Not yarn, but fate. 'About love I tell you all over again, but when it is useless to repeat tired, so know I will go to Ivanovo, and Ivanovo - the city of brides!' ('Well, what we are not pair' E. Krylatov, M. Plyatskovsky)
'What we have, we do not keep, when we lose, weep' These words do not refer to a bygone era, but to the genre of production melodrama. In his youth, such a movie is not just ' passed' by, it literally flew by a meteor, because film interests were different - entertainment, excitement, explosions, chases. But in all this cycle of cruelty and violence there is no main thing - the soul. You have to go to the Soviet films. Thus - with ' production & #39; theme. For 30 years of continuous reforms, the New Russia has stepped far ahead in technical terms, but in soulfulness and spirituality ' the average citizen' was far behind. It is for this reason that in recent years there has been a noticeable increase in the audience’s interest in the cinema of the USSR. It can be called whatever you want: ideological, custom, but it can not take away the main thing – spirituality. Because at the center of any production film has always been interpersonal relationships. The plan was the plan, but basic human happiness was beyond anything.
'City of Brides' is about that. Filmed in 1985, it, in accordance with the slogans of Perestroika, tells about the head of the new formation - the director of the textile plant Gennady Fedorvich Reutov. Oleg Tabakov - Talan with a capital letter. It’s hard to imagine a role he couldn’t do. Possessing the gift of reincarnation, he is able to make any image memorable thanks to amazing ' mimic giftedness' Half-smiles are the actor’s calling card. They can accurately determine what feelings are raging in the soul of the hero at the moment. The beginning of the picture speaks not at all in favor of Reutov, who is at the plant almost less often than on business trips. Against this background, the words of the hero Georgy Zhzhyonov - the chief engineer of the plant - sound almost defamatory. However, the further the story develops, the more sympathies are on the side of Reutov, because the chief engineer is an ordinary reinsurer who wants to calmly sit down & #39; until retirement.
Since we were talking about the city of brides, Leonid Maryagin, as a screenwriter, introduces two female fates into the plot: Olya (Irina Cherichenko) who has just arrived and Zoya (Tatiana Kravchenko) who worked at the combine for 10 years. On their example, the director shows how difficult it is to find family happiness when grooms are in short supply. While developing the stories of the two girls, Maryagin does not copy them. It deliberately creates controversial situations in which it is optional and not obvious ' Happy & #39; In both cases, the director deliberately thickens the colors, showing the characters in very controversial situations, but at the same time, without going beyond the postulate & #39; in life and not so happens & #39; With all this, it is difficult to agree with the director's interpretation of two male characters: Koti Reutov (Anton Tabakov) and a young specialist Shakin (Grigory Constantinople). The son of Tabakov got a very controversial role. Controversial in the sense that the young man is shown to be subtile, indecisive, almost sloppy, which is the unconditional fault of the parents, because the “child” (who studies at the evening department!) does not know how much a loaf of bread costs!
And what is this name for an adult – a cat! No wonder they say: as you call the ship, so it will sail. Constantine behaves like a cat. It is good that the young man, although late, understood this. A slightly different situation with Shakin. The fact that they are almost the same age as Kostya Reutov does not mean that they should behave the same way - the same indecision, uncertainty and even suspiciousness in communicating with girls. If the stiffness of the Bones is perceived as “costs of education”, then the case with Shakin suggests that weavers in Ivanovo will be tougher guys! However, the genre of melodrama, even with a bias in the production sphere, implies a wide variation in the behavior of the characters. This also applies to the main character. For all the seemingly idyllic relationship between the characters Tabakov and Belokhvostikova, the audience will witness scenes directly copied from our lives. But this is the main plausibility of the picture: to show the mistakes of others in the hope that one of the audience will not repeat them in real life. . .