life A smiling girl in a blue dress and a gloomy boy in glasses meet on the Internet, watch the movie “Tsar” Pavel Lungin and walk to the Crimea. A deaf bakery employee, who knows how to artistically gesture to music, dreams of performing in front of a serious audience and, nailing to a detachment of tourists led by a riotous mustache in a pioneer tie, goes to the Crimea. Trying to establish relations with his son through joint life in a tent, boating and hunting a boar, Petr Mamonov goes to the Crimea. Theatrical installer, externally and with a voice similar to Victor Tsoi, finds a sneaky young producer and goes to the Crimea to participate in the show of doubles. Everyone will come together in a tavern-type institution called “Chapito” – a hotbed of universal madness, where Marilyn Monroe shares a scene with an astronaut, Michael Jackson with Moydodyr, and something terrible is about to happen.
If opinions regarding the first full meter of Sergey Loban and Marina Potapova diverged in the range from convulsive delights to rabid capco-casting, then having almost a thousand times the budget and twice the duration (although neither of them, in general, insignificant) “Chapito show” has every chance of a solid positive assessment of the average viewer. On the one hand, thanks to the further, the more often interrupting the main plot thread of musical inserts, the film certainly risks being mistaken for a meaningless vinaigrette of everything that the authors have ever known about show business. On the other hand, like the amateur indoor tragedy “Dust”, Loban’s current statement is too much tied to the subtle (not the fact that everyone) subtle energy from the series “this is no longer released today.” Fortunately for everyone, there is a third party.
The mentioned energy, atmosphere, rather stylistics, for the six years since the release of "Dust", which has stepped from the perestroika "Needle" and "Assa" somewhere in the direction of the best works of Danelia or Gaidai (to her God, replace Podolsky and Strokova with Demyanenko and Varley, nothing will change), is ideologically reinforced here by bizarre combinations of four important reference points of human relationships (headings of novels). Friendship, according to one of the heroes, is deeper than love. Cooperation should not be equated with manipulation. Respect for seniors must also work in the opposite direction. In a sense, "Chapito Show" is nothing more than a glittered, properly colored "Dust" - caught in the lens of a similar dreamer, a stalemate collision of someone's little dream with someone's big creative experiment. However, with the strengthening of the artistic component, the intonation also increases. The deep focus of the frame deftly combines caustic irony with social drama; mandatory quarrels because of a stupid fear of yielding to someone who is nearby, with mandatory resort muzzle, good-natured gays and soundlessly punching Mamonov on strings.
A series of random meetings and unpretentious pop melodies opens the doors of the capito, which already in the first act you have time to fall in love twice. Shapito, which absolutely does not want to analyze, as a component of a huge clumsy machine of the modern domestic film industry. Chapito, watching which, just want to live. Thank you so much.
9 out of 10