Vladimir Basov is a wonderful actor and director. And in the six films that he directed during his marriage to Valentina Titova, everywhere gave her the main or main female roles. That's what love means! Well, the word now forgotten is blat! Joking. Of course, there was no talk of any kind here. .
Once I watched it more than once and always with pleasure, that’s on the recommendation of a friend decided now to a new viewing, although I often guard against it, so as not to shake the previous impressions. I am very glad that my impressions have remained almost unchanged, and I again enjoyed watching this production. Retell the content, I think, does not make sense, but this is one of the most interesting works on the theme of "Game in truth", Basov as a director is also at the top, as well as almost all performers, except, perhaps, debutante Elena Valaeva, she, in my opinion, did not reach the main performers. And what seemed superfluous to me this time was the songs, they did not fit into the overall fabric of the work.
There is no pity for anyone, but it is pity for everyone.
Plot. He is in no hurry to acquaint you with the situation. You’re thrown into characters who know exactly what’s going on when you don’t. You don't know. But you don't care. You don't care because you know they'll explain it to you when the time comes. And that's enough for you. You just have to listen and enjoy, empathize and live. Just look.
Let's assume that I don't relate to everything I'm about to say about the actress playing Betty, because with all due respect, she was very outspoken against the kings of acting.
Acting. Oh, that damn acting! When I was told that this is a semi-detective, where all the action takes place in the same location and where all the characters are just talking, I imagined a wonderful mastery of speech and facial expressions that can keep the viewer’s attention. Given that I knew a few actors before this movie, I knew what a great game to expect from them. But no, I was wrong. I was so wrong. I couldn’t have expected this kind of play.
I felt like I was just looking at my eyes. Everyone’s eyes told so much that I could turn off the sound and know exactly what the characters were saying. Each had giant eyes, in the reflection of which you could see their memories, their lives. You seem to experience their whole lives with them, grow up and age with them, both morally and physically.
There's no cliché. You'll find a story. The story of a person, people, which is visible from the behavior of the character and ending with his posture. Here you will find actors who not only worked together and scoured the character, but actors who bathe in their surroundings, ranging from scenery to colleagues on the set. They are comfortable in the frame, each of them steals attention, and you are not able to stop the attention on one. I definitely needed a couple more eyes.
Here you will find dizzying camera work that knows exactly what the director wants from it, and actors who know exactly what the operator wants from them. Here you will find music that makes its way to the subconscious, forcing you to concentrate the already heated attention to the limit. Here you will find a director who knew exactly what the author of the play meant.
And the final. No one could have guessed, no one could have wanted such a final. Only at the very end do you know what will happen. Still, it's like you're hit with thunder. And the whole picture adds up. My favorite trick is to throw something incomprehensible at the beginning so that you can see it in the end. Perfect, brilliant ending. At the same time, you don’t know how to react, and at the same time, you’re happy. That's all I can say.
An ageless classic that can and even wants to compete with the monsters of modernity. You should know that. You need to know that.
Why can’t I go back to Soviet times when people needed quality and soulfulness?
For Soviet cinema, this is an incredibly dramatic production of a detective. Yes, of course, it is worth considering that this is ' English detective'. But, nevertheless, in the Soviet Union such topics were not raised, and it was impossible. And in the film adaptation of foreign authors - you can!
And great!
Our actors are amazing. It's fine. At first, I thought the three episodes were too long. Then I couldn't get away. In fact, the plot and directing are so finely constructed that this Soviet series will give odds to many Hollywood thrillers.
It's starting to get boring. But, as a rule, foreign detectives, filmed in the Soviet space, all as one, the first half-hour rocking, no movement. You think it's boring.
But that wasn't the case.
Every character is involved in this film. And nobody stayed clean. Masks come off. And this is very unusual for the Soviet audience.
On the tension, something reminiscent ' Flying over the cuckoo's nest'.
It's a thrilling three series. And the thing that pleases me most is that it's going smoothly, smoothly, chamberly, happening in one room. It's soothing and relaxing, and you're ready to shake up when it goes 'Dangerous TURN' plot.
This is the advantage of this seemingly forgotten Soviet TV movie over Hollywood blockbusters. In blockbusters, special effects do not let you relax for a second, and then some strange heavy plot. In general, too much.
It's perfect here. It’s better to look at one scene and six actors in three episodes, but they’re doing great.
The fact is that the disc with the film waited a long time for the queue for viewing, even a couple of times inserted into the receiver, but was removed and returned to the shelf, “did not go” under those moods. Until then, until a regularity was found between body temperature and the content being viewed: the higher the body temperature, the slower you want to see the speed of the plot development (for you do not have time, in your “plate” state), and the less you want emotional, strong shocks, greatly consuming forces of an already inflamed consciousness. But there should be interest, sleep all day - boring, even to the muttering of the TV screen.
All the above criteria correspond to the Soviet adaptation of foreign detective and/or political works and plays. The plots are interesting for their detachment and intricacy, Soviet artists magnificently “pretend” to be bourgeois and diplomats, entrepreneurs and heads of companies, there is a calm “theatrical” presentation of the work. Such films: "Rich, Poor Man", "All the Royal Men ...", "Raferty", "The Last Argument of Kings", etc.
Having determined the category for this film, I began to wait for the necessary mood: and here is the body temperature, corresponds to the input data, the cloudiness of consciousness at the level, the viewing begins: and then a chaotic change of characters, their places, their positions, just flickering, under the attempts of one of the characters to tune in to at least one of the radio stations on the radio. And this “Brownian” movement seems justified, as the mood of the orchestra’s instruments before the concert, but it does not stop after, besides, a sharp change of close-ups of the actors is added, which does not correspond to the smoothness and haste of the development of the plot and also does not contribute to the contemplation of the sick viewer. Perhaps Basov borrowed this technique, in the theater, where artists who do not participate in the conversation go into the shadows, concentrating the attention of the audience on current lines, but this is a movie, there are other techniques. But this: twitching the camera from face to face does not add smoothness to the video sequence and as a consequence of the "meditation" of the patient.
I tried, just listen like a radio performance, but the lack of the necessary voice "show" and quite long pauses in the dialogues, forced to watch, further coping with dizziness.
It was only in the third episode that my “torment” ended. The video series calmed down, the actors ceased to muffle endlessly, the plot continued to intrigue, the actors continued to act out the characters magnificently, very nuancedly, and the branching of the ending, as a plot move and as a reminder of the “masks” of the characters, was very pleased.
To be honest, for me, the end — the end itself — was unexpected. I completely forgot about this "circumstance" and was surprised by the unexpected discovery when it all started again. Is the truth that important? Yes, perhaps important, but as you know, "trth hrtz". And what can more accurately express these words than the consequences of this strange case, the investigation of which began with a trifle, but rolled like a snowball. How many things can hide absolutely happy at first glance people.
“Don’t wake up a sleeping dog.” And in the end: the piercing look of a gossip writer, fixed on a cigar box, metaphorically hiding the many secrets it holds. For a long time I avoided this TV show side by side, and now I regret: it is definitely worth watching. I came here for Yuri Yakovlev, and discovered several more interesting actors, in particular, the director and performer of one of the main roles of Vladimir Basov. I also got acquainted with an excellent film adaptation, the original of which I will definitely read sometime.
The first contribution of Vladimir Pavlovich Basov to the Soviet film Priestlian.
Absolute respect for the source: three series by the number of actions provided in the play living room, no freedom in dialogue, only stated by Priestley characters and no change in the finale, which love to sin the directors of the plays. Recall the famous film adaptations of Tennessee Williams, Gaidaev’s “Inspector” or “Theft” in the production of Oleg Biyma.
The actors were selected flawlessly, also taking into account the author’s intention. It is hard to imagine a better Stanton than the director himself. The others are just as perfect. And that seems to be the whole story.
But the directing art of Vladimir Pavlovich Basov is manifested in this picture not in a perfectly selected acting ensemble and respect for the text. It manifests itself in one circumstance: the strengthening of the role of Maud Mockridge without departing from the play.
A good writer in whom, as it is supposed, "there is something unpleasant." A beautiful lady with attentive, icy eyes. An observer who felt the falsity of the idyll. Probably just now. And maybe everything that happened next is her fantasy, a possible variant.
Priestley would later entrust an intuitive insight into the truth to a girl with literary ambitions. But Grace Conway will see a bleak future.
" "Time and the Conway Family" will be one of the last bass films. And it's going to be disappointingly unsuccessful. Again showing respect for the text, the director this time showed no respect for the images.
Therefore, Dangerous Turn takes on added value as a testament to the power of talent in its heyday.
This magnificent film is another high-quality Soviet adaptation of a good English detective. Talented actor Vladimir Basov once again showed himself to be no less gifted director, taking on an emotionally strong play by J. B. Priestley, mercilessly exploring human psychology without the right to a mitigating verdict, adhering to the disappointing result from the classic novel about ten negroes compatriot Agatha Christie – everyone is guilty. The only salvation lies only in blissful or conscious ignorance of the whole truth of life, so as not to put the broken mosaic together, which often appears in the frame, looking for an opportunity to look at the “picture” of the world in all unpleasant fullness, and it is better to turn on the hissing radio with a cheerful stupid foxtrot, carelessly starting to dance.
The uniqueness of the plot base is that the author skillfully writes out a confusing detective, but introduces a strong psychological thriller with reliable interpersonal drama into it, managing to deliberately limit the space to a couple of rooms with several characters. Each of them is extremely clearly written out and, of course, perfectly played by a number of recognizable Soviet actors and actresses, pleasing the eye and hearing with a colorful performance. The story, like a viscous swamp with a waiting death at the depths, deceptively slowly takes over, starting with a carefree meeting of a company of friends-companions: husbands and men sprinkle jokes, wives and ladies have small conversations. They have everything with tact, arrangement, in a good tone, as befits well-bred ladies and gentlemen. On the radio, a detective play has just ended, metaphorically warning not to wake a sleeping dog, as a symbol of a disheveled truth, similar to speeding without brakes amid a mass of dangerous turns. The box makes you drop a short phrase that prompted the general theme of Martin. Poor man, he was a universal favorite, with whom it is always so amazingly fun! He was the soul of their company until he committed suicide a year ago. Such a flimsy, immediate, charming, not bothering to think about the consequences, having understandable minor shortcomings inherent in his addictive nature, say, a lot of debts, which once simply could not stand. He always lived on the limit: whirling and sad, loved and friends, so his delicate soul failed. Ah, poor Martin... But soon the conversations go a little further, invading the border, where you often should not step, destroying the rule that the deceased is either good or not at all. New facets, other shades, unexpected connecting threads, small nuances, small truth revelations complement the existing image. No, rather the facade of a cheerful friend, a dissolute (mercy, this is the same dignity!) younger brother, witty and windshield. The truth hurts, first forcing a new view of the narcissistic Epicurean, accustomed to using others, and then even worse - everyone to consider himself beside him, exposing his own sins and vices.
A ruthless thriller. Emotional boxing. Harsh lynching. Nightmare. Confession before death of ideals, fantasies and belief in others. Absolutely all are involved in a single cauldron of dirty truth about the deceased and himself, when, with a serious exposure in three series, the author elevates human vices to the absolute, where the initial deception with fraud is very soon forgotten for the ease of guilt, and the betrayals of wives pale in the face of a deeper shock of the betrayal of lovers and mistresses. And the further, the more fatally the knot of the gallows tightens around the neck of everyone, promising to expose the soul to the rest in front of others, throwing out another batch of vicious lies, trampled feelings and evil, folding into one huge snowball. The night of the detective investigation quietly transforms into an endless, merciless hell, woven by people and their actions, seriously frightening by the realism of events and the reliability of the characters played out a thousand times stronger than all the screen monsters combined.
The uniqueness of the film adaptation is that Vladimir Pavlovich, who along the way played one of the roles, incredibly subtly conveyed a powerful thriller with a deep drama, seizing the psychological origin of the play, managing to fit into the framework of time, television format and censorship, but remaining ruthlessly strict and close to the source, affecting slippery moments with the moral degradation of respected masters, the appearance of drugs, a hint of homosexuality, the complete destruction of family values, playing it truthfully and intelligible, but extremely delicately. In addition, he went beyond the usual narration of one story, dividing it into several layers and hiding a lot of symbolic nuances (the very collapsed mosaic on the table; opening the box, like a Pandora's box with the melody of a wedding march, exactly with a mockery; taking the inquisitive Robert dog in his hands in the head of the production; the house belongs to the book publisher and at first there is an attentive writer of detectives, who is not liked because of her ability to fantasize, uttering a brick from a fly of a death, just like a mockery of his own passion, turning back into a fetus for a day after a night, which they indistinying all the creative events, when they have created it for a long time, and yet again on the feast of their own day, when they have created it for the fetus.
10 out of 10
“Telling the truth is like turning at sixty miles an hour.”
After watching this movie, you will know why this statement is true.
It would seem that there can be secrets from each other in six close friends (some of them even relatives or spouses), who have known each other for a thousand years. They talk sweetly, discuss some radio play, smile at each other with sincere smiles, but ... you just have to open the box ... and together with the music from it you can extract something that it would be better never to get out of there.
This movie is essentially a television show. With rather poor scenery and not the brightest musical accompaniment, but the viewer does not distract from the stunning play of actors, with the help of which the brilliant director Basov immerses the viewer in an endless intricacy of intrigue, lies, exposures and exposures. The film is a real action, but action is not action (which is not difficult to create), but events. Thank you very much, of course, for the wonderful literary basis of the film - Priestley's play of the same name. With each new dialogue, with each new replica, another veil of mystery is raised before the viewer. It's definitely interesting to watch. Now you can envy the viewer, because he will be able to watch the whole movie. And before... I remember waiting for a quick start to the second or third series that went on the next day. And the previous series ended, of course, in the most interesting place.
And the final conclusion. The main character of the play faces the question “to be or not to be”. Man has lost illusions, which he actually lived, all around were not those for whom he took them (in fact, ordinary people, and not those images that he invented). His disillusionment was so great that his hands fell and his strength left him. What would you do in his place? Perhaps they would thank fate for the fact that the incident removed rose-colored glasses from your eyes, but perhaps, like the main character, “would lose faith in humanity.”
Look, the strongest film, with amazing acting and twisted plot.
Priestley’s play itself is very interesting and captures the viewer with a fascinating plot, where, like a tangle, the story of a small circle of English aristocrats is unraveled.
The work is not rich in the number of topics touched upon, the main question to which the author gives his answer is: “Is it always necessary to know the truth?” One of the main characters, Robert Keplin, a solid businessman, clings to an inadvertently thrown phrase about the box and decides to understand everything and reach the victorious end, when none of their close circle will remain secrets.
Until the very end, the play keeps in suspense, it slightly resembles a detective story.
The Soviet film adaptation largely benefits from a fascinating plot. Compared to the play, there was no room for humor in the film. This, in general, is understandable, there is no necessary atmosphere for improvisation and direct impact, as in the theater, so the viewer develops a real drama and only cheerful music can somehow alleviate the impression of the heat of passions. True, the final song called for this is a little knocked out of the picture, since its melody and text painfully resemble optimistic Soviet compositions.
I wouldn’t call this movie a genius, even though there are some pretty serious names in the cast and good acting. However, I love it very much, and every time watching it gives me a real pleasure, though mainly due to the fascinating rehearsals of the plot.
I love old movies. Some of the movies I love especially. And my special love is enjoyed by those where there is no “EKCHEN”, but you can think about them. Those who love theatre. Those who are not indifferent to English literature and old Soviet cinema. Those who love “smart” detectives and do not spare time to understand the intricacies of the plot.
This movie is for you.
A company gathered in a country house: two married couples and two friends at home. They are all very nice people, all treat each other with great sympathy, all people are wealthy and accomplished. Only one event darkens their lives: a year ago, the brother of one of the heroes, Martin, shot himself. Handsome Martin, heartthrob, spoiler of fate, universal favorite. His death still does not fit into anyone's mind. But life goes on. Heroes drink cocktails, say compliments to each other and enjoy life.
And suddenly a music box appears on the stage. It will serve as a catalyst for everything that happens in the play. And for three episodes before the viewer unravels the thread of truth, the components of which are secret love, betrayal, vicious passions, betrayal, hatred and lies.
Lying is perhaps the main character of Priestley's play. So maybe Martin didn't shoot himself? And he's not the only victim? You will not regret it.
I personally review regularly and get just wild enjoyment.