Dirty dances on white nights, or As an American at the Russian brother guest and with his girlfriend was sweet in a beautiful city on the Neve
Everyone has their own ideas about what a film debut should look like. Some believe that you can start in your work at random bad - still there will be a chance to improve with the following paintings. Others – what better “firstborn” not to do, not to find, and it determines the identity of the author, acquaints the viewer with his approach, put as a signature in the business card. Still others do not see the difference, because the film is a film, so why argue, the first or the hundredth?
Andrey Khvostov clearly did not claim that Peter. Summer. Love has won the hearts of everyone involved. His melodrama is not strong in the plot plan, and with the shooting could be wised. Sometimes the script sags significantly, sometimes it allows you to enjoy direct action. But all these boring conclusions are for critics and critics. The film clearly follows the goal, reflecting three moods - Peter, summer and love. Mix the listed components - you will get a warm, sweet, soulful story for once.
Of course, the tired stamps make themselves felt both in the global plan (oh, these “love triangles”, where the heroine needs to choose between two macho), and in the detailed (which Russian does not like fast... quickly throw vodka on the embankment in a white night!). Also, the topic of foreign behavior in Russian realities has been played out more than once, only here it does not receive such an interesting development due to the lack of a comedic component (an innocent question, they say, “what fired at noon”, with the answer – “the gun always fires at noon, because noon”, can hardly be considered a pure comedy).
However, the plot has another underlying “grain” – about how a fleeting love spark that arose during dance classes, which can flare up to fiery proportions, regenerates into a creative result. Despite the fact that in the final characters, contrary to typical audience expectations, made completely different decisions, it is impossible to deny – this result still happened and happened for good reason. So, maybe this movie is not quite about sympathy for a foreigner, but rather about the interaction of love and creativity?
The rest is "Peter." Summer. Love" to viewing can be recommended purely by individual desire, since before us is a vivid example of "film-mood", giving instead of intellectual and emotional nourishment only a fraction of the worst rest. I didn’t want to think about anything – turn it on and enjoy it.
Such a degree of art also has the right to life.
6 out of 10
Meet Peter. Summer. Love is an embellished reflection of the daily life of the average student / entrant of a theater university or just a representative of creative or creative youth. No sarcasm. This picture is so difficult to separate from the name of the St. Petersburg Theatre Academy that there is no doubt that the creators whom it raised, you can see what the characters of this story really should be.
Imagine a girl whose features seem to be right and even beautiful, but something is wrong with her. Take a closer look and you will see an inept makeup. Somewhere the natural beauty is emphasized successfully, and somewhere a clear overkill: here the hand trembled, and this piece of the face in general had to be left intact. Approximately this impression leaves this film with ordinary viewers. It is fine when a picture reflects or transforms reality, but even more wonderful when it expresses it (as was wisely said earlier by one of the reviewers).
A young British loser comes to St. Petersburg to get a job as an English teacher (at home he could not even cope with the position of a waiter), but his attempt fails, alas, the language level of the Briton is too low. Before the trip, his father stunned him with the news of the Russian half-brother, and since the money from our hero runs out, there is not enough for a return ticket, and there is no place to live, he asks his brother for shelter, and in payment for hospitality, falls in love with his girlfriend.
The inevitable tabloid in the description of the plot (like an illegitimate son, etc.), which cannot be avoided, no matter how delicately you do not describe, is the main and main drawback of the picture. If the film had fewer details (to the above, you can add alcoholics steaming in English or the finale in the form of post-stroke, from the absence of which the film would only benefit, because everyone already understood that the relationship between the St. Petersburg girl and the boy has reached a dead end), it would turn out to be a movie very similar in spirit to the films of the thaw era - airiness, the expectation of a bright future, the same embellished reflection of everyday life, but less certain, allowing different interpretations. However, something was missing, something did not fit. Perhaps the characters drawn with strokes failed to superimpose on a clear, ink-written life situation.
It is a pity to watch the ruined potential of the inner experiences of some characters. If it is impossible to devote enough time to the British father due to the plot that bypasses him, then I really want to learn more about the Russian beautiful son Fedor. For him, despite his closeness and some rigidity, you feel more sympathy and sympathy than for all the characters combined. After all, if you think about it, the situation of Fedor is abnormal: there was a random child of a visiting British artist in the world, all his childhood, all his life existed with the idea that he was Dad’s secret son, knew about the existence of a brother living with his father, and therefore, apparently, more beloved, was forced to take this brother into his house, watch as he seduces his girlfriend, watch the birth of their feelings for each other, not to drive his brother after all this, not to arrange scenes, in the end to forgive him for everything, as well as his father. The poor poor boy you want to hug so hard to hold. His attitude towards women is quite understandable, something similar he observed all his life on the example of his parents. Alas, most likely, the director and the screenwriter did not even have in mind to dig deeper, their heads were occupied with a symbolic extramarital fraternal line. It is so unusual that in the glorious city on the Neva with the son-loser happened such a wonderful story, because there in his young goals was shaming his own father. Well, that was a good thing. So it's not for nothing in this life.
If we compare this picture with other Russian films, the action of which unfolds against the background of St. Petersburg, the first one remembers Oksana Bychkova, but not Peter FM, but Plus One. Again, a British man who came to Russia and pushed a Russian girl to spiritual changes. But only in “Plus One” exciting vagueness and some openness of interpretations, nevertheless, created the effect of high art.
In conclusion, a few words should be said about St. Petersburg. In the film, he's surprisingly "nothing." Too generalized, devoid of individuality, he lives separately from the characters, does not express their moods and emotional experiences. This Petersburg is always sunny and cheerful. In one interview, talking about the filming of a key scene unfolding against the background of a white St. Petersburg night, the director of the film said the following phrase: “This is probably the only time I was happy with the gray St. Petersburg sky.” I think, to a true Petersburger, that says a lot.
After reading some rave reviews about the film, I decided to pass the evening and watch a romantic film. The mood was appropriate, so it's not about him. The film was a waste of time.
The plot is banal to the horror and predictable from the beginning, no surprises. A love triangle plus some family troubles of the main character. Elliot wants to change his life, but instead of quitting drinking and taking up his mind in his native country, somehow decides that he will do better in distant Russia. His father, in order to admit that Elliot has a half-brother in St. Petersburg, chooses the most “opportune” moment when he and his son quarrel while on their way to the airport. Arriving in Russia, Elliot begins to teach his brother Fyodor’s girlfriend dance, naturally making an affair with her. Well, it's easy to guess how this will all end. It is not clear why Fedor was so loyal to this. After all this, Elliot somehow easily forgave his father’s betrayal of his mother. I guess I got the beauty of Russian girls. In parallel, leaving his English girlfriend.
A clumsy parody of Dirty Dancing! (about which the filmmakers did not think to keep silent, directly taking the name of the prototype for the slogan, however, ascribing two words for conspiracy).
The acting is not impressive, it seems that this is not a film, but a rehearsal at acting courses. I did not believe the feelings or feelings of the heroes. Not a single moment in the film caught on as intended.
One brightens the picture - the views of St. Petersburg. But it seems that there could have been better. In general, everything is missing some details. Although, given the frankly weak script, it was difficult to squeeze something out of the film.
The main character is clearly in a difficult position. Like an adult, but doubts bear fruit. It is very difficult for a person to find his place, a job that will be exactly yours. So the main character goes from one hulking glasses to another, not justifying the “big hopes” of his parents.
This film is about the love of art, people, women, music and dance, as well as languages. The film tells about a worthy generation of young people who freely express themselves in English, read English literature and know their craft better than their teachers. Painting and
Talks about the difficult everyday life of applicants of the Academy of Arts, I know firsthand all the vicissitudes of creative professions. In art, it is not enough to simply possess information, it also requires technique, experience, talent, diligence and love. There will be no love, there will be nothing left, this must be lived. This is how the novice director Fedor lives, as does his father.
You can see the true feminine essence in the character of Ana. She will follow her beloved man into the fire and on the ice. For a woman, the profession has always played a secondary importance after love, and the heroine enters the Academy of Arts for her life partner. She feels a little alien in his world, not needed by her director. And then there's Elliot, so similar to her, too, lost her plan, perhaps together they will find their destination?
A set of stamps. We took the average plot of ala perfect Hollywood love melodrama and stuffed it on a stencil film and turned out very sad, because we can, when we want to make beautiful atmospheric films with feelings, love, why like a cheap American sweetener. When viewing, of course, how to remember “Peter Fm” and “Walk” and involuntarily compare them and just amazing how our Russian man so flat and narrow in addition to feelings and emotions conveyed the atmosphere of Peter, no comparison with his predecessors. It's just kind of hurtful. But I didn’t have the urge to go back there again, and it’s such a magical city that it’s impossible not to fall in love with. And in the movie, it turned out like a cheap guidebook. The actors seem to be trying and sometimes even begin to believe them, but the fact that Peter suddenly became English-speaking, including local drunks, is hard to believe and looks super fabulous. And why everyone has a need to show a Russian man with a glass in his hand, I probably will never understand this. And in general, short-lived moments in the film abound, as well as Indian passions from that film is finally and irrevocably ruined. I do not want to put a deuce at all, after all, the debut of the young director, and there is some small bright spark in the filmed, and against the background of what is being filmed in our country recently, it is still very not bad, but the director is clearly yet to learn.
Youth romantic comedy, dressed up as “Peter FM” and “Heat”, but clearly not up to them. Joint work between Russia and the UK.
From the very beginning, the direct manner of shooting, characteristic of the British school, bribes. The director has a very light hand. It was surprising to learn that the picture was made by a debutante, also a Russian, named Andrei Khvostov. If he gets a better script, maybe the next movie will be better. The first pancake is a lump.
The director is Russian, and the main character, nevertheless, is British – Elliot Wall. From the very beginning, I was a little embarrassed when a friend in a pub gave him a tip: “You can go to teach English in some third world country.” Au, a Russian director, could be somewhat more correct about our country. But then the “third world” in the person of Peter takes revenge on the stiff Englishman. He fails the test of perfect English and is loudly indignant on the phone: “Who even remembers this Perfect Continius?” Nobody uses it. Our country remembers, dear Elliott, what Perfect Continius is and, in general, the Russian language school carefully preserves the traditions of the great English language, which the British destroy in every possible way.
Then begins the modest script nonsense. Elliot, as he finds out before his departure, in St. Petersburg lives brother Fedor (dad nagal), a novice director and student of a drama university. Fedor has a girl who really needs help with dancing before entering. And Elliot, of course, starts dancing with a girl. It turns out that he is a dancer from God. Fedor behaves at the same time, like a real mattress - jealousy demonstrates, but somehow strange, as if reluctantly. In general, the plot did not work ... I will not give you details for a long time, so as not to fall asleep with spoilers inadvertently ...
Almost the whole picture is in English in translation. At the same time, both Fedor and his girlfriend steam in English as if they had taught him all their lives. And the other inhabitants of Peter are amazing polyglots. Except that two bruises on the embankment of the Neva or Fontanka, who drink vodka and all the time call Elliot the third (good guys) – use the international language of communication – facial expressions and global gestures. Elliot is not a fool to drink and never refuses. He even wakes up one day in Peterhof. In general, if he stayed in Peter - he would have a sad fate. I'm sure he'd be some kind of drunken intake.
The picture is simple, positive, and bribes. The actors play surprisingly well. At the same time, the film is still very mediocre - neither heart nor mind. You may like it, but I’m not sure.
Buying tickets, I caught myself thinking that I would not like the film, but I still hoped to see something interesting, albeit not a masterpiece. In addition, I like to watch movies shot in St. Petersburg, and get to know familiar places.
However, from the first minute I realized that I was wasting money and time. I got bored from the beginning. The plot is banal and simple: Elliot comes from London to St. Petersburg to his brother to change his life. He meets Anna and draws a love triangle. There's a lot in the movie that cuts your eyes. Heroes are thrown from the Palace to Vaska and back, despite the divorced bridges, everyone magically knows English. Where in St. Petersburg did you see people who drink vodka on the embankment and speak foreign languages fluently?
History did not catch, the heroes did not cause any emotions. It seems that the film was filmed by students who have yet to (possibly) become actors.
In addition, separately I want to note the manner of shooting. It feels like the cameraman’s hands were shaking when he filmed this masterpiece. Generally recalled the work of Valeria Guy Germanica, whose films without valerian my nervous system can not stand to watch.
In general, the film seemed boring to me. Maybe there are fans of such a movie, but personally I will not recommend it to my friends.
For looking at St. Petersburg sights on the big screen with pleasure:
The Englishman Elliot (played by lively British actor Terry Sweeney) is looking for a job in Russia - a friend advised to get a job as a teacher in St. Petersburg at English courses. Teaching didn't work out - and Elliot was stuck in St. Petersburg without money for a return ticket and a roof over his head. He is forced to turn to his half-brother Fedor, the son of his father by a Russian woman. Fedor allowed Elliot to live with him - in return, Elliot must help Ana, Fedor's girlfriend, prepare a dance number for admission to the Theatre Academy. But Elliot falls in love with Anya.
The film is sunny, the plot is simple and capacious: it could be a touching story. But the author of the picture – a young cinematographer Andrei Khvostov – preferred to focus on the reliability of what is happening. As a result, his story came out very vital - and life-long boring and simple. Heroes are mostly silent, not wanting to either declare their feelings or clarify relationships. Acts are standard, no one does the extraordinary, as happens in the movies. And the film itself from this is very standard, ordinary, not memorable.
Peter. Summer. Love will appeal to those who love realistic cinema. Heroes in it behave as real people live (not characters): they do not pursue high goals, do not fight, do not lose. This is exactly what happens in ordinary lives: faded, mundane, gray - even romance. But in its own way (within a realistic framework) the film is beautiful and fascinating: the story is exciting, the actors play great (especially Terry Sweeney).
I love movies that transcend reality, which express rather than reflect life. That's why I want Peter. Summer. Love" seemed a bit simple. But connoisseurs of the “real”, I am sure, will love the movie.
The Englishman Elliot, having lost another job, leaves for St. Petersburg. During his journey, he finds his half-brother, falls in love and learns the mysterious Russian soul.
Andrey Khvostov put a bold, bright, timeless history. The director managed to diversify the picture with several genres at once, which he not only placed in the picture, but also perfectly manages them.
The script is more dramatic than the genre allows, but the authors do not make idiots out of the audience, do not try to sell them goods, but include understatement, allowing the film to become deeper.
Terry Sweeney is a ray of sunshine that holds the main storyline and almost all the humor. The rest of the actors are chosen very strangely, either in the absence of an adequate budget, or the creators like the same types, but the constant confusion in the characters does not bring anyone good.
With camera work in the picture everything is fine, close-ups and clear images, but at the same time St. Petersburg and London are shown classically, instead of introducing and falling in love with the audience in unknown places of both cities.
The soundtrack of the picture complements the atmosphere and style of the picture. Each song fits its own episode perfectly.
Peter. Summer. Love" is a project that won't become a cult or box office hit, but is able to create a mood, it doesn't need the pity or simplistic attitude that most recent Russian films require.
I was able to watch the film by Andrei Khvostov “St. Petersburg” in the framework of the film festival. Unfortunately, such films are not shown in wide distribution, but in vain. Such a film can be shown without fear to your beloved grandmother, and the first teacher, and the cute twenty-year-old ladies who were full of the hall.
Speaking of grandmothers, the pensioners sitting next to us in the first frames of the film were horrified by the subtitles, because it turned out that almost the entire film is in English, because the main character is English. One asked the other: “Maybe it’s not about our St. Petersburg?”
It’s not really about us or about us. In this dream city there are no traffic jams, the sun shines, alcoholics drink free vodka to foreigners and speak the language of Shakespeare. And you can get from the airport to Potseluyev Bridge for 800 rubles. What is not heaven?
The film is about a real love triangle. About two brothers Eliot and Fedora, who are each other's aler-ego. The fact that children who grew up without a father are older and more viable than their infantile spoiled peers. Therefore, Fedor, a Russian determined guy, can not believe that his brother Eliot is the same age as him. Mr. Sense, as Fedor ironically calls him. And it’s not about who the sweet girl Anya will choose: Mr. Sense or Mr. Pragma. The point is that each of the heroes finds himself in this world, his way. How the director of the film Andrei Khvostov found his way, pleased us with his directorial debut. Did he not see himself reflected in the heroes?
And in conclusion, I would like to add that if a pretty dance teacher like Eliot taught me, then I would have every chance to learn!
The first show of St. Petersburg took place at the Window to Europe in Vyborg. And this is the right place for the premiere of this picture. Firstly, in Vyborg always treated the films about Peter in a special way. Secondly, the film really “breaks through” the “window to Europe”, connecting the fates of the heroes from London and the city on the Neva. Thirdly, the Vyborg festival has always been famous for the fact that it gave way to films about young people: here the prizes were received by Oksana Bychkov for “Peter FM” and Andrey Kavun for “Children under 16...”, as well as “Inadequate People” by Roman Karimov, “Unfit People” by Andrei Zaitsev and “Everything is Simple” by Sonya Karpunina.
Despite the fact that according to all studies, the audience of 14-27 years goes to the cinemas, there are paradoxically very few stories about young heroes in Russian cinema. Perhaps this is due to the fact that the creators of paintings simply do not know what young people live, what she is, what her hobbies are. Therefore, if in a Russian film we see a company of young heroes, then it must necessarily consist of a glamorous fool in furs, a boy-majeure on a wheelbarrow, a nerd in glasses, an “infernal” goth and a stained emo girl (see “Streetracers”, “Dark World”, “Phobos” and other darkness). As a result, it is not surprising that viewers are disappointed by such a “cinema”, they prefer Hollywood youth stories (“Three meters above the sky”, “500 days of summer”, “One day”, “It’s good to be quieter”, etc., where there are no idiot heroes and everyone has their own non-trivial goal in life), and producers, disappointed in the fees, continue to stamp one-day comedies with media stars and promoted singers.
“St. Petersburg” is knocked out of this sad trend, which, in fact, is good. It tells the story of the Englishman Eliot, who comes to the city on the Neva, begins to learn dance girlfriend of his half-brother (almost like Jennifer Lawrence – Bradley Cooper, with a poorly hidden passion) and, of course, falls in love.
This is a cute, easy, talented film about a love triangle against the backdrop of the beauties of the Northern capital, but not devoid of meaning: one hero does not see happiness under his nose, and when he catches up, it is too late, the second tries with all his might not to repeat the mistakes of his father, not realizing that each case is unique and you need to live in the present, not the past.
Already after the first scenes shot in London, the thought creeps in that since this is a co-production, the film must have been made by an Englishman - ours so naturally rarely ever succeeds. In the final credits, you are very surprised when you see the name of the director - Andrei Khvostov, then you are surprised even more, learning that this is also a debut and filmed practically for pennies, without state money. I would like to see more of these films in Russian cinema.