Alexei Ivanov in his documentary book “Eburg” has a funny and not indisputable statement: the famous Yekaterinburg rock band “Chayf” has remained stable and has not disintegrated for thirty years because categorically did not let in either women or money payments, being essentially a closed men’s club for interests like fishing or garage. The idea, I repeat, is not indisputable, but in the film “On Main Street with the Orchestra” there was not even complete, but excessively complete confirmation. During the year, there was no cloud in the relations between Vasily Pavlovich Muravin (Oleg Borisov) and Konstantin Mikhailovich Vinogradov (Valentin Gaft), they developed in an increasing manner: Kostya provided his apartment at the full disposal of his friend, is ready to share his brotherly earned money with him, and in general he wanted to work with him not once a week, but all seven - at last he met in his life a man who perfectly complemented him, making up a single creative whole. . .
But as soon as women came into this community, the whole idyll instantly covered with a copper pelvis! Immediately, at the first meeting of both Ksushche, Muravin’s daughter (Marina Zudina) and his wife Lidia Ivanovna (Lidia Fedoseevna-Shukshina), everything became clear at once, and they did not fail to express this truth in the eyes of Constantine; let him not hope that they will continue to allow the cynical and burned-out slyag to exploit the talent of such a brilliant, but not practical and naive person.
In addition, in order to confirm this trend, a seemingly random and not obligatory episode was introduced with Louise (Tatiana Agafonova), who, having heard about Vasily’s outstanding talent, immediately pricked her ears and, as if just so, not seriously, began to tell her dream of becoming the last love of a not young but outstanding person, so that he fully appreciated her youth and beauty donated for him (what would await the relationship between Vasily and Constantine, if this dream went beyond words, there is no doubt). But then Ksyushcha appeared, and instantly assessing the situation, made a scandal - the dream remained a dream.
Did Vasily Pavlovich assume any danger from the interference of representatives of the beautiful half of humanity in their creative relationship with Kostya? Apparently, yes, because for a year he did not say a word about them to his wife or daughter. Therefore, it is worth seriously considering the reasons for violating the taboo established by him. At first I thought about the love drama that Ksyushcha is experiencing, that Vasily Pavlovich, having guessed this, uses all means to not lose sight of her anymore; this is not communication with her daughter, but her escort, as accompanied by a patient who is exposed to the dangers of sudden loss of consciousness or seizure. However, despite the fact that the father sincerely worries about his daughter, caught in a love triangle, is ready to do everything possible to help her (even fight with an unfaithful lover), still does not escape attention that he perceives what is happening as a drama, not a tragedy, as a completely normal, albeit difficult life situation, through which almost any woman must go (this is best seen in the musical pantomime he imagines) – so there is no need to sacrifice the friendship of Bones in these cases.
Let's go back to the beginning of the movie. Although the crisis in which Muravin is located looks typical of the so-called “middle-aged crisis”, in fact he has a very specific reason: his family, wife and daughter stopped taking him seriously – for them he turned into a complete loser (even so long-awaited promotion at the pulpit he managed to miss), earns half as much as his wife, the apartment she also punched (in Soviet-Puritanese, but it is hinted that he also can not cope with marital duties), and in this peak situation he finds nothing better than a whole day sling on the guitar! Enraged ("True strangers!"), he leaves the family. - There is a woman who will gladly accept him, there is a house where he is truly appreciated and understood! But Alla Maksimovna (Lyudmila Maksakova), a woman who, according to her, has been waiting for him for ten years and is ready to wait another ten years, has a suddenly revealed, heavy and merciless truth: he does not need her love, he does not need any creative work with Bones, he absolutely cannot live without his family - although it is also unbearable to return back like a beaten dog. Therefore, he wanders to the station for the night (conversations with Bones in his present state ...) - and there in the morning, after an impromptu performance, he unexpectedly encounters Ksyusha. He is struck by her irritated but keen curiosity about his departure (where and to whom he left?), he tries to maintain her interest - and leads her to Constantine's apartment - to a man sociologically more than successful by Soviet standards - and who, nevertheless, despite this status, values friendship with him and fully pays tribute to his talent. . . Further developments are fast but predictable.
The fact that Vasily Pavlovich deliberately sacrificed friendship for the sake of preserving his family is confirmed in a conversation with Xia, when he tells her about the difficult choice after the end of the war: either seriously engaged in music education, giving it decades of his life, or choose the path of simple family life, with its quiet joys and natural problems. And the current situation, despite the bizarre development, is only a confirmation of this fateful choice. Can you blame him for burying his talent? No, we can only regret
This, and so all responsibility and provo belongs to a particular person. However, it is worth noting that the situation of Vasily Pavlovich only superficially coincides with the situation of Fedor Korolkov (Oleg Menshikov). The latter entered the Polytechnic (and thus having stepped on the throat of his cherished aspirations and desires) - in order not to lose the established company of friends. Muravin (and this is revealed by the final song, which only seems unrelated to the plot, but actually occupies a central place in it, which confirms the title of the film) will perceive that he and his country survived the terrible war as a huge Gift. Just to breathe, to see the sun, to care for the girls, to be able to start a family — like a great happiness, about which four years had only dreamed — and death was right here, four steps away. Therefore, this Gift outweighs another gift, no matter what regrets it causes both Vasily Pavlovich and his entourage, near and far.
After watching the film “Urban Romance” of the Odessa film studio directed by Todorovsky – the film is bright, light, wise, Soviet-kind, I decided to get acquainted with this work. I couldn't write it anymore.
First of all, Main Street with Orchestra & #34 is, from an artistic point of view, an outstanding camera and directorial work. Todorovsky has a very bright handwriting. And a spot selection of great actors. The movement of the camera, the emphasis on the situational situation during the dialogues, the car wipers, “dancing” to the opening melody – all this frames the wonderful, deeply instructive and inspiring filling of this film in an equally wonderful wrapper.
In many of his films, along with the themes of war, education, fathers and children, the theme of male self-realization, male freedom, self-expression, creativity appears. Namely, how a man realizes himself in life with a woman. How much a beloved woman, a wife, contributes to, or unconsciously prevents this - a man's sense of personal freedom, personal happiness and the embodiment of creativity.
The protagonist, wise with experience and each time charging himself and everyone around him with his virtuoso playing a musical instrument, is always calm, kind, honest and wise, and his daughter, a bright representative of a new generation, a generation whose heyday fell on the heyday of the era of “perestroika”, discovers the amazing creative world of his father and imbues him with family feelings.
The film captivates with its sincerity, courage. You can see it's 86. The family of an academician, where they do not have children, because “it is old”", the main character, for whom self-expression is more important than work, and even family, and who is called “a strong-willed man, once he managed to get away from such a wife”" And the wife, a beautiful woman, only a slightly different temper, attitude, surgeon, suddenly imbued with the music of her husband and understands that “talent” & # 34;, after all, “feeds”, but how.
At the end of the film sound wonderful songs performed by the main character: the music of Todorovsky, poems of the Armenian poet. Once again, the Russian-Armenian-Jewish tandem of directors, composers, cameramen and poets creates a Soviet masterpiece. The final song was “And yet we won.” I’m from the 90s and I’m one of the winners. Bravo, USSR!
10 out of 10
I watched this film as soon as it was released as a child, you can say.
And besides the fact that everyone is walking down the street in some kind of May Day demonstration and the irritating face of Marina Zudina, nothing remains in memory. I remember this movie talking to a friend. Father! Pyotr Todorovsky, one of the favorite directors, has, alas, left. Borisov, Gaft, Telichkina, Nemolyaeva with Lazarev, Kostolevsky, Menshikov! How can I not remember this?! Urgent review!
I understand how close to the author, front-line soldier and an outstanding guitarist, everything that makes up the treasures of the soul of Vasily Muravin, but ... the film did not turn out. The main character, despite the beautiful performance of Oleg Borisov, is absolutely unreliable and inconsistent. This is some kind of cruel (although everyone in the film vying to talk about his kindness!) and at the same time sluggish, albeit undeniably talented, fool. Wife – Lydia Fedoseyeva-Shukshina in general schematic figure, an absolute cliché. Daughter. She just wants to whip her cheeks properly - indeed, this will be born. Marina Zudina in the framework of the script plays a complete crap - selfish, absurd, exalted, absolutely ruthless and devoid of respect for anyone.
The way she talks to her father (who humiliatingly follows her tail everywhere), with the hero Valentin Gaft, who gave her father shelter and the opportunity to publish her works in orchestral processing, how she treacherously climbs into the family of her married lover and lies, causes deep disgust, and her tears at the same time look just like a tear of a crocodile. In general, the presented characters of the characters resemble a kind of carnival of hyperbolized masks, the carnival film itself ends - a simple procession down the street with artificially inserted songs, a wife with a guitar in white, this jump from a parachute tower - such a completely frontal metaphor of "overcoming." In general, the impression of youth and the beneficial oblivion of this film were not in vain.
This is the Master's failure. In my view, of course. I'm sorry, but it happens. I would write it off on the weight of cynicism acquired over the years, but ... those films that really touched the heart and soul, shot in the same period remained in memory frame-by-frame (" Favorite woman of the mechanic Gavrilov, Military Field Novel, Anchor...). Thank you Peter Efimovich for them.
Soviet Groundhog Day. You wake up, you go to college, you lecture, you go home, your wife sees, you go to the toilet, you settle down on the edge of the bathroom, and you pick up a piece of the wonderful life you could have lived, the guitar. You play. Passionate, excited, amazing. But you are only a ghost, a shadow of your potential self. Talented, recognized, respected, but in fact modest, unassuming, microscopic. So lives Muravin V. P. Thirty years, probably.
A little man in a huge country. A gifted little musician in a faceless, work-oriented world. "Talent doesn't feed," says Muravin's wife, the guarantor of a butter bun in her home, but not harmony in her own soul. A very important and painful choice is to do what you love or work. Creativity is a risk, a fear of others' opinions, a dependence on inspiration. It is unlikely that comrade Muravin, inspired by the visit of the muse of surgery, would paint patients more gracefully and spiritually. She probably didn’t think about such categories at all. It's another husband thing. He did what he thought and did nothing. Thrown to the sidelines of his own being, the hero somehow appears in several films by Todorovsky. Traits are muddy, work-family, exclusively female with 38 links-years of misfortune, sought-after love, embarrassed so inappropriately, so wrongly. There is nothing to say about what happened: every loophole to talk to oneself is filled with a belief in well-being. It's not like that.
With simple human unrealization is understandable. It's too late to finally start living Ant. This is the only thought that revolves in my head throughout the tape. No matter how hard Todorovsky tried to stir up his ward to make not an action, but an act, a rebellion of the hero, sluggish, petty and, alas, already ridiculous. The cluttering of the image of Ant with the attributes of a bad man at last multiplies the contrast with his true haunted nature, immeasurably good, of course, but somehow everything to his own detriment. However, he also gives hope: if something worthwhile in the end he will get out of this kaleidoscope of absurdities. It seems equally successful to elevate to the absolute bitterness of aimlessly wasted years. To extinguish the light of change that is heating up more or less – sharply, rudely, maliciously, as in Intergirl. But in 1986, the director did not act so harshly. The only serious trap worked, perhaps the one for which the teacher was not finally put to rest – he undertook to warn another, still young and promising from his mistakes, fears, doubts. So that in thirty years there would not be an equally lost person woven from missed opportunities on the edge of the bathroom. I wish he could do it.
There's also a daughter. She appears in the film suddenly, it is not immediately possible to understand who it is, what relation such a fussy and arrogant girl has to the cloth V.P. They only get to know each other before our eyes. The clash of fading existence and the fervor of life – they certainly affect each other, but why so late? “On Main Street with Orchestra” is a sad statement by Todorovsky, whose degree of sadness depends on the volume of the viewer’s internal monologue. If you imagine for a second that this is already happening or can happen to you, it becomes uncomfortable, scary, catastrophically scary. It's hard to realize that you're going to be clerical initials in endlessly useless payments, orders, notices. That the main street in your life will be only one or you will not be able to find it at all. Find in a maze of alleys full of uncertainty, silence and uncertainty. Catch echoes of strings, winds, keyboards. Grow at last from faceless V.P., step cheerfully and with pleasure, noticing everything and everyone around, become noticeable to others, conquer a frightening height before. Become Vasily Pavlovich Muravin. Just for a moment. Which I believe will last. Now it will.