The film “Monologues against a Red Brick” is an opportunity to get into the underground environment of the disintegrating USSR for those who did not get into it in their time or were simply born too late. If you’re not a meticulous explorer of rock and bard culture at the time, you probably haven’t heard the names of most of the people you see in the film, but does that really matter? Is it important to know the names of the participants in the process, which was evidence of a change in the consciousness of the whole country, and not just a small segment of the musical and intellectual society? Musicians on these archival records sing (they are musicians), sometimes become actors, solve Hamletian issues, discuss the fate and essence of music at a gathering of bards and rockers and come to the conclusion (at least in the context of the film) that it does not matter what form of expression of thought profess each of them, if the thought is one.
There are a variety of examples of underground music of the eighties: from traditional Soviet rock social criticism to female lyrics. There is a legend here - Alexander Bashlachev, who became the first in the galaxy of New Musicians. He will appear to proclaim his “Name of Names” and a chasm in the gray sky of St. Petersburg. There is another legend that became a legend in his lifetime - should I give his name? He also sings, plays, and becomes the one who asks Hamlet questions to those who will be ready to solve them twenty years later.