RUN, KONYAEV, RUN!

KINOBODKA

If you missed "Identification ...", do not worry: while watching the "second series" you will not feel discomfort. The hero's permanent amnesia forces the authors to play the record almost from the beginning. As before, an elite CIA mercenary is trying...

If you missed "Identification ...", do not worry: while watching the "second series" you will not feel discomfort. The hero's permanent amnesia forces the authors to play the record almost from the beginning. As before, the elite CIA mercenary is trying to return to his natural shot past. Recall: in the first film, the special agent was caught from the sea by fishermen, taking out bullets and a microfilm embedded in the skin from the body. Since then, the past has flared up quite opportunely, with regular vague flashbacks, introducing the viewer to the intricacies of the "game" in which Bourne "starts and wins."

In the meantime, he is looking for the ends of his autobiography, the secret services are trying to kill him himself - the last of the high-flying killers. His opponents are the ubiquitous monsters of the CIA and Langley with thousands of tentacle scouts. But "our guy" Born (ours almost literally, according to one of the passports - Foma Konyaev) is the best of the agents, as befits a real spine-man, invincible and elusive.

The film adaptation of the second part of the political thriller, based on the Robert Ludlum trilogy, was entrusted to the Englishman Paul Greengrass, who directed the tough semi-documentary drama Bloody Sunday. Alien in Hollywood Greengrass continues its own genre identity, subtly moving away from the tradition of uncomplicated rhythmic spy thriller. The fog cast in by Greengrass from the shores of Albion eases the tension. In addition, the film sins with excessive seriousness, the lack of internal irony - the signature quality of real spy bestsellers.

One gets the feeling that Greengrass takes pleasure in reducing the spy epic to the level of a production drama. It's just Bourne's job. Yes, and “something happened” with memory ... Only closer to the finale will he remember the last victim of “activity”: a Russian businessman and his wife.

What is the signature dish of a spy thriller stuffed with? Unequal fights and dizzying chases. In the previous film, they mostly drove around Paris. In "Superiority ..." - exotic. Golden-domed Moscow is designed to provide the film with hitherto unknown attraction. The yellow "Volga" with checkers quietly gets a solo, pushing Bourne himself into the background. The old "Volga" will "make" a bunch of "Mercedes". The scenes of a dashing car rally around Moscow are a mixed chase from "Agent 007" and "Beware of the car." The “impenetrability”, the space speed of the “veteran woman” could arouse suspicions in hidden advertising, paid for by the interested GAZ concern, if not for the wildness of such an assumption. But in the place of the GAZ managers, I would have played the second “... Born” as a cool and, which is especially valuable, free advertising.

Throughout the film, a lone agent runs, crossing borders, from distant Goa to the center of Europe. At Alexander Platz, heaps of scattered pawns-agents leave from under the nose. More precisely, he leaves by tram. But where is Born rushing through the whole planet, through European capitals, skillfully covering his tracks? In the bleak Otradnoe. The daughter of the killer's last victims lives in a block house there. Now, "remembering everything," the repentant killer hurries to reveal the harsh truth to her.

The face of Damon-Konyaev among the inhabitants of Otradnoye is quite appropriate, it seems that the boy with a slightly flattened face has actually just arrived from Zhytomyr. Unlike Bond, there is no exclusivity in Bourne's appearance and habits. Matt Damon is generally famous for his ability to mimicry - a quality that is invaluable for employees of all stripes of government security committees. Damon-Konyaev blends in perfectly with the crowd. Personal Austin Martin prefers tram, subway or yellow-faced "Volga".

With the exception of idiotic surnames (Foma Konyaev kills the Russian oligarch Nesky), in Greengrass's film Moscow, unlike most American films decorated with Russian cranberries, looks unexpectedly plausible. And the taxi drivers at the station are just like the real ones. One thing is not clear. How do they talk to Bourne? Whether Bourne babbles in the purest Russian, or Moscow taxi drivers completely mastered English outside the school curriculum.

Imagine, for all these "spy passions" they first spend 80 million and collect 130 in the very first weeks. However, we do not say goodbye. We have no choice, the Bourne Ultimatum is already looming ahead - the third legitimate part of the story about special agent Konyaev.

PS And Damon promised to the premiere did not come. Scared of terrorist attacks. Well, rightly so: walking around Moscow today is an unsafe occupation ... even for elite special agents.