“Upward movement” will definitely collect the cashier record for Russian cinema, overtaking the “Last hero” and “Legend No. 17” - why do everyone watch it?

In a sense, the “upward movement” can be called the sequel “Legends No. 17”. The same producer group, Trith, the same script author Nikolai Kulikov. A similar structure and nature of the conflict. Instead of the opposition, a brilliant coach / brilliant player who does not yet know his capabilities is a charismatic coach (Vladimir Mashkov played one of his best roles) / bright, but not soldered into a whole team. Plus, officials inserting sticks into the wheels of the “red car” gaining momentum. And a painful path to the triumph. The episode with fans at TVs is repeated. But in “Movement Up” with all individual, primarily scenario, miscalculations, there is a moment of ordinary miracle. Those very legendary “three seconds” are a dramatic denouement of the decisive match between the national teams of the USSR and the USA in basketball during the 1972 Munich Olympiad. Moments that determined the outcome of the performance into which the game has turned. And the frames of the match itself transformed the history of high temperature in a movie that broke out to its viewer, which was not devoid of stamps and ideological cliches.

The question arises here: why did not comedy, like “Christmas trees”, and not even sweet family animated cinema (every new year, the audience instead of the bathhouse, the whole family, goes to watch cartoons about heroes) ... And a sports drama. Cinema, which professionals call "niche" ...

Hollywood at the construction sites of communism

The main advantage of the film (inaccessible at first, but appearing in complete splendor in the final part) is a living sense of sport with its hot passions, pain, pain, ambitions, over -hardening, selflessness. With a psychological duel of trainers. With an imaginary victory of the Americans. With confusion at the judicial table. And finally, with those stretched into "life" - three seconds. The game is shot sophisticated, at a frantic pace, with sudden rapids, enlargements, feet. Filmed with six cameras like music. And basketball players are similar to the invented heroes of the Soviet era: giants fly along the site as if unknown to them the laws of attraction. And in this sense, the film by Anton Megerdichev is akin to our space blockbusters, which are about a jerk upward, about overcoming. And although the result of the match is well known, the game draws, as in a funnel, charges with adrenaline ... Apparently, this doping (especially in the era of unleashed war of doping) is especially in demand today.

Don't ask what I love you

The audience is of little interest that the Americans do not take their silver medals and continue to dispute the results of the legendary game, in which superchants, ancestors and leaders of basketball showed Kuzkin Mother. The authors neglect fidelity to the facts, demonstrating for the sake of entertainment the style of basketball of the 21st century.

The most perspicacious of the audience was the first to discover one of the secrets of the success of Anton Megerdichev’s film: he was shot with a Hollywood scope (“We will work according to the Hollywood methodology,” basketball players are transparent), but for the glory of Soviet selflessness, internationalism, and a measured community. The film animates Soviet romance with the scratches of the dragon system on the back. Selflessness, enthusiasm, collectivism: “star”, “courtyard”, “detachment”. The feeling of elbow, canceled by the era of consumption and wild capitalism.

The authors are nostalgic not so much in the USSR as on this “devotion to the only team”, “without which I can’t live” ”” mutual assistance ... "in the center of the fierce struggle" - about this they composed their songs by Pakhmutov and Dobronravs.

In fact, the team itself, in which Russians, Georgians, Lithuanians, Kazakhs, Ukrainians of Belarusians play the perfect USSR, the image of friendship, the “human face” of socialism. And the viewer is ready to cry over with the authors over the ideals that have melted with the empire.

Without a doubt, “upward movement” is a production project, precisely calculated and correctly designed.

1. Anton Megerdichev was invited to the directorial chair, he is less lyrical than Nikolai Lebedev (Legend No. 17), but he perfectly removed the action (“Boy with the Shadow-2”), coped with the catastrophe (“Metro”). And the rhythm of the last part of the “upward movement” is set for sure: the game is the element, a every second danger requiring the instantal reaction of the collective hero and coach.

2. The errors of "Legends No. 17" were taken into account. Unlike evil animated Canadian hockey players, the American team is shown as an uncontrollable force, none of the powerful players who press our press are distinguished.

3. For the weaker sex, a love intrigue is woven into the conflict. Unfortunately, artificial, tearful, but girls like it.

4. The controversial and terrible moments are softened, hidden (for example, the tragedy of the Munich Olympiad, the victims of which were 11 members of the Israeli team). Still, family cinema 6+.

5. Irony to some extent reduces the degree of patriotism (for example, our athletes - caviar against dollars) lose the courtyard black team, and partly mix the caricature of a number of characters (demonstrative distortion of the anti -Soviet and nationalist Modestas Paulauskas (James Tratas), aborrex paste of a sports official (marata Basharova)

Sometimes it is difficult to determine component success.

But in addition to a widely expanded advertising campaign, “sundress” is important. If in the first five days - starting from December 28 - the fees of the film amounted to 196 875 330 rubles, then only on January 2 the film watched 638,078 spectators, and the fees amounted to 175,863,035 rubles. According to polls, 75% of the audience gave a picture a high rating. A benevolently accepted the picture and domestic criticism.

The film was accompanied by scandals, which, as you know, attract the audience. Relatives of the coach Vladimir Kondrashin and basketball player Alexander Belov, participants in the legendary match of 1972, publicly expressed indignation at the moments, which, as it seemed to them, insult the memory of outstanding athletes. The authors had to change some names of the heroes. The dispute continues in the courts. Note that this is not uncommon. As soon as filmmakers affect real plots in their paintings, they have to fight back from eyewitnesses, relatives, professionals.

Doctors reproach Boris Khlebnikov (arrhythmias ”in“ doctoral inaccuracies ”. The creators of Salute 7 were rotted for a sledgehammer, with the help of which the astronaut "woke up" a frozen station. Even Lucas was reproached for the roar of explosions in Star Wars - the sound does not spread in space ...

Cinematographers, like a mantra, repeat the words that they shoot art, not documentary cinema. Useless.

Apparently, resentment for our athletes contributed to the warm reception of the picture: the national team is not possible for the upcoming Winter Olympiad. In the cinema, the fans got the opportunity to “revenge”: to see how our guys are somewhere there, upstairs, at the coveted ring, “make Americans.” They felt the taste of victory, even with irrational.

Sports, like the row, are considered as a political battle, as a war. Such matches have always been perceived as a fight of the great powers. Today, in an atmosphere of the vast hysteria of the confrontation of Russia and America, the “upward movement” is accepted by a wide audience as evidence of our irresistible soft force. And the words of the coach Kondrashin are perceived almost with applause: “The Americans should once lose to someone. I thought - it’s better for us. ”

Statistics

Fedor Sosnov

Head of the Analytical Department of the Film Fund

- The starting indicators of the rental of the film were largely due to the theme of the project. At the same time, already from the first days of rental it was possible to predict at least 1 billion fees following the results of the holidays.

Any person who managed to see the film before the start did not have the slightest doubt about how significant the effect of the positive audience “sundress” caused by the high quality of the picture would be. At the same time, the effect was undoubtedly enhanced by a long weekend, and the strongest support from the VGTRK and a rich advertising company also made it possible to significantly expand the audience.

The film "Upward movement"-became not only the final chord of 2017, but also a symbol of the real convergence of the mass audience and national cinema.

• According to the analytical department of the Film Foundation, the box office of the national rental grew by almost 11%;

• In 2017, residents of Russia spent 53.6 billion rubles on tickets;

• Every fourth ticket was bought for sessions of Russian films (the last time a similar picture was observed ten years ago, in 2008);

• Russian cinema accounted for 24.3% of the fees, or 13 billion rubles, (in 2016 - 17.8%, or 8.6 billion rubles).

• In 2017, the film was released in 2017, of which 123 were Russian paintings.

• Last year, there were more domestic films - 156.

Obviously, the mass audience and national blockbusters about “high achievements” are coming towards each other. This is evidenced by the success of films such as “28 Panfilovites”, “The Legend of Kolovrat”, and ribbons about victories in space. This interest in spectacular patriotism will be supported in the coming year. Films will be released on the screens

• "Tank 34" Alexei Sidorov,

• “Tanks” (“See Stalin”) Kim Druzhinin,

• "Scythians" Rustam Mosafira,

• "Balkan line" Andrei Volgin,

• "Coach" Danila Kozlovsky,

• "Start. Legend of Sambo »Dmitry Kiselev