Drinks - means loves

Olya walked along the highway and met a drunken monster. The monster stopped and sang by the human voice of the Aria of Trubadur from the “Bremen musicians”, called Olya to marry, hit the ground - and turned into a brave traffic cop Petya Vasyutin. Petya does not drink, chases Olya in a flowering meadow with his wand at the ready and already even bought a ring. Now not free heart. But the Russian soul does not tolerate constraint - and now Petya drinks the first glass in a year, on a brudershaft with a visiting with a hazardous brunette who has one mesh of clothes. So typical of Romkom turns into heavy, to the rupture of button accordion and aorta, a tragicomedy that vodka is a holiday that is always with you. Well, not only about it.

"Bitterly!" , the first comedy of Zhora Kryzhovnikov about the features of national holidays was a real triumph of popular unity and reconciliation of all with all. Russian types, habits, customs, fears, sins, errors and insights were described with a large, understanding and accepting love. Never before the Russian director had spoke about folk culture without ethnographic removal, as if about himself. Leps’s songs have never sounded like lyrics, and not a mockery of the Russian ear, Russian, Russian man in general. Only there, only then. Several years passed, a successful sequel and an uncompromising short film were passed (about olivier, jelly and a murdered old woman), and on New Year's Eve, the director of gooseberries again comes to us with the “best day”. With all the same, already naughty, a wreath of the Russian sonnets, a little stale and speaking - but ready to sing (as follows from the film, this is the surest way to appeal to a Russian woman).

"Bitterly!" It was the real - and not just screen - a wedding between Russia of a new and old, westernized and traditional, with claims and simple, urban and suburban. Some kind of Russian Metropolis. The viewer, to whatever Russian he belonged, he learned on the screen of the terrible other that he had to face transport, entrance and present places every day, and immediately recognized his, a little unlike, but a standing, understandable and native person (it is also important that the unity of Russia of the iPhone of the chanson occurred in a camshaft).

“The Best Day” is no longer a divorce, but a real wiring. The calculated production project accumulating all the trump cards from the past films J.K.: Subjective camera, barbecue, a paratrooper costume, a drunken orgy near the pool (hello to American tin-comedies about a sloppy weekend), choral singing of folk hits, finally. The latter, by the way, is radically improved here: “The Best Day” is really karaoke film. Pretty soon, lyrics of songs begin to run at the bottom of the screen, persistently offering the public to sing in the darkness of the cinema. A brilliant solution for a television film that begins immediately after the president’s appeal, but probably in the multiplex hall this can also make a crushing effect. Pretty anti -utopian and: imagine the atomized crowd, separated by armchairs and darkness of the hall, singing in chorus, staring at the screen. A typical five -minute of hatred from the film adaptation of 1984! Here, inevitably, you will begin to seriously recall the texts of the left critics of the 1970s, which until recently seemed ridiculous alarmism. Jean-Louis Komoli with the “theory of the apparatus” ... Laura Malvy with his “cinema and visual pleasure” ... Hodar ... Would they survive at the sight of a crowd, together picking up a verse for a militzer Petya on the screen?

But really terrible things in the “best day” are two, and this is not at all karaoke. Firstly, this is a picture itself, then a reflection of reality (and it is reflected here very accurately), which is allowed on the screen. Now this is no longer stereoscopic reflection, no: now the target audience sees only itself here. And she argue, I really like it. No more satire is only a touching joy of recognition. The sensations of this are the most infernal: funny to everyone, but after an hour of such a little talked, you begin to clearly see in all this technical nationality a cynical, manipulative indulgence of all the most gloomy that is in Russian life, from the internal affairs bodies to the vomit in the elevator and drunken death in the snow. This cynicism is especially noticeable in comparison with another New Year's comedy -the “country of Oz” Sigarev. There is no less trash there, the Sigarev film is already starting with a monstrous and television screensaver with a Christmas ball, festively filling the entire screen, and then more: the adaptation of YouTube -rollers; mayor-vigilant Roizman in Camo; mockery effect of sprinkling; Skatological poem Alexander Ilyenkov, “Ural Sorokin”; Gosha Kutsenko sings a bard song past the notes. Also nationality - but completely different. Once the French surrealists extolled the lower culture as a subversive revolutionary alternative to the ruling stuffy culture of the bourgeois, and with exactly the same eyes of the Kryzhovnikov movie and the most enthusiastic fans watch. But who is dominant with us? Leps and “green -eyed taxi”, and not the writer Ilyenkov and the performer of Kutsenko! Then what is the courage, brother?

The second terrible (and terribly accurate) moment of the “best day” is, in fact, the Happy End Moral in such films. The sincere statement of boundless Russian forgiveness and short memory, by the way, is not motivated as part of the development of a rather conditional and disorderly plot, is dictated here not only by soulless production logic. She is the main naturalistic detail of the film (except for the soundtrack, park swans from tires and Boyarsky as a living fossil), his only truth explaining why everything is so. The Russian people are like a woman. And the Russian woman - be she even a senior cashier, even a girl from a bicycle path - like a bag: what do you put, then carries. Alcoholics, policemen, idiots with a mustache like a beaver, a seagull, a tsapki ... everything will take out. There will be nothing.