reality" is like the "Autumn Marathon" (Danelia), only located on deeper, even more intellectual, cinematic layers. A picture of lost people and society as a whole, like the seed of a dandelion under the onslaught of the wind, moving from one refuge to another and back. Faceless, gray, empty, lived enough meaningless time, and not finding a place, remaining forever lost, as if in timelessness.
"Flights in Dream and Reality" - as one of the best roles of Oleg Yankovsky and absolutely typical, but nevertheless flawless roles of Gurchenko, Tabakov and young Menshikov.
“Flights in Dream and Reality” is another sensual, partly metaphysical, melancholic, existential masterpiece of Soviet cinema, which for a long time leaves in memory, vividly drawn, images of heroes.
Yankovsky, of course, played Yankovsky, no matter what name he was assigned in the credits - Makarov, Munchausen, Bragin (in love at his own request), Nekrasov from ' Served two comrades' or the Wizard from ' Ordinary Miracle' Played a man ' not of this world ' as he was in life.
Makarov runs away from his mother, ' whom he hasn’t seen for 5 years' and as a result, he curled up in an embryonic position and cried like a child in a haystack. At the age of 40, when there is nothing behind the soul, there is only one native person - the mother.
And Khrapachev's music. She permeates the whole film, causing goosebumps on the body, creating a special atmosphere. Contrast against the background of the hits of those years, sounding in the film, it brings you back to your '40 years ', returns to the door from which the main character is always trying to escape, but in the end must still enter it.
The film is definitely a masterpiece!
He was loved by many. From his childhood, when his mother and father and grandparents did not want a soul in him and pampered endlessly, in a school where he was always a starter, without making any effort, in an institute where, thanks to his living mind and excellent memory, he easily studied and easily liked fellow students, fellow students and even teachers. He was loved even now, when he acted as if he wanted to win universal hatred. His boss, as well as an old friend and classmate, imposed strictness on himself, but in fact forgave him any antics, one another more ugly. His youthful love, the first beauty of the city, for twenty years faithfully and faithfully waited for him, meekly giving him on demand the keys to the car and money in debt. His wife, even having caught him infidelity and driven him out of the house, could not resist her feeling for him, which with a stubborn fish fought against his monstrous indifference. He knew all that. I don’t care about that at all.
Collective
The Soviet intelligentsia was not at all a homogeneous stratum, as the hard-stone ideologists of Marxism-Leninism claimed. It consisted of very, very different groups, with different goals, interests and principles. Among her were outspoken opportunists, zealously serving the authorities for an apartment, a car, a cottage and a regular food set. There were real opponents of the regime, who based their lives on strong convictions and ideas. And there were also hanging in the middle between the service and the struggle - the midfielders, who did not join anyone, did not join any business. These most hanging and were intellectuals in the proper sense of the word – people whose life world revolved around their rich inner world, the fragile uniqueness of which they cherished. The cherished dream of these people was for others to understand and admire their inner wealth. Misunderstanding by other people caused them suffering, and this suffering was so intense and constant that it could rightly be considered the real profession of these people.
Observer
Roman Gurgenovich Balayan can be called a singer of the Soviet intelligentsia in cinema, as well as Anton Pavlovich Chekhov – a singer of Russian philistines in literature. The “Flights in Dream and Reality” that brought Balayan the all-Union glory without any collusion demonstrated the very essence of the endless sufferings of the phenomenal class stratum, the result of which was not so much spiritual search as ordinary life instability. The character of Sergei Makarov turned out to be so vital and believable that millions of viewers followed his outstanding adventures with unrelenting interest, as if watching life itself. The incompleteness of this fascinating story was like life. Balayan admitted that he served as the prototype for the main character himself, but this, of course, is only partially true. His hero, incomparably played by Oleg Yankovsky, is a collective image that focused thousands of restless souls, vagabonds of the spirit, in whose wanderings there has long been neither Oneginsky splint nor Pehorin demonism, but only inhospitableness and inability to accede to any harbor.
Personality
It seems that the more he was loved, the more he turned away from love. He knew perfectly well that he was unfair to people and cruel to them, but he could not help himself. No amount of love, attention, recognition could satisfy his soul, hungry for something quite different - which he himself did not know. Like the ancient Tantalus, punished by the gods, he felt a constant thirst - a thirst for something inexplicably beautiful, insanely distant and vaguely conscious. At other times it seemed that here it is, the beautiful - extend only your hand, but it was worth it, and the beautiful again appeared in an infinite distance. He was angry at himself for it and scolded with his last words. He was angry at people, all those clumsy, stiff-talking dolls. There was no one else to be angry with, because he was a hereditary atheist. Without realizing it, he wanted to blow up this stupid and insensitive world, to hit these insignificant people in the heart with some out of the ordinary act. But instead of acting, only ugly pranks were obtained.
Someone said that when Yankovsky runs at the end, and on his shoes he has red soles, it means that the ground is “burning” under his feet. I don’t know if Merezhko thought about it when he wrote the script or Balayan when he made the film. But the essence of this statement determines the whole essence of the film. Tabakov's hero tells him at the end, "You're sick!" Maybe not in a literal sense, but in this restlessness there is something painful for others.
A film about a life crisis. The hero is forty years old for a reason. Half of my life has passed, the age of “acme”, it is time to take stock and answer the question “What am I living for?”. Apparently, the main character is trying to find what he lives for, but he quickly gets bored, becomes uninteresting. He says, sitting with his wife and mistress, “I have nothing to do with one woman but duty, with another woman I have everything but duty.” But I can't believe him. He had an affair with the heroine Gurchenko some time ago. As soon as something begins to go wrong in a relationship with one of the women, he immediately switches to another, all the time looking for love and attention, not realizing that everyone loves him already.
He lives parallel to his own life, trying sometimes to grab something, to snatch a big piece, he succeeds, to the misery of those who love him and to the envy of his rivals. The episode, when Menshchikov’s hero defeats him in the game, is indicative of the fact that the hero grows old, ceases to be the young and mischievous one who builds eyes for all similar young girls. He no longer attracts the attention he evidently attracted in his youth, but he does not understand it.
The woman who picks him up at the station is perhaps the only character who puts pressure on his character, he is clearly uncomfortable with her, he does not know how to behave. He is used to managing the ball, the position of the chosen ragman he perceives not as easily as it would seem he could perceive.
The whole film is a refrain of the image of the mother. At the very beginning, he begins to write her a letter, then lies that he is going to meet her, that he has not seen her for two years, then he goes to her, gets into history, he is beaten, and he turns back, and at the very end at his anniversary they say that he did not communicate with his mother for five years. This vague image, the range of time since they have not seen each other gives rise to something mysterious, it is no longer the image of the mother, it is the image of his search.
The relationship with his daughter and wife is interesting because his wife loves him, and, not receiving love from him, tears his evil on his daughter, because this is his embodiment. If she can't do anything to him, it's easier to be angry at her daughter, at her resemblance to her father, at the fact that she gave birth to her. Therefore, she so wants to lie to her husband that this is not his daughter, for herself, it will become easier for her to think, imagine, imagine that this is not his daughter.
The whole film Yankovsky’s hero is dressed in the same clothes: jeans, a denim shirt and a sweater. By the end, all his clothes wear out, a bruise appears under the eye, he becomes no longer like a tramp in life, in a figurative sense, but an ordinary vagrant.
The moment he jumps off the bungee into the water is a kind of flipper. Clown! Clown!, shouts Tabakov’s hero. This scene is also perceived by the audience and the characters of the film, but this is not just another trick to attract attention. It is the desire to hide or die, to hide. This is confirmed later. When he burys himself in a haystack.
Interestingly, the movie begins with him sleeping and seeing something frightening and waking up in a sweat. It ends with him shaking from the cold and damp and hiding in the hay. If he succeeds in flying in a dream, then in reality a person cannot fly, no matter how much he wants. Because it doesn't have wings to fly around.
The scene where he dances with Gurchenko. She's happy, she's playing in public. Proud of attention. Turns around and he's gone. That's the essence of the hero. Try everything. If he had a vase of biscuits in front of him, he would have bitten each one and left it without finding the most delicious one.
The film is shot on a classic theme, so it will be loved by many future generations of viewers. Everyone will see themselves because the topic is familiar to everyone. The movie doesn't teach you how to live. It just shows the man and his story. That is one of his main values to me. Pure cinema as an objective view, a spied life, without unnecessary pathos and false, ostentatious raid.
Seryoga, let's go to the booth! I can't, I'm celebrating 40 years today. I usually tell the first half an hour of a movie and then I go on to the next half, but that’s not how it works. I'll tell you what I'm talking about. The central character is a juvenile idiot, despite being 40. The most natural boy who from childhood bathed in the excessive attention of women. He went swimming, but forgot to grow up. He is 40 years old and nothing has been done. His classmate is already some sort of thing, but the boss, his old friend has already given his daughter to marry, and Sergey (that is the name of the main character) only has a one-room apartment, a car by proxy, a very small daughter and a lot of debts around the city. He even has 15-year-old behavior. I saw the skiers and ran to catch them. I saw the cyclists, and I ran over them. When he saw the thieves, he ran to stop the crime. I got on set, let's get in the way. And when everything was tired, he got on a freight train and left. All right! It just ends up being sad. The inner child refuses to believe he is 40 years old outside. Through this, Sergei begins cognitive dissonance with subsequent hysteria and clowning - only the cry "I want to go home to my mother" is missing. Many reviews of this film say that the director shot the anthem for an entire generation. Honestly, I didn’t live in the 80s, but for some reason I can’t believe that a whole generation of such idiots has accumulated in the country by this era. If the reviewers are right, then it turns out that all urban people born in 1940-1945 are helpless teenagers, all unhappy and unnecessary. I don't believe it. But if you look at it from the other side, the film is definitely good. He has a good pedagogical component. If you show this film to a person 18-22 years old and say, "Look what happens to you if you don't get smart," you can achieve certain positive results. And, of course, actors are good - there are no such actors now. Original
This is one of my favorite movies with my favorite actor.
I don’t even know where to start.
A person, a person rather not stupid, by the standards of that time, successful: work (and not a loader), family (wife, daughter), a young mistress, a car, albeit registered and not on him, but at his disposal ... it would seem that another person needs for happiness? But, as in the real world, there is something missing that cannot be explained. Just sitting in the soul longing and do not understand why, and because of it suffer. Oleg endured this state very well, played very truthfully, spiritually and so realistically that he cannot but take for his soul.
This is the only film where the topic of the midlife crisis is raised!May not everyone has this crisis and happens, but it happens to many, just manifests itself in different ways.
The hero rushes from one to another: “Now it will help, quench his thirst,” he thinks, but no, does not please, does not cling, dry ... runs to the mistress ... no, not that, to the exaltress ... again empty ... in fact it is a very serious test, a test primarily for the individual. After all, someone could not pass this stage of life, he just broke down and died. This can be understood in different ways and each option will be true. Someone found shelter at the neck of the bottle, and someone and even more, just passed away.
In this case, the story remained unsaid, the viewer has a chance to think out what will happen next.
Especially touching is the last scene ... the person is tired of everything, like a holiday, a birthday, but no, it is even more overwhelming, strangling ... and he frankly porkishly leaves, leaves everyone, although there is nowhere to go. There’s his life, his friends, his love... but no, it’s too hard, too monotonous... he climbs into a haystack and burrows in it. There is nowhere, it seems, in the whole world, there is nothing that would calm the soul, banish this longing, this disappointment in the whole world and in myself ... in fact it is very scary when there is no real way out with many doors ... this inner disorder, inner chaos ... chaos of thoughts, feelings, desires.
The whole film the hero is trying to overcome this depression of gray everyday life, he is burdened by something that is not even clear to him, but he knows for sure that there is practically no strength to live like this, and I want to live, but how? ? What to do to fill the void inside?
A very, very sincere and unique film, a film about the life and soul, the soul of a simple man who got into an internal crisis, a crisis of a middle-aged personality.