Duslyk-mode with transition to protected protocol Comedy Rustam Rashitov and Ilseyar Damascin "Kire" ("Operated").
There's a joke going around. Tatars are funny. Externally, it is difficult to distinguish a Tatar from a non-Tatar. When one speaks to another, they speak Russian. Then someone accidentally (or not) says something in Tatar, and the Duslyk mode is activated with the transition to a secure protocol.
But what if one Tatar fundamentally speaks the Tatar language, and the other knows only Russian? A light comedy with an admixture of drama and a fleur of melodrama from a young team of directors Rustam Rashitov and Ilseyar Damaskin.
The tie: The construction of a new shopping center and metro station is hampered by a dilapidated house in the center of the metropolis, whose owner, Mansour, considers it his ancestral nest and fundamentally rejects all the proposals of realtors, trying to preserve it. From Moscow to Kazan, to settle the conflict and make a deal, send Kamil, a Tatar by nationality, because, according to the leadership, it will be easier for two Tatars to agree even if one does not know the Tatar language.
The owner of the “family nest”, and in fact a dilapidated house with a plot of land, a faulty gas heater, a toilet on the street and a domestic goat, Mansour is a collective image of demonic retrogrades, dressed in a comedy shell. According to the directors of “Kire”, the prototype was a real person who threw comments on their previous picture “Unsent Letters” based on the novel by Adelsha Kutuev. The commentator was comically harsh on the film, sincerely not understanding why it was necessary to make a movie when there is a beautiful theatrical production. Nevertheless, it was his malicious comments that inspired the creation of the on-screen Mansour.
Mansour in the film is a mixed figure. He is not an ossified retrograde, but rather fragile and weak in his sincere love of the past. It so happens that people have a bad habit of attaching themselves to what is called “human shit.” Three times broken stool, such “exemplary” will be repaired for the fourth and fifth time, the towel will be used until it turns into a completely different thing from patches, but even then they will not throw it away, because it reminds them of how once in childhood the older sister of her father’s cousin tied them with a broken apple tree, after which she received a belt.
Along with such people, Mansour fights every day with a gas heater, the battle he still wins, but each time he receives “wounds”, putting people’s lives in danger. In the old-fashioned fashion, he writes paper letters to all city services and newsrooms, sending dozens of envelopes with complaints, comments and suggestions, while wondering that the answer does not come so long. He fundamentally does not change anything in his house and on the site, keeping everything in its original form, knowing every detail. And if all this can be called a spiritual weakness, then Mansur’s principled position in preserving cultural traditions: respect for elders, family traditions and the preservation of a living literary Tatar language, in a good way, deserve respect. True, there are many “buts” and these “buts” interfere, first of all, with Mansour, causing a lot of inconvenience to his family, colleagues and people around him.
In his “war” for his native language, the main character reaches the point of absurdity, which gives him humor. Working computer on Windows XP, which is finally ready to work exactly for lunch, causes colleagues to applause. Mansur does not fundamentally change it, because it has full Tatar localization of Windows XP (and here we see a clear discrepancy with reality, because Windows has repeatedly presented the next versions of operating systems in Tatar). He writes a scientific work on the preservation of the Tatar language and the possible transition from the Cyrillic to the Latin alphabet, consulting with his mentor, a professor from whom he once studied. He is fundamentally unwilling to listen to Russian not only in his home, but also at work, speaking with colleagues who are hardly able to understand him, in the beautiful literary Tatar language. Whether such principledness interferes - of course. The solution of important issues and the opportunity to negotiate with him is reduced to almost zero. Does Mansour himself speak Russian? Of course! It's all about his "goat" stubbornness. For comparison, in the film there is a domestic goat Mansour, which does not react at all to everything that happens around - even in pink paint, even if a fire happens - the main thing is to eat well and to milk it, it will continue to live as well as tens of thousands of generations of goats before it.
How to be a hero, what the future of the Tatar language and culture as a whole - the picture will not give answers to all these questions, but will make the viewer think, providing all possible options for the development of events.
The undoubted plus of the picture is the excellent performance of the actors. Of particular interest to the film is the fact that the actors of the theater starred in the film. It’s no secret that there’s a big difference between playing on stage and playing on camera. Still, the troupe did a great job. Especially remembered the game of Mansur’s wife – a textbook Tatar wife – hardworking, kind, with smooth movements, wise cunning and some household naivety. Mansour himself, performed by Fanis Ziganshin, attracts with caricature drama, conveying his emotions in all verbal and non-verbal ways, making the viewer empathize with the hero. Camille (Camil Larin), the genius of improvisation, made a special note to the film.
Very beautifully, “from the height of the quadcopter” some sights are filmed, in general the whole film is shot at a very high level, the camera work will undoubtedly please the experienced viewer.
Of the shortcomings of the picture, you can call the installation, as well as a very mediocre, but brilliantly played, plot, some flaws in the mixing of sound. Nevertheless, the viewer was presented with a good film worth watching. After all, do we often manage to watch Kazan movies?
Starring: Fanis Ziganshin, Kamil Larin, Firaya Akberova, Guzel Sibgatullina, Zulfiya Valeeva, Roman Yerygin and others.
By U.K.