Handsome and monster

From September 9 to 11, in Moscow, St. Petersburg and Yekaterinburg, shows of restored “predator”, “flies” Kronenberg and “something” of Carpenter (schedules are here ) will be shown. We already wrote about the new relevance that the Fly acquired in the 2010s. And now the expert in the field of genre cinema of the 80s Stanislav F. Rostotsky talks about the metamorphoses of the “predator” on the same side and this side of the iron curtain-in the 80s and 2010s.

Confidently having defeated the Premier Weekend Premier Witches (another team story about the fight against a messenger from a different world), the “predator” of John Mactirnan became one of the stressed hits of the summer-1987. According to the results of the American film distribution for the year, the intricately smeared with fake mud Arnold Schwarzenegger (critic Nigel Andrews noted that “the paint is imposed so that it emphasizes and increases his cheekbones, and the makeup gives his face to the vengeful-gloomy species of the deity”) and James Bond and himself in the “runaway man. " And in total, the film raised the film nearly a hundred million dollars. But no matter how fact that the Dutchman is fact that it was not true and impressive (shots in which Arnold closely turns his head to the camera, like the Yubertmenhevsky bust from the prologue Olympia) and, as it were, the reviewers, in connection with him Gilgamesh and Beovulf, became clear that the triumphaf was quite clear that the triumphaf was quite clear that it turned out to be a true guilter of the triumph. Not Schwarzenegger, but his defeated antagonist.

The dead space hunter inevitably should, clutching the mandibules, others, spreading the expansion far beyond the limits of not only Latin American jungle, but also the film screen in general. Simultaneously with the release of the film, Activision released a computer game “Based on” - the first of more than two dozen followers, but frankly stupid even by the ingenuous arcade standards of that time. Even before the skull of Xenomorph from the “stranger” flickered in a series of hunting trophies in the “Predator-2”, the confrontation between the two most ferocious “monster of the Universe” was reflected in the corresponding series of comics and subsequently grew to a mighty independent franchise. After strangers, one of the co-authors of the script, Jim Thomas, cherished the idea of ​​shaking a predator with a ninja turtles, but it still did not reach. However, in the absence of Raphael with Donatello, the predator had something to do: in the process of Safari, on the adjacent comic union, he had to fight with Superman, Batman, Terminator, Judge Dredd and even Tarzan (the last crossover, despite the wildness of the original message, was, in fact, he turned out to be the most dumb and fascinating, and even with a distinct environmental notation).

But perhaps the most striking metamorphosis of the predator underwent in the area of ​​paralyter. The novelization of the first film ordered the floor of a coin, a very remarkable character of that era, poet, gay activist and author of literary adaptations of the films “Vampire Nosferata” and “Face with Shram”. The expected same -sex connotations in the creation of Monett are not directly felt, much more problems are due to the fact that the writer began to work even before the final design of the capital character was approved. As a result, instead of a canonical star landscape with the dreadlocks in the jungle, a straight -up lizard the size of a gorilla covered with a technological bluish scales is fed. Which, nevertheless, not only has a unique ability to disguise, but also knows how to turn into a bird if necessary and manage the mind of wild animals. In addition, Billy, played in the film by Sonny Landham, was just in case equipped not only by Indian origin, but also by psychic abilities. And the Dutchman, in order to blow up an alien ship in the end, needed-in full accordance with the "songs of things" Mikhail Boyarsky-a single spear.

However, it was even more interesting to figure out the plot on our side of the state border, from which the “predator” almost until the very beginning of the 90s, it happened, deployed: from the pages of the specialized press, customs experts incriminated the film the presence of a “distinct anti-Soviet darling” due to the scene in which military advisers at the partisan base are thrown by menacing phrases in a rather clean Russian language. The soul, however, did not prevent the film from becoming in the USSR one hundred percent iconic from the very moment of its appearance in the video market. The “predator” was treated in a sophistication, almost in a relative, as “Chapaev” or “Ilya Muromets”,-the stormy and sincere applause are unforgettable, with which the venerable audience of the artist’s central house met a rather worn cassette on a relatively large screen, the final fight of a handsome and monster; Someone even touched to get up. And somehow it is not at all surprising that it was the “predator”, divided into several fragments, but from the beginning to the very end, was shown by one wonderful evening, all the same 90s in the framework of the program “Good evening, Moscow”. And besides, according to the author’s notes, from 1994 to 2012, the creator of Anti -Killer and the Dyuzhin pair of other superbesseller Danil Koretsky worked on the Roman “Hunting Hunter”, who, upon publication, was not among the most popular books of the author, but earned, albeit in much narrower circles, a cult status, quite comparable to the original. The beginning of the “hunting” is an almost pararodal retelling to the pain of a familiar story with minor changes (the Dutchman here, for example, is called the British), Danil Arkadievich understands the page for the 80th, and then fantasy is played out in a joke: “The action takes place against the backdrop of competitions of different special services, organized crime, rebels and drug trafficks,” and to everything else. The local predator (that is, the hunter) also knows how to clone his victims, which makes the narrative to the very Philipdic Dali. But the “aroma of well -fried meat” makes his way unchanged and perfectly familiar to all regular readers of Koretsky in the end and here.