In our time, directing has long given way to special effects and newfangled inventions, making actors only an attribute of painted fantasies. The more interesting are the rare tapes, where, as before, the ball is ruled by the director and his actors. And the fact that the director of the film “End of the season” Konstantin Khudyakov, belongs to the old film school, there is no doubt. He always created his films almost theatrically, staring intently, first of all, at his heroes. They are more important to him, their feelings and actions, their decisions and conclusions, culminating in pushing the viewer to almost global generalizations. I have always liked the soulfulness and thoroughness of his films, as well as the life stories he told us.
But his latest film, The End of the Season, got me into a dead end. It seems that everything, as always, has Konstantin Khudyakov – a slow manner of talking with you about the sore, star actors, honed directing, in the end, and the film for me – no. First, the film is like a patchwork blanket, if the thread breaks into separate pieces. Here you and the nationally minded Baltic States, fiercely hating everything Soviet, but forced to surrender their house to the “arrived occupier” to his money to continue to feed his “inflamed mind”. Here is the “emerging Russian capitalist” with bodyguards. A good-natured Balt who wants a child from his beloved. Unlucky hit men. And the three sisters, clearly asking for their dreams about Moscow on the analogy with Chekhov, although in the film themselves ask not to compare themselves with the heroines of that classic play. Each hero here has his own solo, his mini-performance - someone loves someone, and someone hates. But these mini-performances do not become a single whole, a form that I would take. There is too little time and too little told for each of the film’s hour and a half to draw any conclusions about the characters and their actions. By the way, there is too much spontaneity in their actions, but sometimes there is no thoughtfulness at all. But it's for the amateur!
Based on these sets of stories, the director’s intention to show through them the “end of the season of the Soviet Empire” (the action takes place in the 90s of the last century) is only the edge of the picture, but even here it did not work out. In general, the absence of a good story, rather than these mini-narratives, creates a sense of a big preface, which was never followed. The whole film is waiting for this foreplay and introduction to the characters to end now, and the main story begins, but at this point the film ends. In some, the picture of Konstantin Khudyakov has a feeling of slight understatement, and you perceive it with understanding. But in "The End of the Season," some directorial inefficiency turned into a plot ineffable (if I may put it that way). And that's already depressing.
It turned out a card game with a lot of cards unknown to you, but without having trump cards in the form of a clear story, winning the game from the director, and even unravel all his charades is quite difficult. It's not that the film went ununderstood, the film went unwatched. Some outlines and cuts for sewing a large and complex story about the “country we lost” (no wonder the creation of this film “blessed” Stanislav Govorukhin shortly before his death). But it didn't work. They decided not to finish the script, or they decided not to bother with it at all. That's fine.
No, all the references of the director to the “death of the empire” are openly understandable – the offended Balts, who became instantly free, but poor, and even beggars. Majestic panoramas of nature from a bird's-eye view (my native country was wide once). Dilapidated houses, instantly turned into separate personal apartments. The end of family relationships. The end of the season against the backdrop of the eternally thundering last holiday around the corner. The end of life, and the desire to leave longing and loneliness in Moscow. Maybe there are still echoes of the country to which we are accustomed and which is slowly disappearing before your eyes.
All these hints are understandable, but I think the director still wanted to show this “death of the empire” not through obvious allusions from the world of nature and holidays, which is always with you, but through his heroes, through their actions and thoughts. But that didn't work. The actors ruined the last one. Among the ten main characters, we can single out only Sergey Koltakov, who created an unusual image of a criminal scoundrel from the 90s, forced to retrain for a profession that is not quite familiar to himself. The Baltic actors Andrius Paulavičius and Gabriele Caudite deserve respect, who clearly and succinctly played the confusion of their heroes in the face of a changing social formation. Unfortunately, you can’t say that about all the other actors. Well, with Yevgeny Tsyganov, everything has been clear for a long time - for the last ten years he has been playing the same role of a non-verbal cynic with a tired face. This film is no exception. A great mystery remained the acting potential of the less famous - from Dmitry Endaltsev to Natalia Kudryashova. Hope was on the three most famous actresses today Peresild-Snigir-Chipovskaya, on whose fragile shoulders and had to lie the entire array of delineated collapse of society, country, family relations in the film. But the girls not only failed, they were the most colorless in the whole film. Their inner acting confrontation in life (quite normal for actresses of any era) clearly spilled out on the screen, where each of them, eerily fake, in a manner trying to prove to the others that she is the best on the set. The director simply failed to cope with three ambitious actresses in their desire to outplay their rivals. They sing, laugh, hysteria, but everything is somehow artificial, bad, as when entering a theater institute.
The film left me indifferent, the feeling of wasted time watching it does not leave today. I hope that this is just a minor failure in the work of Konstantin Khudyakov, and he will still shoot films with the rank of “Success” or “On the Upper Maslovka”. In the meantime, three for trying to make a good movie. Just an attempt.
There is a popular sign: you see – “With the support of the Ministry of Culture of the Russian Federation” – run. Run without stopping, run without doubt and spend time on anything, and it will be in any case better than watching this most vulgar movie slag, the only purpose of which is to report on the money spent.
Cinema's not here. The film group went to Lithuania, rested, well, cool! Why not go if you still have a budget for vacation? The movie doesn't smell here. It is hard to imagine a lower-quality scenario with incredibly stupid dialogue, but the creators tried and even succeeded in something, for example, to say the name of Brigita, a Lithuanian neighbor, 300 times. Perhaps only from this we imbued with the beauty of the near abroad. Or to emphasize the foreign location. To amplify the effect of anti-razor in tortured dialogues, no one ever asks how much it costs to rent a room in a house or paint a portrait. I'll take a room and paint me a portrait. And also, to show the apparently seductive West à la TASS is authorized to declare, the heroine constantly brings American romances. And so that we do not think anything, the third time we are already shown circle folklore in the coastal zucchini, where 1.5 local connoisseurs of all American, and therefore against all Russian.
What kind of halftones are there? It was interesting, and in Hollywood sing Russian romances to show all the pain of sadly forgotten lost? To show all the viciousness of the Russian, or rather, Russianness, here gathered all the “beauty” from the Baltic farmer: Gelendwagen with platinum numbers, a leather jacket with protruding pockets of money, the lack of culture (throws a glass directly on the ground, that is, is already genetically not inclined to order and purity, but was born only to shit and litter in our free Lithuania, where people are so happy with freedom and nature without occupation), a bunch of bodyguards, hired killers around, and again, so that no one thinks about what, of course, the Russian, for the sake of it, the main thing.
Why, of course? Yes, because if anyone in the depths of consciousness has a pitiful corner of envy for the welfare of Russians, their culture, immediately it is necessary to put a stretch – they are all evil impotents, capable of nothing but to insult us with their money, and our country with their existence.
The film doesn't even look like a trial of the most boring student series. The selection of actors is extremely unsuccessful, and this is not surprising, since you will not find directing here either. Here you will not see or even feel any effort, talent, or hints of film drama. An unpretentious audiovisual series, as an opportunity to spit at the Soviet government, avenging the fact that it did not allow to shoot bed scenes and not let go abroad. That's the movie! If you want a transformed Chekhov, watch “Three Sisters” by Yuri Grymov.
1 out of 10
A full meter for this movie is too much. More like a series of boring series. The director’s win-win decision to shoot on the Baltic coast, pine landscapes and cool sandy seas are wonderful. Beautiful women. The demonstration of the charms of Peresild at the very beginning of the film also added to the stereotypical charm of the holiday season.
The casting is a failure.
Julia Snigir has given up a lot, the role of the older sister should be hers. I'm not impressed, even in bed scenes.
Chipovskaya is an adult woman, but gravitates to the roles of student gymnasts. Unfortunately, except for attractiveness and gem in the images of Anna can not add anything. Of course, this film was not without the naked Anna.
Separately, it should be noted Yevgeny Tsyganov. An amazing expression of an actor. The corpse in the morgue would look more emotional than the Roma in their films combined.
There's no directing attached to the film, empty, maybe for a report to the Film Foundation. The feeling that people gathered to earn a little, did not invest any effort, talent, or interesting drama. The film resembles simple music for supermarkets, which plays, plays, does not distract from shopping. However, I share the tastes of the director Khudyakov: he can choose women.
Who, it would seem, in our fast-paced, advanced age can be interested in the three ladies in the vice of boredom arriving? I mean the viewer? For whom can they be fully understandable, interesting, attractive? Well, that's it, no fools. Answer me as if on spirit. 'Terminator' or 'Three Sisters'? What's on the scale? What choice do you make? Or are aesthetics not comparable at all? His, ' special' admirer votes by choice. What? The one that studies the history of the classics 'olds'? Pages from the life of the provincial nobility, flipping? And yet, tell me a thick-skinned man, are ladies capable of attracting anyone with their melancholy? They spend their days in idle yawning. With migraine from dissatisfaction, pre-ordered places in the surrounding house for the mentally ill (and what? If the peace of this rookery is not disturbed, three beds can be safely ordered) and dilapidated, decaying, dilapidated. So what? No, no, no. 39, no. 39, no. What is it? I don't think so. A man-hater? Old maids? No, the seeker. How old are they? Well, casually. A little over twenty. The maximum is twenty-eight to thirty.
The metaphorical language of the image determines the plot of this narrative. No more, no less.
I must say that the author was original. The martyrdom of the three virgins was transferred to the Baltic States. What about the Baltics? And it was occupied by Russia, I ask forgiveness of the USSR, in 1940. Moreover, in the context of the current cinema, Estonia, Latvia, Lithuania are not the same as you ' Three Sisters' in combustible tears weeping for their heavy share? 50 years under the tyranny of a Communist (utopian) paradise. Here you, dear viewer, the first tasty ' candy' from Konstantin Khudyakov.
Difficult lot 'Three sisters'. They arrive in a confined space. Nights and days pass in a meager world. And all thoughts about freedom, about a better life, about rich suitors, about changing scenery to a happy, well-fed, full-fledged life. But what man does not dream of such a thing? Who wouldn't want a different lot. Give it to everyone. Slower, more delicious. Being component ' people' as well as possible echoes the current fluctuation in society. Where should I join? Where to go? Find who? To whom is it possible to give up & #39? And this is literally and figuratively seen. Left - Europe, right - SS-Series ..., Russian. Oh! Ah! The second part of the intrigue, ready.
And then, only incrementally.
'Three Sisters' They are the heirs of their parents. Who's the parent? It is known who. ' Military rank & #39; transferred to the place of service. It's a place of peace. And ' to pluck', brewed porridge, in the then distant, now to these ladies. ' Own' Are they or not their own? Russians or what? Have you been to your historical homeland long? Questions in subtext, a mass is born.
Here come the princes. Here comes the groom. All the sisters on earrings. Yay! Yay! Whatever! Floor, that one. It's not surprising. They're not Angles, they're not Saxons. They're not Germans, they're not Franks. The hand and the hearts of two Russians. The ring on the finger of the third virgin, married to Litvin. Oh, you're a loaf, you're a grief. But that's not all. Looking at the thoroughbredness of the male tribe in the development of the timekeeping tape, you understand, neither these are 'horses' with which races are won. 'Parsha ' seen in each. One worm, the other ' chained ' Well, that's it. Indeed.
But what are they, like sleighs? It's just A.S. Pushkin everything is simple and smooth:
Three girls under the window
Hiding late at night.
“If I were a queen, I would be a queen.”
One girl says, " "
The whole baptized world
I would have cooked a feast.
“If I were a queen, I would be a queen.”
Says her sister,
The whole world would be one.
I've done the painting.
“If I were a queen, I would be a queen.”
The third said sister, " "
I'd like to be a father-king.
She gave birth to a hero.
Pushkin-Pushkin, I wish I had your problems. Yes, ' about the hero', let’s say one sister is also, of course 'molvila'. How about without that? There will be and there will be women. It's holy. And it's holy. To beat her on the new round of life again is not a sin. But A.P. Chekhov has his own difficulties. Moroka with these women, straight. Three of them. Give attention to each and every one, and measure not with regret. No offense. And give to each one so that he will not be bored. And here K. Khudyakov in the XXI century, the problems of these same, becomes even more. What? Different. Here, one of the latest versions of the new generation of small arms is involved (the Kalashnikov system). Here, mine specialists are involved in the drama. And the main women's question sounds almost alarming. No happy ones. Not one satisfied. Someone, just a husband cheats, running to his mistress. Someone's mentally disturbed. And even a rented house with payment in advance can turn into ruins if you just touch the clothes of one of the sisters. That's how it is. Evil irony. Laughter in a grin of teeth - money doesn't smell, you say? Well...
Amazing movie. The film is full of associations and imagery. That's probably how it should be. It's Chekhov. Though transformed extraordinary. Well, how about you put it on the table today? In ' Multiples' Delicacies and Delicacies of the World? Just like that. With a spark of fireworks and with noise ' firecracker' in the thunder of explosions.
Brilliance, not cinema, as the modern gourmet cinemas express themselves. Shine! And the actors, surprisingly, do not need to play much. The script has a massive background. The script fills the space with meaning. The Baltics through awareness and understanding (like you, for example, money from your sister for a room at the abode). Is that possible in Russia? This is the norm. A hochma in the finale concerning ' sky in diamonds' and ' diamonds separately' is it worse?)
Do you think the movie has comedy elements? Not at all. Do you think it is ironic in the author’s narrative language? They didn't. Is the satire before us? Come on, it's drama. And you perceive what is happening on the screen with emotion and delight. It's an unusual classic, unusual. It's not trivial. In 2014, Svetlana Proskurina ' refigured ' Tolstoy ' Anna Karaenina' in a new way. Remember 'Goodbye, Mother'? And she was amazing. Now Konstantin Khudyakov blew up the sleepy kingdom of the Chekhov world, arranging ' End of the season'. I solved a lot of problems at once. Anton Pavlovich himself would be jealous.
7 out of 10