- How did you take this fake note twenty-three years ago, Nina Georgievna, and pull it... ' Fake note' from a number of other series is distinguished by a certain impression of quality, which already in the first minutes makes itself felt, and the series wants to watch further.
First of all, we are talking about acting work. Each performer is so convincing in creating his image that the question of the level of acting does not even arise. The main character of the series Marina and did play debuted in the movie Sophia Sinitsyna. And she played, I must say, brilliantly – after watching the language does not turn to say that someone would have coped with this role better. Marina, who suffered her grief, did not allow herself to falsify (for a reason that the musician), did not falsify the young Sinitsyn.
Once again, Ilya Korobko was pleased with his wonderful acting work. I want to believe that he will take part in a variety of worthy projects for a long time. His Cyril changes under the yoke of the circumstances that life presents him, makes mistakes, but at the same time the image remains as consistent and whole as possible: even in the last series it is not so difficult, as it may seem initially, to learn the character that we had pleasure to observe in the first.
Incredibly convincing turned out to be Julia Yurchenko - albeit in a somewhat tempted viewer image of a friend-separator. True, it is not entirely clear why her character Dasha suddenly betrays her best friend, but further on the series, a kind of combinatorial woman appears before the viewer, who is so skillfully falsifying facts in her favor that it feels like she is doing this all her conscious life. Taken her 'false note' Dasha had to be quite specific from this point of view for the viewer to hear this note. This detail of the image of her heroine Julia emphasized masterfully.
Cyclical plot, cyclical fates of characters ' Fake note' built so skillfully and interesting that sometimes it seems as if they border on genius. The daughter to some extent repeats the fate of her mother; rare – and therefore very appropriate – references to the title of the series draw the author’s attention to serious problems, for the absence of which Russian TV series are so fond of scolding. ' Fake' several characters at once, but in different ways: falsity and falsity, so as not to have a certain standard.
Another ' false note', only, alas, much longer, took Nina Georgievna - her role was played by the wonderful Elena Obolenskaya . The image of a woman who fights for her happiness and for her family, this actress embodied amazingly: her Nina, in fact, can neither be justified nor condemned, and – most importantly – cannot be called fully guilty of what happens to the characters of the series.
Through the prism of previous images, it is interesting to perceive the acting work Darya Luzina. The heroine of Daria Zoe in the struggle for her happiness persist, but her conscience and wisdom do not allow her to become ' a fake' It is these qualities that allow her to find happiness.
No less convincing were Inga (Anna Vartanyan), whose brilliant acting career does not prevent her from remaining a wonderful mother, Glory (Dmitry Miller), who ' false notes' unfortunately, does not hear and categorically does not know how to predict the consequences of his actions.
Remarkably conveyed to the viewer and the images of Paul (Alexei Demidov), who bribes with his masculinity, restraint, but is subject to indecision and is inclined to let everything take its course, Vera Ilyinishna (Alexander Ravensky), which, participating in the lives of their children and grandchildren, is most convincing in the role of a loving mother and grandmother, young Lelia (Dian Yenakayev) and Lesha (Anatoly Naumov/b>).
The action of the series is developing dynamically, then, on the contrary, somewhat slows down. This zest associated with the temporary limitation of the dynamics of the plot makes us feel even more empathetic to the heroes, increases the impression of those notorious thirty-three misfortunes that occurred at one moment, which in fact are – although not the only, but perhaps – the main entanglement of the plot, the transitional boundary between ' and ' after' through which the characters carry (or vice versa – cannot carry) love, honesty, conscientiousness and memory.
This transitional line leaves a certain imprint on the outcome: the visible happy ending cannot be called such in full – the life of the main characters, destroyed overnight and until built again, actually begins again.
It is, if you will, love through tears, resurrection through forgiveness, happiness that has been overshadowed by a thousand shades of light but bitter sadness. Maybe it's life itself.
10 out of 10