This film was shot when in Soviet cinema there was a tendency to make films about the aspects of society that had not previously come under the light & #39;Sofitov' only if in its peak form - a criminal drama - as if unequivocally telling the audience - these manifestations of social life are bad, look at the disgusting characters representing them.
Further, the degree of odiousness of the representation of these manifestations in culture decreases and we see films made at the end of the USSR with varying degrees of truthfulness - on a simple basis with ' chernukha', well, or extra-neorealism. What is remarkable, in my opinion, the first swallow of this direction was Pichul's thesis from 1982. according to the lit. source of the reviewed film.
Is there any difference from other films of the wave in the peer-reviewed? Pro & #39; the truth of life' and in fact about 'little' people, their tragedies, dramas and few joys? If other authors are professionally removed from their work of dissecting social injustice through the screen, they managed to draw through the whole picture a sense of belonging and empathy for the fate of the gentlemen. But despite the much softer dissection of reality, the answer is still not given – how to restore the truth and prevent injustice in life. However, like none of the authors of extra-neorealism, except for the outputs of non-resistance and patience or tarnished ' Start with yourself ' So in the film, the authors sum up the answer so that all the co-presors actively affecting the life of the years, at the same time would love ' cute old men' and then universal grace would be formed. Yes, only this transformation is impossible neither then nor now, because behind the scenery of the declared values of different, it seemed, assortment of the late USSR and 'developed' Russia has the same social and personal attitudes, which is proved by finding 'little people' in a similar position that we analyze the film, that in modern us films Bykov or Zvyagintsev. There is, however, a fundamental difference in relation to the one presented on the screen - according to the era of the end of the USSR, a conclusion is made about the complete insolvency of the entire social system, and in the assessment of the same moments from the current system, the leitmotif about wobbling in some cases, in general, ' remarkable' system prevails. Strange distortions of logic on the basis of the same situations, probably due to the distortion of thought-processes in a certain cloud & #39; creators when faced with their internal weighting of opinions and meanings '-Well, still know' After all, if you look around you can see in our lives those conditionally negative heroes: a policeman and neighbors in the communal, Zinka, a thief on trust and Verka. Oh, I doubt they're living any different than the movie. Apparently, the point is in the clash of declared goals and real life - one thing when nothing is promised, and another when ritual actions continue in one key, and life exists according to its own laws. Why ideology and life diverged in the late USSR - a complex theme and strongly away from cinema, I will only note that this theme was completely left to the mercy of cultural figures, not science, in contrast to the West, where scientists worked well on mastering the minds and impulses of society, both in commercial and political fields. Well, at this time, culture habitually reflected without giving answers, ahead of time changing with society and leading the latter to meanings and ideas radically different from those declared in words. And, here is the young culture of the island of freedom, on the contrary, sought to understand the movements of society more with a scientific approach, which can be seen in cinema, for example, in semi-documentary & #39; Anyway' or even in the interpretation of a familiar work - '12 chairs'.
Despite the lack of solutions to conflicts, the paintings of Soviet authors provide numerous associative and semantic lines for thinking about the past, future and present, which is caused both by the masterful transfer of real life to the screen and by the wider coverage of a subset of ideas, especially in comparison with the works of cinema released today. Here, after all, how to solve the problem in 'Leviathan' (well, suppose it does exist) - choose 'good'guber - right? Or 'Simple pencil' - the entire declared conflict is solved by the appointment of a smart district officer. All, more subtexts and meanings in these paintings there, the depth of authenticity is the floor of the bayonet of the shovel, meanings are the ladle.
7 out of 10