Hobbit, go yourself!

We have been living with them for 14 years. Dwarves, elves, as if flooded from the gum of orcs and other inhabitants of the Middle -earth. Even the third Reich, which, as some believe, became a prototype of Mordor, lasted two years less. “Hobbit”, however,, too, if it does not crack at the seams, then it rolls into a tautology. From the very beginning, the industry relying more on the industry (a projection of 48 frames per second) than to creativity (to inflate a short story for 9 hours of timing - the task is more abruptly a five -year plan), the project looked more like a call to the audience: how many more Tolkien are you able to swallow without washing? And backwards?

The “hobbit”, like the last series of “Star Wars”, is conceived not so much as a prequel that is watched after the main story, how much like an epic predecessor, as if in the future, the audience watched him in front of the “Lord of the Rings”. The middle part of the hobbit trilogy, the Wasteland of Smuuga, really looks like a film of the early 2000s: there is no 3D yet, Pixar's studio has not yet learned to ultrarealistly draw wool on the computer, and the freight installation of action scenes is still in honor. Dwarves and goblins have not yet become familiar on the screen, and the franchises are perceived as the joy of continuation, and not a heavy quantity, which spectators should pay cowardly producers. However, soon 2014, and in 14 years we have already served as many as four films about the little wool-haired men. It seems that during this time something should change in the world-but no. General Russian version of the “hobbit” (without 48 frames per second and the original votes of good actors like Cumberbatch) itself - like a heavy, stupefying air of a fever, through which the hobbit and 12 gnomes are wandering. Solid dejavu-these disgustingly adhering to the pale orchid skull we already saw at the throat, and this frame from the battal scene flashed in the “two towers” ​​(or was it “the return of the king”?), Someone, Frodo, has already died from a poisoned wound, and Gandalf was already slightly tired his constant fractions. And again, the hero wanders around the mountains and inside them, looking around with horror, looking around the dwarfs of hecatuba. And again, the kings that frozen at the “quietly” rack make their ornate speeches about the race and fate (so long that you really feel the breath of eternity), and the Black Lord is staring again, and again the heroes are waiting for a wonderful salvation.

Only now all this is poisoned by 3D and is repeated not as a farce, but as a shadow. Spectator, do not believe the pictures in the press, they all lie! The world of the “Waste of Smuug” is not the same painted lilac-golden-buzzing tower, which it is seen on promotional photographs. Rather, it is the world of films of Alexander Sokurov: eternal, like in a heavy dream, otherworldly yellowish twilight, blurry contours, greased details, web and rust, whisper and screams. The stereo here was used in the extremely mediocre manner: in the energetically mounted action scenes, the silhouettes are doubled and darkened (or is this an innovative effect of fatigue?), No deep misanse-the camera itself persistently tells you where to look, focusing now in the front and in the background of the same frame. This might seem like a cunning deconstruction of the epic genre, like David Lynch’s “dunes” - but from Lynch here, in fact, only recombinator, an endless game with a limited set of roles and motives. What we observe in the new “hobbit” is a real decadence, the decline of a once large style. This is a surreal sensation, this smell of dust and naphthalene, this bad light of the night sun cannot be confused with anything. They are the same as in the Stalinist epic episodes, in the peplings of the 60s, on the winter Moscow streets, where new buildings of low elite are quietly self-destroyed. Everything here is dull - and the comprehending simplicity of the flat bipolar world, and the turmoil of the end of the story (this is how the meeting of the brush with Bilbo looks: the last great dragon is not awakened by the army, not a hero, but a stolen shorty). This despondency makes him enjoy even quite Petrosyanov jokes like gnomes crawling out of the toilet. Escapism, comfort and nostalgic sadness of Tolkien's novels? Rather, costumed surrealism, backwardness and despondency of Russian television. Foreign criticism, however, sees in the “wasteland of Smuug” only a little slowed down, but still a strong brand. Perhaps every nation receives exactly the “hobbit” that they deserves.