I cannot say that I liked the film, I watched it out of curiosity, attracted by numerous positive reviews, high rating for such a film, again the actors starred famous - Ilyin, Oboldina, Isakova, etc. In the film, another story about the singer, accidentally obtained from the warden in the colony, told in a completely Hollywood style with a Russian shade in the form of realities, the script does not shine with special delights and finds.
I am 35 years old and have something to say to people. And again they offer me just a face to trade! - Dima Bilan will say in this film on behalf of Dima Bilan. And that's all he says in the picture. Subtle.
CAMEO-CAMEO
The film was also played by Larisa Dolina, Olga Shelest, Anton Komolov and Olga Buzova. A more or less noticeable role will get only Buzova. Others probably have something to say to people. But in “Burn!” they were offered only a face trade. They agreed. Well...
Mask, I KNOW YOU.
Thank God, Inga Oboldina, Victoria Isakova, Vladimir Ilyin Anna Ukolova and Tatiana Dogileva in the film do not play themselves. Star actors, who, for sure, have something to say, do not complain, but say. On your face? Of course, but under the mask of his characters. "Burn!" - generally acting cinema, it is based on the skill and talent of actors. Put Kirill Pletnev another cast - everything would fall apart.
OBOLDINA - ROMANOVA
Inge Oboldina’s role as a prison warden brought the prize for Best Actress on Kinotavr. Inga is one of those amazing actresses, about which you can not tell - which school is the basis of success. Here's the first shot: a new batch of prisoners was brought to the prison. Chief Inspector Romanova receives new residents of the town behind barbed wire. No more words or actions. Just a look. Squeezed lips, hair of the color of a crow's wing, collected in a bundle on the back of the head under a uniform cap, buttoned on all buttons. Stanislavsky’s pure system is to get into your character to the point of fusion. In this look - habit, fatigue, discipline, routine, husband-worker, teenage daughter, office Khrushchevka with a small kitchen, ugly town of Aprelevsk, gathering with colleagues, home dinners - all the details of life are read before they are seen on the screen. But Alevtina Romanova before the frenzy beats a rubber baton on the backs of rigid chairs, dispersing prisoners from the "rest room", away from the TV, which is ready to reveal the secret of the Romanova - possible participation in the all-Russian television talent contest. The desire to protect your "privacy" from any prying eyes finds an outlet in furious rubber strikes on wood, in loud command shouts. Only this cry sometimes falls into a treacherous falsetto, and an attack of furious rage ends with a helpless sob: “What is this done?” This is already a pure school of performance, where action runs ahead of emotion - first hit, then felt. This is the originality of the talent of the actress: in her best roles she synthesizes different schools and acting techniques absolutely harmoniously, so that the fabric of the role is not torn anywhere. Absolutely benefit-concert number-attraction: the first attempt of the prison boss to perform an aria of Tosca in Italian does not contradict the style of purely domestic scenes in the home kitchen.
Isakova, Ilyin, Ukolov, Dogileva.
Victoria Isakova prison robe was fit. The external fragility behind which the inner strength hides, this time was decorated with a work jacket or a gloomy robe. These gray-black colors only increased the inner glow. Her heroine barely rearranges her legs, and her posture is royal and her eyes are burning with passion for life. She killed her husband, but she rose from a wheelchair in a state of affect. Everything survived - conservatory, success, accident, immobility, betrayal, murder, trial, now prison is experiencing - nothing to lose. The heroine Isakova is the antithesis of Alevtina Romanova. One burns in the fire of feelings every second of being, the other wearily wanders from work among the monstrous sheds and garages to the office apartment of his husband to cook soup. One is behind bars under a court order, the other in his prison voluntarily. And now the prisoner is already leading the life of his warden, discovering in that extraordinary vocal talent.
The hero of Vladimir Ilyin is the head of the prison. The formidable jailer to whom the prisoners build a house is afraid of everything and everyone. A dented face from an eternal hangover, a running glance of a schoolboy who fears everything, but all the time violates all the rules.
Anna Ukolova is an amazing image of a woman from the neighboring entrance. People at the junction with marginality. The reverse side of Romanova is the same habit of shame, but without talent. And that's life too.
And the heroine of Tatiana Dogileva - the local boss of either the district or the city. A minimum of text, a minimum of screen space, a maximum of effect, and at the same time with strict economy: any gesture, any line, any look betrays the mistress, the lord of the district scale, who is panicked about the regional rulers.
WORDS, WORDS, WORDS
Actors and cinematographers are everything. There's a problem with directors. There's a big problem with the writers. The whole great Soviet script school burned in the flames of the “cooperative” cinema of the 90s. The Arab film industry will not survive. And there are no creative heirs neither Gabrilovich, nor Ryazantseva, nor Grebnev, nor Volodarsky. All good domestic writers turned out to be theatrical playwrights.
The script for this film was written by actor Kirill Pletnev for director Kirill Pletnev and for a whole galaxy of beautiful artists. I must say right away, the script of the neophyte in the script business turned out no worse than that of his colleagues, who graduated from numerous script schools and courses. Completely conditional compilation "A Star Is Born", "Cinderella", "Land of Silver", "Reaching to Heaven", "Cloud-Paradise" and "Office Romance". But not better. On the one hand, there are scripted rhymes to the plot moves, like the staff of the grandmother of the main character, which rings to the floor in a long-standing children's concert, marking an irreparable childhood loss, with a similar stick of the heroine Victoria Isakova on the same stage many years later. The creed of the characters in dialogues and monologues is spelled out accurately, but not talented, there is not enough air. Outputs into space from linear narrative are rare. Olga Buzova in a poor kitchen under the murderous look of Alevtina’s husband interrogates Romanova: “Will she go to the competition in Moscow?” And the iron overseer herself answers all these questions to her husband: “Do you have sour cream in soup?” Mayonnaise?” That's how Oboldin says it! He's going down my throat. But such sips of pure oxygen are not enough.
Fear eats the soul.
Moreover, the screenwriter Pletnev intuitively groped for a theme and note that has not yet been met in our cinema: “The power of the weak over the powerless” – this formula will be pronounced by the main character in prison. As a soulless power passes with an iron skating rink to fate - we have seen this. But always the power was in the role of a monster, which was mischievous, huge, hundred and barking. The power, which itself is weak and rules only over the powerless, is perhaps first shown only in Burn! If only a strong playwright and a good editor could extend this precious thread! After all, this observation is not only characteristic of the prison - it is in the family, and in relations with the district authorities, and in Russian show business this rule is not the last.
As for the director Kiril Pletnev, in “Burn!” he died in the actors.
The film touched my soul from the first minute, starting with a song about the clock. I loved the humor throughout the film. And the funny situation about the success of Alevtina on YouTube did not leave me indifferent.
The way movie characters express their emotions, demonstrate their qualities of characters, a great connection with reality - all this made an impression.
I liked that the heroine still went along the path of his heart and colleagues supported her, and not crumbled with envy.
I liked the emphasis on the dramatic change in her appearance, she became very feminine, thanks to her makeup, beautiful dress and shoes, which revealed her from a completely different side, and people and even animals looked at her completely differently. And perhaps, thanks to this new energy of hers, she achieved good luck and success, because the image of a person strongly influences fate. Sometimes talent in something is not so colossal and not so quickly, so it is not for nothing that Maria Star also drew attention to this area.
The new image is one side, the other side is the qualities of the soul that Alevtina demonstrated. She showed herself to be very humane, someone who keeps her word and her values as a good person. You might think that she did this out of gratitude to her teacher or out of a sense of duty, but in reality, people who have achieved a great position tend to forget their teachers and friends who were nearby. So I think that she's shown her sincere humanity in the film. After all, it was easy to leave, forget everything and burn bridges. New life, new work, new people, show business.
But it was so important for her to reach out to Mary that she was not afraid to lose her high hour and appear in an unfavorable light to the world. And perhaps it was her humane qualities that helped her complete her debut with dignity.
As for Maria Star, the character is dual, multifaceted, unpredictable, capable of anything, but she also sincerely wanted to help Alevtina fulfill her dream, which brought them closer together. Maria’s heart couldn’t stand such an attitude towards herself, she just wasn’t used to someone to her like this with a soul, she went to another room, but it’s not clear whether she shot herself, or it’s a security guard, who was then handcuffed.
I understood this film as a film about the importance of our destiny and that there are people around us always and everywhere who can influence and change our lives in the most extraordinary ways. You just have to say yes and do a few touches to change your image.
Alevtina Romanova (Inga Oboldina), the warden of the women's colony - a very talented person. But no one knows about her wonderful gift, about her amazing voice, except herself. In the past, music classes with her grandmother-pianist and dreams of a young girl about a solo career are buried. Even the husband Sergey (Alexey Shevchenkov), a primitive single-celled creature, having learned that his wife can become famous for herself, feels only awkwardness and shame. What can I say - he is ready to almost decide on a divorce! he needs a "normal woman" with borscht and pies, and not some celebrity, which is worshiped by millions.
And so, instead of giving this husband a good kick, so to speak, in the direction of the front door, our heroine takes out the accumulated anger on her wards - convicted girls and women. Yes, still cherishes, grows like a flower, the idea that instead of her all her dreams will be realized by the daughter of Shurka (Ekaterina Ageeva) - although she has no voice, no hearing.
At some point, a new girl appears in the colony - former singer Maria Star (Victoria Isakova), who was imprisoned for the murder of her husband. The pop diva immediately notes the remarkable talent of his overseer - and, having decided that such a miracle should become the property of the whole country, sets a goal to help Alevtina grow into a full-fledged "star". And along the way - to transform it not only externally, but also internally, to give a feeling of inner freedom, to tear Alevtina from the clutches of the usual way of life. After all, as Maria correctly notes, in fact, Mrs. Romanova is not free even more than the prisoners entrusted to her - they will sit down and go out, and Alevtina will always remain in the same colony, all with the same stupid despotic husband, all the same hostage to the usual image of a severe unsmiling guard.
The script is based on the story of Sam Bailey, a prison overseer who struck all those present on the British talent show X-Factor with rare vocals. I perfectly remember watching the video with her performance on TV - indeed, to tears, to goosebumps! cried and the audience in the hall, and harsh judges. Approximately such an effect, it seems, tried to achieve and Director Kirill Pletnev, and therefore closer to the final crammed into the canvas of the plot a lot of events almost fantastic, designed to squeeze a tear out of the viewer - that's just, unfortunately, the voice of Alevtina we almost will not hear, and what she so impressed connoisseurs of singing art, do not know.
The film is ambiguous, and, like most modern Russian films, does not very successfully balance between the desire to shoot "as in life" - and the craving for quite Hollywood happy endings. As a result, we just have a sample of how life never happens and even theoretically can not be - but at the same time, the heart sometimes hurts from increased sympathy with the heroes, and morals sometimes soar so absurdly high that they soar above the gray ordinary, metaphorically and completely childishly reminiscent of the pictorial works of Nico Pirosmani, for example. That is, it seems like you want to scold Kirill Pletnev for some places even stupid naivety, which does not fit with the chosen harsh topic - and you understand very clearly that he shot so "out of love for art", so to speak.
I want to note the amazing performance of Inga Oboldina - at one time she struck me in Lungin's film "Conductor", rising simply to the top of a dramatic game. "Burn!" for Inga is clearly small, her talent is immeasurably more than a simple story about the colony - but she manages to pull almost the whole picture on herself. Victoria Isakova in the role of the singer-chromopod, of course, is also not bad - but next to the magnificent Oboldina is partly lost, saying many of her lines with a harsh tongue-in-cheek, as if on a theatrical reading.
Unfortunately, apparently, in pursuit of some ridiculous hype, the authors densely flooded their film with modern media characters, the most ridiculous of which is the most incompetent and wooden even in the role of herself Olga Buzova. In the moments of her presence in the frame, you experience the most cruel facepalm - well, in general, if you want to spoil at least something good work, shove Buzova there, everything is clear.
As I wrote above, the very climax of the picture was distorted by absolutely unrealistic plot twists. It was they who eventually killed a generally good film about women consciously surrounding themselves with bars of rules and continuing to live day after day, year after year in the most cruel moral and physical imprisonment, meaningless and ugly, for the sake of some contrived image of a “good wife” and “severe boss”, in order simply not to remain alone and not to become the subject of gossip by uneducated old women on benches.
And somewhere behind the scenes bitterly sounds annoying Pugachev’s “life can not be turned back” – the leitmotif to the whole film and a reminder that yes, there are moments after which nothing can be corrected and nothing returned. And no happy endings are more applicable to what is happening.
Review of the film “Burn!” (2017), directed by Kirill Pletnev
Life is impossible to turn back - such a leitmotif in the debut feature film by Kirill Pletnev. These words are taken from the famous song of Alla Pugacheva “Old Clock”. The film is based on the true story of singer Sam Bailey, who before winning the British music TV show worked as a warden in a men's prison. The heroine of “Burn!” – Alevtina Petrovna Romanova or Romashka (Inga Oboldina), on the contrary, works in the women’s correctional colony of a provincial town. Chamomile has known this prison since childhood. And this nickname was given to her grandmother-pianist, thanks to which the heroine probably had a love for music. It should be noted that as a child, Chamomile is played by Yaroslav Degtyarev, a finalist of the Russian vocal show Voice. Children. A rare case when a child sings a fairly adult song with a deep understanding of the text.
So, Alevtina Petrovna preferred a career “prison”, not creative.
He's even ashamed of his talent. But is that her way? Chamomile tries to find the answers through the newly arrived prisoner Maria Star (Victoria Isakova), who begins to give her vocal lessons.
Maria Star and Alevtina Romanova are the same age and opposites in character. Mary is straightforward, fair, independent. She graduated from the conservatory, in the past - an opera singer (according to another version - concertmaster), is lame, disabled. It seems that Mary is an allusion.
Grandmother Romashka, who taught solfeggio in Leningrad before the war and also limped to old age.
The history of the relationship between the convicted Maria Star and the jailer Alevtina Romanova may remind someone of the Soviet film “Office Romance” (1977).
After all, the prisoner Star initially tries to transform Chamomile externally. And someone episode from the film “Pretty Woman” (1990), where the fate of the main character slightly echoes the plot of the opera “La Traviata” by Giuseppe Verdi.
In “Burn!” there is also such an opera – “Toska” by Giacommo Puccini. Ironically,
What do you think of Floria Toski's "Vissi d'arte"? "I've lived art"
The main character prompts Olga Buzova (now also a singer).
Maria Star exemplifies the life principles of fearless singer Floria Tosca, who is not afraid to die for her ideals. Star is a guide not only to the lost world of music (“the theater of children’s grief”), but also to the life Alevtina dreams of.
“Everyone has the right to life, liberty, and the pursuit of happiness” is the creed of Mary Star. Even her name (possibly a pseudonym) refers the viewer to "otherness." In one scene of the film, Maria emphasizes that the surname "Star" means "star". The paradox is that Star, being a prisoner, looks and behaves much more freely than Alevtina. Victoria Isakova plays, balancing between madness and despair.
Sometimes it seems that the convict is a protagonist. Her biography is told in passing, so it is more interesting. Such a heroine went to prison, no doubt fighting for her principles.
As the plot develops, it becomes clear that the entire path of Chamomile was chosen for her. Alevtina Petrovna made a career in prison, rising to senior ensign of police and senior inspector of the FSIN. This, most likely, insisted on parents, because in the film Alevtina persistently wants to make the daughter Shura singer. But trying to realize your dreams at the expense of someone, especially your children, in my opinion, is a mistake.
Also, our heroine is an exemplary wife, she prepares well and tries to listen to her hard-headed husband. In the “delicious” plans with eating food, her husband-worker Sergey is necessarily present. And he doesn't even mind Alevtina becoming a housewife.
It seems that Sergey’s indifference to Alevtina’s dreams will sooner or later cause considerable conflict. For him, “a normal woman” is important, and one thought about performing on stage is perceived acutely.
The history of Chamomile is understandable and familiar to almost every Russian woman who lives for her husband and children, forgetting about herself. Although Inga Oboldin plays a strong, powerful boss, she turns into a sensitive, modest woman. This is especially evident when she is drawn to the close attention of journalists and viewers, when she recalls music classes with her grandmother or tensely communicates with her carpenter husband. The actress managed to show the broken soul, breaking through professional rigidity / cruelty.
In the background of the film, problems already familiar to the Russian viewer unfold: corruption, lawlessness and indifference of officials. It is funny to watch the hidden confrontation between the head of the colony Mikhail Ivanovich Khrabrym (Vladimir Ilyin) and the head of the regional commission Elena Alexandrovna Sysoyeva (Tatiana Dogileva). The interaction of these characters simultaneously brings smile and tension. And their interest in art is doubtful and looks bliss.
I would like to praise the film for the presence of visual and musical metaphors from the very first frames, as well as for the worthy camera work of Sergei Mikhalchuk. Sometimes the camera lives with the characters, then moving away, then approaching. And although there are few locations in the film, but they are shown in a diverse and interesting way. Especially attractive are the plans from above and how beautiful, thanks to the setting of light, the abandoned concert hall looks.
An unconventional solution is that forty-year-old women are chosen as the central heroes for the next “story about Cinderella”. In one interview, the director says that “all the producers who read the script tried to lower the age of the main character.” Yes, the audience of the film decreased, but we got a more original product. The end will also surprise. But the credits and video sequence to them are not quite combined with the completion of the film, which was also noted by critics.
The final “performance” looks like it was made for the soundtrack.
Kirill Pletnev claims that his film is not author’s, and the audience (art mainstream). Yes, the prison here is romanticized and not frightening, although the shooting was conducted in the walls of a real colony. But overall, the Burn! team created a life-affirming film about the dream and the pursuit of it in the original setting. This movie is worth seeing because it “educates the soul.”
Our public is not inclined to empathize with the vertebrae
The story as if pretends to be an honest and frank conversation with the viewer about the moral torments of the creative person in captivity.
To draw high morals, through the underground, relationships on the most social day, it seems to me, only very great masters can. And despite the star cast (V. Isakov, V. Ilyin, etc.), such an attempt in this film, I believe, failed. Not only because our public traditionally treats the vertebrae with wariness and is not inclined to empathize with them.
On the other hand, the involuntary elevation of a woman convicted of murdering her husband to the rank of a moral imperative seems to me even greater. In the last episode of Masha Star’s life, nothing threatened, but she grabbed an unattended weapon and took hostages, thereby committing a new serious crime. And this is a completely ridiculous demand to call a parole commission to the place of hostage-taking.
The blurred, incomprehensible ending violates not only the legal background of the plot, but also loses in drama, since psychopathic states do not carry any moral lesson, and they can only be judged by the medical reliability of hysteria.
It is amazing where our Russian people are, without universal hopelessness. Even a kind life-affirming film about the craving for your dream, female friendship and self-belief can not do without dipping the viewer into the horrors of Russian reality. And you know, this film is like a brother of the film ' Holidays ' which, in fact, is about the same thing. Only there's summer camp and prisoners, and here's a song contest. And they leave a similar feeling, want to live, but even more want to just sit and cry.
Well, here we go. Good camera work, beautiful shots, all the actors in place, play insanely great, even Olga Buzova, it would seem, the actress is talentless and then plays very well, realistically even. The main duo is all the better. The plot is very interesting and in places pricks the viewer to the most sore points. But again... Hopelessness, hopelessness... A real Russian film cannot do without some tragedy. I would like to see at least one fairy tale, just a good story without blacks, but I'm afraid in the realities of our mentality, this will not happen.
The film is about Pletnev and his beautiful like-minded people.
Wonderful, just a great movie! Directing work, tasks clear to the actors, cinematography, artists, intensity of action in editing - masterfully!!
Actors are brilliant! Ilyin from the first appearance gives out a plastic key - the essence of the hero - slouched, coreless, cowardly listening - who will say what - what will harm... Victoria Isakova - conscience, freedom, breakthrough to the main - at the cost of life. The very vibration of freedom, the mystical vibration of destined to follow only oneself - the deep, naked to the blood and flesh of the present - above its heroines!
Inga Oboldin - just remember the tears, a lump in the throat, twists the steps and the power of awakening, the forgotten masterpiece catharsis - in the funnel upwards exciting all those around in the life of the heroine, the audience in the film and the audience in the hall. A little more ancient plot is awakened in the theme, ' at the box office'suspense -
The main characters of each other, not unilaterally, Pygmalion and Galatea.
Dogileva accurately recalling the prototypes of lived youth, nervous because of them, reproduces the powerful officials plays an additional paint of the impending threat, gaping from the screen, only temporarily suspended - her heroine needs a tutor daughter.
There all play more or less notes of slavish fear - and the family tyrant (with the many facets of falling in love with his wife, captured, unexpectedly for himself so mundane and suddenly awakened by art). Alexey Shevchenkov - talented! Like Anna Ukolova, from curiosity and camaraderie to the conscious absorption of freedom, victory, and successfully performed the wonderful youth of the film, especially embodying the darkness of the guards: already uncontrollable obsession with unpunished violence!
The thick but briefly colored extravaganza, ostentatiousness, masonicity and tinsel of the festival, with which the power and truth, charged in Oboldin’s heroine from Isakov’s and enhanced by it, as it should be in the Called Disciple, contrasts, works unthinkably hard in the film Burn! Thank you very much to everyone - to each and every inspired worker of a well-coordinated ensemble, who set and fulfilled worthy moral and beautiful ideological and artistic tasks! Good health, dear people, tearing away the healing of our society and everyone in it! Irina Myaskovskaya, art historian.
The film ' Burn' is a melodrama with a socio-philosophical bias of the young director and popular actor Kirill Pletnev.
The plot of the film is very voluminous - it would be enough for several episodes, so the first half of the film is more expanded, the ending is crumpled and accelerated. And to expect from the person who in 2017 starred in three films, and in 2016 - as much as five, some thorough and detailed study - would be in vain: not Julius Caesar, he is, all of it.
Right?
The main message of the film is that you need to reveal your talents no matter what: even if they are stuck in the dust of complexes, difficult childhood, wrong path, hard work, age and other conventions.
This is shown by the example of the mater warden of one district women's prison, which has vocal data, which she is trying to implement in one of the song reality show.
The whole idea is right – why not develop hidden talents in adulthood? You can deliver a lot of emotions to yourself and others, direct your life for the better, make new acquaintances or arrange a personal life.
But, knowing the modern stage and show business, this idea is met with caution.
The husband of our heroine has the same prejudice – he is categorically against his wife shaking different parts of the body on stage. And it can be understood – this is the fashion now: the performance of only classical compositions does without nudity and vulgarity of different types.
Second: a person who falls "from the mud to the princes" (from the gray work environment to the stage or set), risks not coping with the load, with the glory or shame that has fallen on him. Only a few of the contestants become finalists of the show and have the opportunity to tour the country and conclude contracts with producers: the rest return home with a taste of something sweet and unfulfilled, continuing to sing in restaurants.
Third>: A person participating in such competitions has ambitions to gain a foothold on the stage. But even the finalist is doomed to secondary – ahead will be those who started earlier, who have connections and money. It deals a more tangible blow to people who started such a creative career in middle or adulthood (such is the heroine of the film) in the form of failure of dreams and dissatisfaction.
Undoubtedly, each specific case is individual and the consequences can be favorable, but the logic of things suggests the following conclusion: Late development of pop or acting abilities in modern conditions carries more dangers than advantages.
Now on to Positive points:
Given the creative component of the film, it can not be called easy and cheerful, on the contrary, it reminds of the dark sides of our lives: the raw prison life, the coarse characters of people working in this field, the personal interest of officials to the detriment of the law.
Such moments as the preparation of the heroine for participation in the competition, the worthy play of beautiful actresses Inga Oboldina and Victoria Isakova; the presence of Russian stars Dima Bilan, Olga Buzova, Larisa Dolina and other celebrities, illuminate the film.
Scenes and phrases that speak of the TRUE OF JUSTICE create a sense of joy.
The events in the film have symbolic parallels: the transition from the territory limited by barbed wire and barking shepherds to the world of bohemian, to the sphere of elegant clothes, painted and beautiful faces, coincides with the inner transformation of the personality from sullenness, oppression and hardness to openness and femininity.
Despite my nagging about the film’s core message, I don’t find it to be too flawed.
Alevtina Romanovna, the chief inspector of the women’s colony, has an unconditional talent for singing, which she hides behind the soldier’s outfit and manly manners. But suddenly one of the prisoners manages to secretly record and upload to the Internet the singing of the guard. Alevtina becomes a star of all-Russian scale, which is immediately called young Pugacheva. Such high popularity in the network is of interest to the organizers of the vocal show, who personally come to the outback to invite Alevtina to take part in it. In achieving success and overcoming stage fear, only the imprisoned Maria Star, a former opera singer, can help her.
With each subsequent scene, Burn! evolves from a seemingly uncomplicated melodrama into a motivational psychological drama. In parallel, the film reveals a lot of social and moral and ethical abscesses of our country. Adhering to the framework of Hollywood style, Kirill Pletnev creates a film consonant with the “Office novel”: bold, polemical, sensual and Russian in resonance. The tape from the very first scenes is full of allusions, reinforced by the dialectics of confrontation, which is the center of the plot. The director confronts not just antipodes in the face of the main characters, but polarly different worlds and ideologies.
Alevtina Romanovna performed by Inga Oboldina embodies the psychotype of a Russian woman who burys her talent in her family, life and work. She is forced to adopt male behavioral patterns, be callous and rude in order to survive in a reality that is still ruled by men. Her sacrifice in the name of an ossified, narrow-minded husband and a talentless daughter knows no limits. Like inmates, she has been stripped of all her birthrights, including the right to freedom, happiness and the right to be a woman. That’s what the “convicted” is trying to teach her. Maria Star. Maria is the embodiment of the psychotype of a European woman, proud, enlightened and open, not afraid to tell the truth and defend the right to a happy ending.
When she was very young, she was already a star. She gave solo concerts at work with her parents, in a women's colony. A harsh and ruthless place where prisoners are not just those behind bars. Bold, but still typical for a provincial girl dream to become a singer, was destined to die from the moment of birth. Now Alevtina Romanova has grown up a brutal beast who uses a unique voice to shout at convicts and give orders. A waste of talent for which it is impossible to judge, just as it is impossible to escape from the grayness and cultural decay of provincial society. Because the brightest star can only be seen by raising your head and looking up at the sky. However, most of the inhabitants have long stiffened cervical vertebrae. The ability to see potential and throw a spark in time, from which an unprecedented fire will burn, is not given to everyone. It is amazing that such people exist.
By chance, a conservative-educated prisoner heard her warden sing and decided to help. Honestly and sincerely, it is nonsense for the prison theme. I can hardly blame the film for its lack of realism. In a short time, the whole country learns about the voiceless jailer and a direct path to a new musical TV project opens. There is nothing more symbolic than to name a heroine who carries light and flame into the realm of dark ignorance, Star. Not only is it a star, but it’s also the starting point for a short-distance race with barriers, humiliations, and the ultimate betrayal. It's up to you to choose who. The image of a cold-blooded overseer, who does not have the status to sing from the stage, and not yet in the framework of drunken feasts. Husband, albeit a tyrant, but the head of the family, who foolishly forbids his wife to go to a music show. A boss who, although he deserves betrayal, usually acts ahead. The local swamp was famous. In fact, you can not only get dirty, but also seriously get bogged down.
The star that fell to the ground fulfilled the most cherished desire. Too literal for a movie that doesn’t claim to be a fairy tale. Although there are all prerequisites for this, and the monster turns into a beauty, and the carriage into a pumpkin, and the hour is uneven when the magic disappears and the gray everyday life returns to its possessions. However, this is not a film about the rise after the fall or the well-deserved award that finally found the long-suffering hero. The picture miraculously balances between a classic story about the chance for a better life and realistic evidence why this better life is in no way possible.
It’s probably not easy to specify what this movie is about. Like a flying comet illuminates a lot of social problems, clearly displacing the history of the provincial nugget. The fairy tale is not quite natural, because there is nowhere to run from injustice. This is the dragon that eats one victim after another without resistance, and the mighty hero has not yet appeared within the kingdom. Or an audition for a music contest. You hardly know for sure. The film is tragic and pressing on the patient, but at the same time absolutely spectator. It's an amazing combination, because to the end it's a mystery whether there's more hope or no hope.
The image of the main character of the film Alevtina is familiar to many women over forty. There is a husband, there is an adult daughter, there is work, lives quietly and peacefully, does not touch anyone, so everyone lives, so it is necessary. And yet somewhere in the soul there is a longing for lost talent, for a forgotten childhood dream. But Alevtina fate provides a chance to shine once buried talent. For her birthday, a woman is given a karaoke kit. And despite the fact that in front of everyone she was ashamed to sing, alone with her she hotly splashes out all the accumulated emotions in the song. But here’s the problem: as it turned out, Alevtina was not alone. Prisoner Maria Star records her “performance” on her phone and later posts it on the Internet (how the prisoner turned out to have a phone is another question, this girl is resourceful). But, as they say, there would be no happiness, but misfortune helped. Alevtina noticed and invited to the popular television show “Burn!”.
I did not just retell the synopsis, which you could already read in the description of the film. My review wouldn’t be complete without this link. Does she have any expectations of the film? Yes, at least by the fact that the name "Alevtina" here sounds five times, and "Maria Star" only one, we can conclude that the story is exactly Alevtina, her overcoming fears, overstepping through condemnation and the habit of living "like everyone else." Only the Star depicted in the poster can settle the first doubts in the head. In fact, it turns out that this story is more about the relationship between Alevtina and Maria (although I can not say with certainty what this film is about). And no, I don't see anything wrong with debunking expectations, that's not the problem. But everything in order.
Plot. Usually from the film you expect the announcement of the problem, its development and logical resolution. Here the theme is announced, and then the film turns into an incomprehensible vinaigrette of the endless throwings of Alevtina, Star’s personal drama, the tricks of major guards and a number of other characters, and crowns it all with an ending that does not unite all these events and does not lead to any logical conclusion. The long-awaited contest for which the film prepared us so much is interrupted by background showdowns that appeared completely suddenly and completely illogical. In the end, you don't get any emotional response, because that's not how it went. And then you get a sudden drama, and before you know it, the credits roll out. Oh, yeah, credits. A lot of people have written about them. I laughed too. Star in the costume of an angel is just enchanting.
Characters are often unstable. Alevtina is torn between "going to the contest" and "not going to the competition" the whole film. No, I understand her doubts, she is pressured by family, acquaintances and own habits. But even after getting to the competition, she first drags with the release on stage, and then refuses to sing at all. Wasn't that the character we were supposed to be watching?
Also interesting in this regard is the character Ivanovich. The character is very "my own", familiar. It seems that a person is not bad, friendly with colleagues, but he likes to grab and lie, and a little – head in the sand. And suddenly, at the very end, he shows unprecedented concern for Masha's life. When did he seem to treat her like a human being? . .
However, it is worth saying that the actors are selected perfectly and play their roles on 10/10, that’s what you can not take away. And the actors themselves, and responsible for the castes, and the director in this regard, I praise with all my heart.
Operational work none. No interesting camera solutions, no beautiful plans, no games with light. But my special disappointment was caused by the episode of singing karaoke. This is the moment when Alevtina splashes out her emotions in a song.
You know, musicals are popular for a reason. And not because it's funny tales with songs and dances. It seems to me that music can express our feelings without words and penetrate into every heart. And together with good acting, and even being involved at the emotional peak of the character, it acts on the viewer as nothing else, forcing you to feel the character. Check out an excerpt (at least an excerpt...) from the musical Yentl, in which Barbara Streisand performs the song "Papa can you hear me?", which has become popular again recently thanks to Deadpool 2. Look at how strong Barbara shows herself, how good her vocals are, and how emotional the song is, and you’ll see what I’m talking about.
Why do I talk about this in the column "operator work"? Yes, because when the operator revolves around the heroine as crazy, then approaching, then leaving, and the work with lighting is in light music, no efforts of the actor do not make sense! Unfortunately or fortunately, acting at this moment also leaves much to be desired. Swinging back and forth with your mouth open. It doesn’t feel like a real hero is singing. There's nothing wrong with re-voicing an actress who can't sing, but can play. In 'Cruel Romance' (where there is also a good example of a strong 'song' scene), Larisa Guzeeva also sings not in her voice, but you do not notice it. But that's not the case. Yes, part of the song Inga Oboldin performed independently, but the contrast with the opera parts from this only adds to the falsity. In addition, it seems to me that the chorus was blocked by the original performance of Alla Pugacheva to hide the shoals of vocals.
This scene could have been so strong! The whole movie could have been great! The musical talent of the main character gave this film a lot of potential! Choosing a song consistent with the state of the main character, correctly put everything and season with a good acting - there were thousands of options for how to implement this formula. But, unfortunately, even the chosen Tosca does not sound so complete. After all, the story was chosen interesting. How metaphorical a place of action could be a women's prison. What's the bottom line? The whole metaphor is spoken in words! “I’ll go out and sing and you’ll stay here.” That's a bit of a disrespect!
Maybe that’s the problem of my expectations. Yeah, the trailer and the synopsis misled me. Yes, I would like it to be the story of Alevtina, the story of such familiar fears, unwillingness to take risks, and about overcoming yourself at the end of the day. But even if you throw it all away, what's left? Good acting, except for that. The history of closure in the usual way of life is familiar to many women, and who knows the history of ... what? Relationship with a prisoner friend? Arbitrary superiors? Or, suddenly, the ability to forgive? I can't understand. And while I'm sitting there thinking, the film puts on the credits, against which plays "While you're alive, get up and try...", in sharp contrast to the ending and finally confusing.
The film “Burn” is a melodrama with a socio-philosophical bias of the young director and popular actor Kirill Pletnev. The plot of the film is very voluminous - it would be enough for several episodes, so the first half of the film is more expanded, the ending is crumpled and accelerated. And to expect from the person who in 2017 starred in three films, and in 2016 - as much as five, some thorough and detailed study - would be in vain: not Julius Caesar, after all?
The main message of the film is that you need to reveal your talents no matter what: even if they are stuck in the dust of complexes, difficult childhood, wrong path, hard work, age and other conventions.
This is shown by the example of the mater warden of one district women's prison, which has vocal data, which she is trying to implement in one of the song reality show.
The idea itself is right - why not develop latent talent into adulthood? You can deliver a lot of emotions to yourself and others, direct your life for the better, make new acquaintances or arrange a personal life.
But, first of all, knowing the modern stage and show business, this idea is met with caution.
The husband of our heroine has the same prejudice – he is categorically against his wife shaking different parts of the body on stage. And it can be understood - such is the fashion now: the performance of only classical compositions does without nudity and vulgarity of different types.
Secondly, a person who falls “from the mud to the princes” (from the gray work environment to the stage or set) risks not coping with the load, with the glory or shame that has fallen on him. Only a few of the contestants become finalists of the show and have the opportunity to tour the country and conclude contracts with producers: the rest return home with a taste of something sweet and unfulfilled, continuing to sing in restaurants.
Thirdly, a person participating in such competitions has ambitions to gain a foothold on the stage. But even the finalist is doomed to secondary – ahead will be those who started earlier, who have connections and money. It deals a more tangible blow to people who started such a creative career in middle or adulthood (such is the heroine of the film) in the form of failure of dreams and dissatisfaction.
Undoubtedly, each specific case is individual and the consequences can be favorable, but the logic of things suggests the following conclusion: the later development of pop or acting abilities in modern conditions carries more dangers than advantages.
Now for the positive points:
Given the creative component of the film, it can not be called easy and cheerful, on the contrary, it reminds of the dark sides of our lives: the raw prison life, the coarse characters of people working in this field, the personal interest of officials to the detriment of the law.
Such moments as the preparation of the heroine for participation in the competition, the worthy play of beautiful actresses Inga Oboldina and Victoria Isakova; the presence of Russian stars Dima Bilan, Olga Buzova, Larisa Dolina and other celebrities, illuminate the film.
Scenes and phrases talking about the triumph of justice create a sense of joy.
The events in the film have symbolic parallels: the transition from the territory limited by barbed wire and barking shepherds to the world of bohemian, to the sphere of elegant clothes, painted and beautiful faces, coincides with the inner transformation of the personality from sullenness, oppression and hardness to openness and femininity.
Despite my nagging about the film’s core message, I don’t find it to be too flawed.
General impression: A great movie that combines comedy and drama, subtly emphasizing the problems of self-realization. So emotionally cool that a storm of feelings overtook me. And in this cycle of unexpected emotions, I was able to see the depth of the human soul, buried in working condition, on an automatic machine.
How wonderful that we in Russia will be able to make high-quality films, without falsehood and bright propaganda of patriotism. These odes I sing to the director and part-time screenwriter - Kirill Pletnev. Sitting down to watch a movie and focusing my eyes on the initial shots of the song, I thought there was nothing that could be done, but how wrong I was. Without high hopes, I did the right thing, although I am sure that if I had expected the beautiful, I would have received it anyway.
The plot of the film introduces us to a woman working in a women's colony. Alevtina Romanovna (Inga Oboldin) is a workhorse. It tends to be strong and courageous in nature, what if the other side of the coin is hidden in this shell? And it is. We all have our own creative part, someone writes, someone paints, someone dances, someone sings. The film shows that you should not be ashamed of yourself and others. Don't wait for judgmental looks! Always realize yourself! There may not be another moment! Inga was able to awaken tears in me. The actress played both joy and sadness. Her sad eyes broke my heart, and close-ups only emphasized her acting talent. There was so much emotion in her eyes, I felt and sympathized with her like a woman. If you don’t believe in it, how much will you want?
It is sad to look at the heroine, because there is a realization that there are unhappy people who are not doing what they would really like. The atmosphere of the provincial city is very vividly conveyed, but the characters of the heroes are even brighter. What is impossible not to pay attention to, it is every acting character has a prescribed role. Charisma with talent. All the actors are great!
I liked the picture EVERYTHING! Absolutely all in the subject and filmed qualitatively. I read that some have complaints about the ending, I did not find this. Man is the crown of his own happiness. And don’t be told to take your steps to success. 'Burn!' is a fascinating and highly emotional movie. There is a lot in the tape: empathy, sharp turns, changes in the characters, intrigue and a wonderful script. I highly recommend the movie!
Honestly, I gave up hope for Russian cinema a long time ago, but still continue to watch some films for general development. And so far, films of domestic cinema are obtained only in the genre of hyperrealism. We love to talk about how bad everything is, that hope is long dead and all that remains is to accept.
And finally, we get a sharp drama about overcoming ourselves and fighting the aggressive world around us for our own well-being and happiness. Such a message cannot but be liked, because it motivates and gives, albeit ghostly, but still hope and joy.
At first I was very embarrassed - there are no positive male characters in the film. Everything is like a selection: the husband is a tyrant and he cares only about his own comfort, the boss is a corrupt officer, a thief and a tyrant, the prison guards are sadistic psychopaths. And it was already wanted to run to protect the offended men, but held back and decided to watch the film. By the way, I did not regret my decision. What’s good is that even such negative characters have developed, both positive and negative.
Overall, the film is good, I liked it. The main character really makes you worry about her fate. Prisoner Star, the character of Victoria Isakova, infects through the screen with her optimism and desire to live. These two charismatic heroes completely attract attention, and you do not even notice how you begin to empathize and imbue with their problems to the fullest.
And most importantly, it makes you think about the fate of women in this situation. For I am convinced that in the province the patriarchal structure, both of the family and of ordinary interpersonal relationships, still exists. This is what the film calls on women to fight, showing that your fate is only in your hands. Thank you so much for this movie.
Of course, it did not do without some joints. Personally, I believe that Kirill Pletnev has gone overboard with hyperrealism. Some moments were absurd, and some were ridiculous (for example, when two guards took prisoner Star from the colony). And I didn’t really like Avlevtina’s final speech. Of course, they tried to make it more slang, closer to ordinary people, although I believe that by making this speech more literary, the film would only win. But of course, this does not prevent the film from being good, just good.
7 out of 10
Probably dreaming of making a real ' folk' movie, close and understandable to the broad audience, director Kirill Pletnev turned to the eternal history of Cinderella. Pletnevskaya Cinderella is a senior inspector of the women's colony Alevtina Romanov, played by Inga Oboldin. The surrounding reality is miserable, joyless and terrible. But Alevtina does not know another life and does not see for himself. In one ' beautiful' day a new batch of prisoners are brought to the colony, with whom a graduate of the conservatory and a failed singer, and now a husband-murderer Maria Star (in this role Victoria Isakova), arrives. And Mary accidentally reveals the secret of the stern warden - it turns out that she has an incredible singing voice, but long ago buried this gift of God. And now with the filing of a proud, freedom-loving, unbroken prisoner, Alevtina will make an attempt to change her life.
It would seem a good plot for the picture, which should interest and find a response in the hearts of the audience, however, in my opinion, the director is a little ' fascinated ' and generous hand ' in the tape so much that what he saw would be enough for a couple of films, and even series.
Firstly, the film can not decide on the genre orientation: it seems like you start to watch a social drama, then the plot ' hits ' in melodrama, sometimes it seems that you watch TV ' soap opera' or even ' reality show' and finally in the finale intertwined fairy tale and crime drama, the audience is brought to sobbing, then turn the tragic outcome into some 'balagan'';. 'Balagan' - this is me about the credits, which can be characterized by the phrase: 'Bury mother-in-law - tore two Bayanas'. After such final credits, you feel, frankly, deceived: you were worried, and they dance.
Separately, I want to say about camera work: almost the entire film does not leave the feeling that the camera shoots everything in a row - that's what it sees in front, right and left, then shoots. There are pictures where each frame, as it is called, ' asks for a frame ' and here - the reverse case. Only at the end of the film appear close-ups and 'picture' begins to impress.
I also want to talk about dialogue. After watching, not a single sentence from the film remained in my mind. At all. Words, ' like erased coins at the money changer' - recalled in connection with this expression from one great play.
If the film deserves a positive assessment, it is only due to the acting work of Victoria Isakova and Inga Oboldina. But on the other hand, these actresses deserve a better movie. Therefore, the assessment is negative.
The story about how the warden of the women’s colony Aleftina (Inga Oboldin) suddenly gets a chance to become a TV star – thanks to her wonderful singing and tenacity of the teacher, former singer, prisoner Masha (Victoria Isakova).
For me, the main criterion for the quality of the film is the role of actors in it. In a bad production, as you know, even brilliant actors play talentlessly.
If the characters in the production look natural, live their roles as normal, understandable to the viewer people, then this is the reason to be impressed with the work. So, the authors found serious reasons to start shooting, they offered the actors real material for experiences, which brought them to new heights of skill, helped them to open up, and we - to see something significant in the world around us.
In this case, Inga Oboldina, Vladimir Ilyin, and Victoria Isakova and their wonderful colleagues - actors Anna Ukolova, Daniil Steklov, Tatiana Dogileva, Alexey Shevchenkov show the upper class of acting - each in its own way, not darkening each other, but complementing the ensemble.
I don’t know if the aspiring director and experienced actor Kirill Pletnev understood this side of his film, but in my opinion, it is simply magnificent. This is a blatant and incredibly true story about the fact that from the zone you can only enter the box – either in the one that is nailed in the end, or in the one in which the same monsters rule as on the zone, only to the music and claps of organized spectators. And if a young cone, vilely killed by a rapist-turner, can hardly count on anything, then here on stage, in a red dress, under the light of floodlights - here you can hope for something, dream of another, happy life ...
But the fact is that in the world that is depicted there and from which Kirill Pletnev may have suffered himself at one time, it is as little suitable for happiness and peace as the territory behind barbed wire. Yes, there are also good “inspectors”-buzovs and zone managers, but they cannot break the system, and the system is ruthless. In the area, the attempt to leave ends with a flash of a spotlight and the rumble of an automatic queue, in the studio - the same bright light and the command "Stop!". Both in the area and in the studio, it happens easily and often. With different, of course, consequences for the characters, but with the same result for us, for society. Both are embodied forms of non-freedom, coercion, duping.
And the fact that the heroine decides to interrupt the song in order to address her dying ward and mentor through the TV screen is, in my opinion, very symbolic: the “box” can serve only in one case - if it suddenly, despite the role imposed on him, becomes a simple means of interpersonal communication - like a videophone, for example.
And therefore - I am not sure that the authors understood this - so much looks like a banal passage-run of all the characters without distinction against the background of the credits: on an empty road, in a spacious field, against the background of birches. Get out of the zone, get out of the box!
What else makes Pletnev's film think?
I seriously think that our cinema may well rise on the camp theme, on the theme of unfreedom. In our history, culture and folk tradition, it is almost inexhaustible and extremely humanistic from the point of view of art, that is, worthy of books, films, performances.
The French recently made the film Anton Chekhov – 1890. In it, Anton Pavlovich, already a famous writer, goes to the hard labor island of Sakhalin. The authors show what he saw there. Why don’t we have a movie on this very popular topic? After all, this is a huge layer of our history and culture, these are the most powerful characters. After all, this is a patriotic topic, if you do not understand it completely brainlessly: Chekhov met with bosses on the island, all kinds of specialists who seem to us intelligent, noble and brave people. Like Chekhov himself...
Almost not mastered by the cinema Solzhenitsyn. The series “In the First Circle” (2006), shot on the script by Alexander Isayevich himself, with all due respect to the authors (director Gleb Panfilov), looks very “close to life”, edifying and boring: apparently, the author of the script all the time imagined his own life, and the director – for reasons of tact – did not have the courage to intervene in the plot. Let us hope that the film adaptation of “One Day of Ivan Denisovich” promised by G. Panfilov by the end of 2018 will show all the incredible philosophical power of this TALK OF the great writer.
There are wonderful works by Varlam Shalamov, beautiful books by Georgy Demidov. These are the authors who managed to show not only the horrors of camp life, but also the ability of man to resist the ruthless machine of state violence. And this quality of their works is more than worthy of cinema.
I saw the trailer of the film Burn in the cinema, and the story that it told, as I thought at first glance, is very interesting and intriguing. When I saw it, the picture disappointed me. In a nutshell, the film is like some sort of torment, a drift from one side to the other, some kind of restlessness. No sense or motivation. Ordinary and everyday movies. But let's go into more detail.
1) In childhood - blonde, in maturity - brunette
So let's start at the beginning. Our main character sings since childhood, which her grandmother taught her. In childhood, the main character is played by a very bright, talented and vocal girl Yaroslav Degtyareva. But she doesn't look like our Aleftina at all as an adult. Usually, similar characters are selected in the movie, but there is no such thing.
2) Vocal data or good voice lining
Aleftina was given karaoke for her birthday. Naturally, she refuses to sing, but when guests leave, as according to the law of the genre, emotions run over our heroine, and she sings the cult song of Alla Pugacheva “Old Clocks”. It would be fine if not for one moment. After the second chorus, there is a loss, and many at this moment want to show their voice, while depicting various howls. But our heroine's movements are not consistent with what she's spewing. At that moment, I was laughing from the heart. The director looked at what was going on in the picture. The same thing happens when she sings the aria "Tosca": movements separately, sound separately.
3) I'm not going! Or can Chamomile keep emotions in check?
Another nonsense: our heroine works as a warden in a women's colony. In her character there is discipline and rigor. According to logic, Aleftina should make decisions clearly, quickly, lightning fast, but she only toss: I will go, I will not go, I want, I do not want, like, do not like.
4) Arbitrariness in a female colony
The moment that touched me to the core (although it’s no secret) is that male guards treat women with soulless dolls. Just because they're convicted doesn't mean she's no longer a woman.
5) Victoria Iskhakova inspires!
Of all the heroes, I am most inspired by Victoria Iskhakov. Her heroine is real, open, straightforward and believes in the realization of all goals and desires. The story of her character is very complex, and when we find out, we will be very empathetic.
At the end of the review, I really expected more from the film, but alas. It always happens to me: what you expect most, disappoints you most!
6 out of 10
Dreaming is not harmful, it is harmful not to dream
' Burn' actually not only burns, but sings, and dances, and generally does God knows what. This is a very life-affirming, motivating, soulful film. There is absolutely no desire to look for any flaws in it. This is the case when, after watching, I am ready to shout out well-known words like 'God, 10/10!'. Yes, in fact it is. ' Burn & #39; catches you literally half a second, immerses you in your atmosphere of life, and does not let go for a second. ' Burn' inspiring, burning makes you sad together in the characters, and at the right moments ' Burn' motivating. It motivates you to get off the couch and do something. Of course, this is a dream story again. About how a person goes to her, overcomes himself, difficulties, any other circumstances that surround him, and eventually flies to heaven, he is covered with white clothes and a halo descends smoothly on his head. And you know what, nice, but ' Burn' not quite that. The creators extolled some of the features that paint it and so perfectly distinguish among fellow genre. There is creativity, there is nothing, and the soul. In many ways, he is brave.
If you want comparisons from me, then I think ' Obsession' 2013 Chazella is the best fit. It seems to be an ordinary plot ' about a dream ' about one drummer, like nothing new, but damn it, agree, this is a very powerful movie! So with 'Burn' We have a completely normal pattern in sight, mostly boring characters, but this was not the case. How it's all filmed, how it's played and presented - um, it's all beautiful. The director mixes genres, albeit not always successfully, jumping from one key to another, but still Kirill Pletnev is primarily an actor, from whom few expected such a surprise. So some roughness is forgivable, I think. The movie is working, and it's working, I have to say. At the right time, you feel sad and happy.
All the acting work is excellent, especially pleased Victoria Isakov that in 2016 in the film ' Apprentice' played a biology teacher just fine. Inga Oboldin was never interested, but in 'Burn' she's very good, to me, the perfect hit with the character. 'Burn' in addition to all the other advantages, it is also a stunning ending, so unexpected and touching. And in fact, the director deliberately destroyed all expectations, making his already good film even more unique and more memorable. Now it is so cold and uncomfortable, it is time to kindle your heart with something bright, spiritual, touching. Well, I guess 'Burn' perfect for everyone. Love and watch movies. Remember that your dreams and desires always have a place. Love, be friends, be sad – this is all our life.
The debut directorial work of the young Russian actor Kirill Pletnev made a lot of noise even before the release in wide distribution. At the Kinotavr film festival, the tape was awarded audience sympathy, but at a press conference after the film was shown there was a skirmish between the young author and film critics, who entered into a frank quarrel about the content of this tape and its peculiar ending. But despite these moments, the picture came out noticeable and original, and therefore stood out among the films of domestic production.
Kirill Pletnev not only put the tape, but also wrote the script himself. And he started from a real case that happened to the British singer Sam Bailey, the winner of the musical TV show “The X Factor”. And before that triumph, working as a prison guard. Transferring this story to Russian soil, the director diluted it with the harsh reality of the Russian hinterland, criminal episodes and modern pop culture. By genre, this is an amazing mixture of drama, musical and even a crime thriller. By combining incompatible elements, he managed to present a very non-trivial film to the public.
This is the story of an adult woman working as an inspector in a women's colony. She is caught between her job and the troubles of family life. She is surrounded by her husband, constantly dissatisfied with everything, the depressive atmosphere of the Russian hinterland and the unwillingness to leave the unpleasant, but still comfort zone and go for changes in his life. She has a beautiful voice and sings wonderfully, but she never thought about her talent. But pure chance allows her to light up throughout the country and get an invitation to a popular music show.
But this is not only a story of transformation, it is also a revelation of the theme of inner freedom. This is clearly seen in the example of another heroine, a prisoner of the same colony. She lives locked up, but feels much freer than prison officers. Yes, in some places there are excesses, but they are not very striking. The musical numbers are well staged, the actors themselves perform a number of songs. The final made a lot of noise because of its content, but for me this bold and unusual final point is very harmoniously inserted into the overall canvas. And all the arguments about this only play to the benefit of the film.
Inga Oboldin plays the main role, which was specially written for her. She looks great and perfectly conveys the character of her character. We see the transformation of a strict, but at the same time squeezed woman into a confident and independent personality. Victoria Isakova looks no less convincing in the image of a brazen and liberated criminal. Well, Vladimir Ilyin again showed his excellent charisma and played a familiar role.
Burn! is an example of a very interesting product of Russian cinema. A successful combination of life drama, musical and crime film. This is not a black woman, but no one is going to embellish reality here either. There is a place for both a positive attitude and a tragic line. The picture is not without flaws, but definitely worth seeing.
7 out of 10
In modern cinema, there are fewer and fewer films where there is a 2nd life plan for heroes. And now the rarity and value is exactly the film that does not show every action, the motive of the character, the assessment and reaction of the characters, chewing into small pieces so that the viewer does not have to think and reflect. This film according to the 2nd plan, built on the inner experiences of the characters - the main essence, in fact, of any art form: the transfer of the internal through the external. Excellent performance of actresses Inga Oboldina and Victoria Isakova. The ladies perfectly conveyed the inner experiences and torments of their heroines, who were united by art, real art. Where there is talent by nature, it does not need to be chewed, it does not need to be explained, stuffed into a beautiful shell and conduct intelligent discussions, it must be lived. And the two women joined their souls and gave themselves up with all their heart in the name of true art. This united two defenseless and insecure women with a fragile and vulnerable pure soul, who were able to keep it in themselves, despite the harsh realities of the lives of each of the heroines, each has their own.
Of course, inviting media people to the tape always carries some danger, but here, as it happens, everything is quite logical, where every media person in the frame played himself and for this they did not spoil the picture, as is usual in such cases. But the contrast in play between such deep professional actors and stars is certainly obvious. One, beloved and highly respected by me, Vladimir Ilyin, he does not know how to cheat. Of course, Tatiana Dogeleva and Anna Ukolova always bring their unique artistry to the film, even if secondary characters, but they are amazing and, in their own way, amusing.
Regarding the directorial, script part of the films. Simple, elegant, without excessive drama and bent, but, at the same time, the desire for realism. All the emphasis on the heroines, and, therefore, removed correctly. I do not want to be distracted by the analysis: how and what is filmed and how much is plausible. There is the main idea, the super-task of the film - it is conveyed clearly, clearly, by simple artistic techniques and images within the framework of its genre. Nothing else is required. The painting was a success.
Rise up, prophet, and see and hear,
Follow my will,
And bypassing the seas and land,
Burn the hearts of the people.
A. S. Pushkin
What is the world lacking now? No, not quality movies. They get filmed from time to time. The world lacks a word that can burn. Not to burn, but to burn. It's clear, it's inevitable, but it's gentle. Burn in the chest, in the heart, prompting to difficult but necessary steps.
Being real is a gift from above. Making others real is a double gift. The film ' Burn ' in my opinion about it. We are all used to living by rules that are dictated by common sense, prudence, and sometimes cowardice (though we do not admit this to ourselves). Almost everything in our morality is turned upside down, but we are justified by some corporate acceptance of these rules and in this sense we are no worse than others.
And this is how we live upside down and upside down, and then someone very uncomfortable appears. Different. Not of this world. Ivanushka is a fool, or a saint. You can't hide him, you can't shut him up. He's never on time. He's not tactful or ethical. He speaks the truth and exposes our vices to the public. And he tells the truth, which still does not break your back, but pulls you out of the swamp. From the swamp of grayness, mundaneness, insecurity and unbelief. It's still hard and painful. They're either loved or hated. They either put clothes under their feet or shout “crucify!” And on the one hand, we really want such a person in our lives, but it would be nice to leave him at a safe distance.
Seeing this, Simon Peter fell to the knees of Jesus and said, Get out of me, Lord, for I am a sinner. (Luke 5:8)
I don’t want to retell the story, especially since it has already been retold online. It's not even about the plot. It’s not about the colors in this movie. It's comedic, sometimes dramatic. There's a place to cry. This is all right, although Kirill Pletnev (at all did not expect such a job from him) the chef is still a beginner. Not exactly filigree, he mixed all the delicious notes of his dish. But in spite of the critics who did not like the aftertaste in the form of frames going under the credits, I will say that nothing criminal Kirill did. Cinema looks much better than most domestic opuses. And if someone has a bone in his throat, then you can treat not as a treat, but as a medicine. Medications are always bitter first and price second. So don't whine, eat.
Good idea with the movie poster. If you go for a viewing, wait at the poster for a couple of minutes, delve into it. As you watch, you will realize that something is wrong with this poster. And it's done, I think, consciously. I will not prophesy and guess whether this movie is being stolen for quotes or not, but something I noted. "I can not help noticing this, but you can." A phrase said twice. This is not just a challenge for Alevtina. It's a challenge for you and me to try to notice at least once in a while.
In the end, Kirill Pletnev, in my opinion, correctly withstood the consistency of beau-monde delight. Superficial joy and rejoicing as best as possible emphasize the true and deep minor in the feelings and relationships of the main characters. After Jesus, too, crowds followed in a major mood until He began to burn their hearts.
9 out of 10
Hearts are burning, eyes are burning, which means you need to burn.
First of all, I will say that I am probably not a very good film critic, or rather, I am not a critic at all, plus, to say in clever words, correcting points, something, how well the director's work was carried out, how it was perfectly shot and what kind of frame production - I can't, because I don't understand this completely and I am based only on my feelings, my degree of immersion and the emotional reflection of the film.
And I've been trying for thirty minutes to gather my thoughts and get started. It doesn't work.
Inhale out.
All right, here we go.
What I still can’t get rid of is how true the story of the main character, Alevtina, was. Her usual way of life, she has a fulfilled life (as if), which we show with the help of phrases and in general all the celebration of her birthday. Husband - works (!), daughter - learns to sing, faithful friends, high rank (above only the boss, who about the same, sneezing, and mentions), respectable age (soon pension). It seems like the life of an ordinary person. It seems that we can assume that everything goes as it should, as it should. Quietly measured. But the thing is, buried dreams, they never die, they just wait. There will be a very powerful resonance between the inner world, between the feeling of the life of the one that is bubbling inside and the present. Probably, it sounds like something terribly banal, but in the context of the life of a person who has already resigned himself, tried to forget, and he was suddenly reminded, I immediately imagine, imagine what emotions it all responds to – this is powerlessness (after all, it seems that everything, age, status and all things), this is the pain of lost time, this confidence that nothing can change. But to cope with the raging fire inside, which devours and requires at least some way out is impossible. And here, in addition to the fact that there is a very severe internal struggle, and then not only internal. After all, always in such situations, the environment will be puzzled for the most part, condemn, sceptically grunt and squirm. This is where we need help.
We need a rebel in the studio!
And since we are talking about help, and everyone around us is sure that Alevtina is in her place, then we need someone impartial, who, in fact, has nothing to lose. And, voula!
And it's so addictive, it makes you believe it. And I had enough of the first moments when I plunged completely and completely, when this drama, this mental anguish is mixed with absurdity, with life’s ridiculous childish absudra, as if someone laughed, shouted “Why not?” and went snoring. Where all these emotions of people are experienced, because I have seen this in life, I have seen more than once when I had tears flowing with laughter, because these indescribable faces (between which the contrast), this awkwardness of a woman who is used to knocking a stick and growling, these unusual images, these changes of people, this is all life. The reception is not something quite cinematic, American, colorful, which people used to see in theaters and go out thinking how well someone there knows how to make films. This is our nature, our backyards, the yards where everyone ran as a child, or walked along the way, rushing to music or training. These are our simple people who do not hide their emotions so much, these are our landscapes, where you can see the river, the most ordinary gray, and nearby nature is calm, with birch trees according to tradition, but I somehow looked at all this with such enthusiasm, as if anew.
And so it’s all exciting that I’m writing now and I can’t cope with myself – I’m still bursting with emotions.
Because, raising the story of the personality and that life is so strange, funny, not looking at anything, throws up some dubious opportunities that touch the living, and then naively claps his eyes, saying that, they say, I have nothing to do with it.
But in addition to this, the feature of the system, the working one, is touched upon when there are bosses – and they are holy when people are raised into squares and cubes, when they are nothing, but boldly build haloes above their heads. Which again makes you want to throw something at the screen (I wanted to run something a few times, and that day I had a lot in my backpack!) Instead, I clutched the chair in front of me. I was beginning to languish and mentally turn away from such injustice, from such an attitude, and what – until now, I write and feel this anger boiling in me. But not only because I’ve been in the movie for a long time, flying around with people, but because there is such a thing. It tears my soul apart, especially because I understand this impotence.
The worst thing is when the weak get power over the defenseless!
And here are these ornate interweavings of drama, so vital, I saw live, as well as comic and bright sudden, it would seem absurd, which is also not so rare in this life - it all dips, makes you live, laugh to tears (of course, the whole hall, I don't know how to do it in another way, man), clench your fists from experiences and turn to your neighbor with a desperate "Why, why so, aaah?", and then after the film so stay in it, with those bash, laugh to tears (of course, I don't know what kind of an emotion, someone comes up to her head, asks, what kind of an emotion, she needs). I had to, a little confused, say, no, thank you very much.
Perhaps it is not for this reason that I managed to advise him very much.
The most paradoxical thing is that this film, for example, is not shown in small cities (at home, as it turned out, it is not), which is a little hurtful (VERY), because everyone tries to say that there are no good Russian films, and as arguments – yes, their tons, failed films that do not carry much and do not remember (said Dasha, who watches films very little and rarely, aha). But when something very worthwhile, touching, vital, ours appears, then somehow it does not even reach everywhere.
Still impressed with burning cheeks, I realize I want to go to him again. Because the film stirred me up, deprived me of some peace, but not because everything is bad, but then there is us, there is life and all the conditions end there.
Not a masterpiece, of course, but the director managed to very well show the atmosphere, the life of the true Russia, in which, unfortunately, we still drag our existence. A provincial small town of some region, Khrushchev, old GAZ trucks, scratched garages, broken asphalt ... A female colony with an interior of the 80s, if not earlier. And, of course, our unhappy people from the outback who had to go work anywhere. Namely the woman, the main character ... There are many of us who like one thing, but in life we do some nonsense, not what we like and that gives us strength to live and develop ourselves as individuals.
Inga Oboldin coped well with his role as warrant officer with the talent of vacals, Victoria Ignatiev is also at the top, although I lacked it in this film. Ilyin's soul play. Anna Ukolova is always perfect for provincial working imagery, strong charisma. Of course, they did not pass by and the police lawlessness, nepotism, corruption. One can see and feel how people from a distant province are distinguished by simplicity and, moreover, morality, values from the Moscow audience of daffodils.
In this film, everything is measured, there is nothing that is very annoying. The film is quite popular, about us, ordinary people. Only a couple of characters caused adequate disgust, well, where without them in the drama. I’m surprised how Olga Buzova was publicized that they took her to the role of a TV presenter in this movie. Or maybe they wanted to make the movie more public because of it. I can’t say that I like her, but I don’t understand why there is so much anger in her direction. On the contrary, it is necessary to rejoice, it is an example of the fact that even, to put it mildly, not the most gifted people can rise up today, try at least in this respect to perceive this degradation, but as proof that you, if you want, can achieve in life what it is. Your anger and anger is your envy. It wasn't that long ago.
In the episodes there is even Bilan and Valley for highlights. A film on a topical topic and with an interesting plot. I suggest you watch it.
My surprise was when I found out that the director of the film Kirill Pletnev, quite a famous popular actor, it was his debut work in a feature film and, I must say, very successful for him. Gratitude that in this film clearly there was no desire, as we like to show, the wretchedness of a Russian person, the greedy avid, etc. I didn't see it, all in moderation, I'll repeat. I remember the recent film ' Myths', also a young debuting director, a terrible failure and incompetence of the film. It would be better if Bondarchuk gave money to K. Pletnev. But, alas, the aristocratic Bondarchuk does not produce such films, he loves the elite.
I’ve been waiting for this movie since I first watched the trailer in the theater. Attracted by the theme itself, quite unusual for Russian cinema, the cast (familiar, beloved faces). What to hide - my main motivation for watching the film was Victoria Isakova. I love this actress very much. I also liked that the main characters of the film are two women in rather non-standard images for the movie as a whole. The tandem of the warden and the prisoner came out very colorful and fascinating, and, most importantly, new for the viewer.
The tape itself is the debut of Kirill Pletnev, which is noticeable during viewing. I found the film damp, probably because of its directorial and screenplay debut. Throughout the viewing, there was an incomprehensible sense of lack of some element, thanks to which the movie would be perceived well. Some storylines were written as if between the lines, as if the viewer was not told something. Sometimes I just didn’t understand some scenes and plot moves, but here, of course, everything is subjective. Some minor characters generally appeared out of nowhere too sharply and claimed significance for the plot, which I eventually did not notice.
Some scenes seemed ludicrous: for example, the cutting of Alevtina singing in karaoke at the beginning of the film. The camera work was done under the butyrates. Super close to the face of the actress shots, as if she does not sing, but reproduces almost any scene from ' Fear and hatred in Las Vegas' I was not happy with the appearance of Russian actors in the film: Buzova, Bilan, Valley. Although I liked that the film from Oli did not make a mockery according to the tradition of Internet memes. And she played well in general, I was surprised, since the image of Buzova is overgrown with a lot of stereotypes and prejudices, and it is quite difficult to perceive and evaluate it objectively. Of course, it is clear where the legs grow from the appearance of such artists on the screen, but some inexplicable residue still remained.
In conclusion, the main disadvantages I want to wrap pure subjectivism: after 'Time of the First' and the role of the beautiful Sergei Korolev can not perceive Vladimir Ilyin in a bad role. Such a good face, and the film itself did not cause great negative emotions to his character, except for one rude episode.
Let’s get to the pros.
VICTORIA ISAKOV. Kamon, guys. She is an amazing actress, and in this film her character impressed me. Strong-willed, strong personality, without a king in his head, bold, daring, alive. Her character is beautiful, all by the canons of feminism, so to speak. She's living her dream, even colony and disability haven't broken it, that's who really is ' burning' in this film. The acting is beautiful, the heroine herself is spelled just as beautiful. 10/10.
Inga Oboldin. Her brave character did not leave me indifferent either. I liked that they did not turn the character and history of Alevtina upside down. Throughout the film, she changes for the better, becoming softer and more understanding, opening up to Masha and developing, but her supervisory core also does not disappear. It is remarkable that it was not remade in favor of typical plot moves. An equally strong, truly multifaceted personality.
The overall result: I liked the film snatchily, the overall impression after the credits remained somewhat blurred due to the described minuses, dampness of the material, which was clearly felt. The script seemed to me weak, in this topic I could turn around and tell the story better. I’d like to see more emphasis on Star’s drama along with Alevtina’s main line, but the film has sputtered and the most interesting line is not fully revealed. However, this drawback was covered by the acting of Victoria Isakova.
Watch the film still advise, purely due to the general panorama of the development of events, the tape is worthy of attention.
Every person has the right to life, freedom and the pursuit of happiness', Alevtina receives a bonus: having abandoned her career as a singer, and having plunged into the atmosphere ' home, life, routine', she allowed to forget how important it is to go to a dream and be a woman in a beautiful dress, give herself to people, voice, emotions. On the path of life, we meet different people, they give a whirlpool of emotions, forcing change for the better, open their eyes to strengths or leave, but they are never afraid to tell the truth to the face. Victoria Isakova played like she lived. The disabled man, convicted of murdering her husband, experienced the hardships of fate, the husband did not believe, and she stood up with a bright and greedy desire to live and sing. Eyes burning. With zeal. Vika is incredible, talking about natural beauty, hands, elegant and refined, look, a favorite thing. We agreed with my mother to take tickets to the theaters and will definitely implement the plan. ? they stood up for each other mountain to smile and say:' Life, you are funny, but terribly cool', going to the stage of Alevtina in 20 years, to the accompaniment of her Star - touching. Sensual lips, innocent eyes. Red dress and song 'Old watch' as in childhood. Go and feel when, if not now?
Don’t cry because the ending is double. To find and lose is to find and protect again. And sing. Loud, with a soul. Let nothing break you - never? #films #filmmaniaRussia
It was this film that made me sign up for this service and write my first review of the film. I learned about the film absolutely by accident, almost at the end of the rental and did not regret the fact that I attended the session.
The picture tells about the rather severe life difficulties of the Russian hinterland, a kind of large village, where each person is somehow connected with the rest and it is extremely difficult to get out of this circle towards his dream. It is difficult psychologically to change the annoying, but so familiar way of life and take a step into the unknown.
At first, the film was perceived with great skepticism, one way or another, Russian cinema managed to prove itself. However, with each passing minute, I became more and more immersed in what was happening, rejoicing at the beautiful shots, the acting and dreading the accuracy of some details that not everyone will pay attention to.
At the end of the film, I watched the end with tears in my eyes. I am still very impressed with the film. This film will definitely be one of the few I would recommend to my friends.
P.S. It is a shame that so many people missed this tape by themselves.
P.P.S. There is a small claim to the scene after the film, it is very much out of the picture.
This year there were many strong author films: 'Dislike', 'Arrhythmia', 'Leha Styr', 'Close'...
And finally, the full debut of Kirill Pletnev took place.
For him, he chose a fairly simple story about two women, two difficult fates and music. Music that does not just play the role of art therapy and outlet! This is Alevtina's transformation. A former star finds a new meaning in life.
Such honesty and sincerity was only in Bykov. But there's also soul and humor. It doesn’t smell fake or black.
Yes, perhaps many will stick to the editing, the picture and in some places the inability to set the actors tasks, but the truthfulness and vitality of the story bribes.
As for the artists, Oboldina undoubtedly played, if not the best, then one of the best roles for sure. One hundred percent hit in the image, the necessary intonations, features, strokes - she would cope with any director. I didn't believe Isakova. Again, overplay and tantrums, and somewhere did not last. Excellent secondary characters: a typical head of a hook from Ilyin, a smug official from Dogileva. Danil Steklov also played well - the guy really has a great future. I would have praised Ageeva. Bortic? As always by the cash register.
Buzova? She played herself. But it did not cause much irritation - celebrities and celebrities.
Pletnev made his debut. Perhaps there are technical flaws, but in terms of history, images, everything turned out fine. Thank you so much for your sincerity!
The film of actor Kirill Pletnev “Burn”, who had previously shot bright short films “Nastya” and “6.23”, after showing at “Kinotavr” was recognized as the most spectator of the competition projects. The Sochi review of the most relevant Russian cinema has been betting on spectator cinema for many years - "Geographer Globe Propyl", "Fool", "About Love", "14+", "Good Boy", "Collector". This year, this niche was occupied by “Arrhythmia”, “Blockbuster” and “Burn” (let’s leave “party for our” “Myths” behind brackets).
The most paradoxical thing is that among the listed films of Kinotavr, Kirill Pletnev’s “Burn” is the closest to... “Fool” by Yuri Bykov – also, by the way, an actor who studied to be a director. The parallel at first glance is controversial, but the films are united by the main thing - a strong and clear statement on a social topic (people / power), told in the language of genre cinema. In “Fool” the statement was clothed in the form of a tense thriller, while “Burn”, which is quite unusual, is a melodrama based on the archetypal myth about Cinderella.
Formally, “Burn” is a very simple story about a warden who, after a childhood injury, stopped believing in her dream and her talent (singing), and plunged into family life and working life. But suddenly she becomes popular when her performance of Alla Pugacheva's song gets online and she is invited to the competition. Bringing her singing talent to the necessary level and believing in herself helps her ... the prisoner. It’s also a story about female friendship.
Pletnev’s film could be fully compared with both Hollywood uplifting dramas (for example, “The Pursuit of Happyness”, “Erin Brockovich” or recent “Joy”), and Soviet films (for example, with the paintings of Vladimir Menshov), if not for the texture of the prison and the bitter taste of social drama (that’s why someone remembers even “Leviathan”, also shot based on a real story that happened not in our country). How successful this balance of genre and social turned out is decided by everyone.
But we can say for sure that “Burn” is the most emotional movie with brilliant acting works by Inga Oboldina, Victoria Isakova, Alexei Shevchenkov and Vladimir Ilyin.