Sometimes bad thoughts come to my head, but I am not guilty. They come without demand. © Yuz Aleshkovsky, "Kysh and Twoportfolios" The Pirate's Notes is both an unexpected work from 1989, when it was released, and a very typical work, containing the signs of its uncertain, unfunny times. Stylistically, "Notes" are not much different from the cartoons "Merry Carousel", until it comes to the script, which ... in general, at first makes exactly the same impression - a cute dog came to the country and there talks about his cheerful life. And then a sudden turn and a sad, almost existential ending, when the dog lies down, sad and thinks why she lives, and the owners wonder what is wrong with their dog. And suddenly, everything. No conclusions, no life-affirming turn, no joyful realization of “hey, I exist to be friends with my master, Boy!” or “what does it matter, the main thing is that I love and love me!” Dacha, mercy, summer! Not even close. This is justified from the point of view of historical retrospective, when you remember that 1989 is, in general, the peak of perestroika, the limit of the agony of the dying USSR, and if you are not one of those who are ready to carry the banner of revolution and youth rebelliousness, then you are scared and do not understand what is happening ... but, you will agree, this does not fit well with the traditional ideas about children's Soviet animation.
By the way, for the script that turned a cute, but, alas, rather banal animated film about a dog into an existential drama, we must thank Sergei Luknitsky - a man who is known not so much for his script work as for journalistic and legal studies, and who considered the rehabilitation of Nikolai Gumilev to be his life's work. By the way, in January 1989, the CPSU Central Committee issued a resolution “On additional measures to restore justice to victims of repressions that took place in the 30-40s and early 50s.” Coincidence? Yeah. But how fucking symbolic.