True in force!

New "Dubrovsky": Riot as a way to solve social problems - a trend not only in cinema

It is curious how reality itself sometimes catchs in a perspicacious movie. On the eve of the premiere of the film in Moscow, they massively knitted the defendants to support the accused in the “swamp business”. A photograph appeared on Facebook: special forces dragging Eugene Gindilis on the ground, producer of the film Dubrovsky. But he will enter the scene "October", to represent a large group

In the Russian box office-“Dubrovsky” Alexander Vartanov and Kirill Mikha-Novski. In the prologue - Entevehi television on the clash of bailiffs who came to demolish houses, with the residents of those very houses.

Maxim “Pushkin is our everything” for modern Russian filmmakers becomes the reason for talking about the pressing. Vladimir Mirzoev, without changing the Pushkin text, suffered Boris Godunov from the XVII century to the XXI. Directors Alexander Vartanov and Kirill Mikhanovsky did not follow Mirzoev. Yes, and it is difficult to imagine today's young man who exclaims without irony: “Angel, die! Poor, I have to beware of bliss - I have to move it with all my strength ... I dare not fall to your feet ... "

But the very textbook plot itself on the marvelous taxes of the current social and psychological relations, and saturated with live details, “noble history” provokes an unpleasant dialogue with modernity.

So, General Kirill Petrovich Troekurov, a barin-samodur, who crushed a large area under himself along with judges and law enforcement officers, lives on the estate rebuilt by conscripts, on a wide foot. Horses, psarny, parties with gypsies and governor for dessert. With retired colonel, Dubrovsky is friends from the pores of a joint service in Afghanistan. After a sudden quarrel, Troekurov takes away from Comrade Kistenevka, in which Dubrovsky Sr. rebels the farm. There will be a cottage village with a yacht club. The small homeland of some with a light stroke of bribed hooks turns into a commercial project for others. OMON, sent by lawmakers by judges, drives people to the street ... Vladimir Dubrovsky (Danila Kozlovsky) - a prosperous lawyer, a white collar, cannot stay away. Screen Masha (Claudia Korshunova) older than the book. A graduate of the British college is ill from the spleen in a provincial hole, reproached with dad in London liberalism. Instead of the elderly exhausted by the excesses of Prince Vereisky, a slippery young fraud from Rosprirodnadzor Ganev (Igor Gordin). He harasses the hands and hereditary capital of the “foreign little thing” of Masha, using the connections with the authorities.

At first, everything is fine. And scenario liberties (the authors of Konstantin Chernozatonsky and Mikhail Brashinsky) do not stick out from the film. On the contrary, not without bitter irony they emphasize: the country is dancing on the same pitchfork as almost 200 years ago. And fools with roads are the smallest of evils. “There is no blood in Russia” - such phrases seem to have crawled into the script from yesterday’s newspaper.

The clerk, judges, the police in a single loyal servility do not know the limits; Justice has to be defended by unrighteous methods; Terpils turn around by rebels.

A frozen Russian space successfully retains its intolerance. And the authors telling a textbook story in a new way, on their risky journey, they reconfigure the optics and the sound register, but do not change essential concepts. The “circumstances of the scene” come to the fore, where the unscrupulous business and the right of the strongest are steaming (it is high time to rephrase the popular “brother” of the Balabanovsky “brother” popular at the turn of the century: “True in force!”).

The movie is controversial, but living. Interesting in color (intensive at the beginning of the palette cooles to the finale). The actors are good. Especially Yuri Tsurilo. His Troekurov, an epicurge, arranging balls and hunting, shooting in bottles of wine, is a multifaceted large-caliber charismatic, tender and cruel at the same time. Dubrovsky Danila Kozlovsky, having received an excellent education, is forced to flounder in a muddy broth of wild capitalist reality. Deprived of the cynicism of romance in our landscape look foreign bodies and therefore look in advance.

The tie and the exposition are convincing and dynamic. The camera is inventive ...

Then some discord begins. As if the authors of the script did not formulate what their story is about. And the script, like a genie from a “magic lamp ...”, scatoes from one point on all four sides. Perhaps the fact is that the screen version of the alleged 5-episode picture is lacking in the certainty of the concept, fidelity to the rules of the game established by the authors themselves.

The bloodthirstiness of ordinary men in the film for no reason, frenzied. The Kinoconcanisty shoot the collectors with the ease of extraordinary (with Pushkin: the Dubrovsky gang attacks well -known rich, but he does not kill, even he never robs a chef). Having mined money, what are these homeless people freeze in the forest?! Waiting for Dubrovsky to deal with Troekurov, living in his estate, caring for a young lady? Or so far with them, abandoned by the barin, will deal with special forces? Perhaps the authors wanted to show the hopelessness and hopelessness of the Russian rebellion? But this line in the film breaks off. One of the important leitmotifs of the story is not too interesting to the directors - the theme of dignity (and not exclusively revenge), which holds the spring of history. Pushkin Masha, overfed by the Gothic novels of Radcliffe, falls in love with deform, assessing his “proud pride”, which, as it turned out, does not only belong to one class.

Nevertheless, it seems to me an interesting idea to weave the narrative thread of the Pushkin plot into the context of modern Russia, discovering the point of power in the universal text that does not weaken in time and space.

The point is not that Dubrovsky straightens the offenders with a computer program, calculating the numbers of their foreign accounts, not in special forces with dogs and snipers that shoot rebels, but in a general feeling of soul, the impossibility of at least something to significantly change. Well, except for roads, of course.

And one of the important topics of the incomplete Pushkin novel also came up to today's Day. A brilliantly educated well -free young man is forced to become a noble robber -
Here it is the endless tragedy of Russian society. In the first third of the XIX century, a new generation was formed in Russia, but the enlightenment and progressiveness of these young people turned out to be completely unclaimed by the country, which did not change their structure. All this was, it was ... Therefore, the authors of the film emphasize the separateness, alienity of Masha and Dubrovsky from the dutifully fatty mass.

It is curious how reality itself sometimes catchs in a perspicacious movie. I’m not even talking about snipers - the best of the ways to solve chronic “problems” - on the screen and in reality. On the eve of the premiere of the film in Moscow, they massively knitted the defendants to support the accused in the “swamp business”. A photograph appeared on Facebook: special forces dragging Eugene Gindilis on the ground, producer of the film Dubrovsky. But he will enter the scene “October”, represent a large group.

Well, yes, we admit, the authors of the modernized film version are in a deliberately losing position. Increasingly, the adaptation of the classics to the present (especially the sacred prose of Pushkin!) Causes a reaction similar to the one that pours from the Brandspoy Kiselev on the RTR, bringing down on the “upstart”, theatrical directors like Serebrennikov, Bogomolov and Chernyakov, accusations of barbarism and cynical mockery. Just another sign of toughening the system in which the provocateur-TV and hysterically-minded “Orthodox activists” receive the right to vote.

In this not perfect and not confident, but by intonation, there is an important frame to its exact picture. The holy fool, the messenger of Dubrovsky, remaining alone in the middle of Belarus Fields, nods his head to the rhythm in the headphones. Why should he ask a penny-next to the case of a pipe-Europe, scattered from the case. Such a metaphor of the frost -resistant country of birch sites.