The air of the seventies

Is the film "Dovlatov" is called correctly

November of the 71st year. Disgusting weather with even autumn mud, but already in winter snow corresponds to the stagnant cooling that came after the thaw of the 60s. A person who looks like Dovlatov (Serbian actor Milan Marich is really very similar to) lies on the couch in his room in the Leningrad communal woman, re -reads Steinbek, calls up with his ex -wife, annoy the total impossibility of printing and anticipating evening drinking for reading poems. Poems will just read his friend Brodsky.

These are not just characters, "whose images are inspired by the figures of Dovlatov and Brodsky." This is, as it were, with names, patronymics and other passport data. That is, it seems to be a biographical film, describing “A few days from the life of Dovlatov”, which claims to recreate life situations and even a message of some kind of information (“Do you know about Dovlatov?” “And I watched the film!”).

This is a pity. Because those who, on this marketing (and he, is undoubtedly like that) the hook will come up, who will go to the film to “see about Dovlatov”, will annoy too much, for example, with inconsistencies with well -known facts, defaults), and this will be distracted from that important, I would even say, amazing, what is in this film.

Because, of course, it is convenient to highlight Dovlatov with the reflected light of the indisputable star-Brodsky-and present their relationship with some particularly trusting. Although, in fact, they belonged to different companies, as they say, to different parties. And the reduction of them that have names against the backdrop of a merging bohemian crowd is a game of gadets, a bet on a recognizable, well -known to everyone. In general, yes, it is convenient. Too much.

Well, or, now, the hero himself. If he is directly Dovlatov Sergey Donatovich, this very man and writer. It is necessary to manage to make a film about him so that a person who did not read his texts could not guess that he wrote a ridiculous. This young man almost all the time on a tear, arguing about hopelessness and now and then in despair, leaning towards the door jamb, described in the “reserve”, as “friend” Mikhail Ivanovich reads the old postcards to himself and comments them himself: “... Hello, the godfather! ... Well, hello, *** Sheep!”

This is not about, of course, that Dovlatov could not suffer or philosophize. It's about the fact that

If you are making a film about the hero who discusses the eternal, drinks moderately (that is, in words, he threatens to fall into a binge, but does not fulfill promises), communicates with women with interest, but with restraint, then this is not Dovlatov, whom many living contemporaries remember.

Although this is quite possible, also a hero of time. That would be shot about him.

So about time. Not about the surroundings, which is also easy to complain about (for Alexei Herman, the 70s are clearly not enough retro, the rounded outlines of the “victory” is sweeter than the chopped lines of the twenty-fourth “Volga”), and about his spirit, or rather, air.

It is actually very difficult to convey. What were the 70s for the heroes of this film, and people like them. At the same time, the time of forced silence (do not print, do not allow exhibitions, they put the movie on the shelf); Time of locality (in the film different characters repeat the phrase “I know for sure that I will never see Paris”); The time of a constant threat (if desired, they could land both a copy of the Lolita and for the purchase of a couple of jeans from a foreigner), and exactly the time of perfect internal freedom, the ultimate independence. Independence from commercial and even from ideological (after all, the main disagreements with the authorities were, according to the formulation of Sinyavsky, stylistic). Time, we express ourselves pompous, "Primate of intangible values." There is still no money and careers and there will be no, so there is nothing to talk about and think about them, and it’s worth talking about and thinking about Pollyka and Rotko, about Hemingua and Allen Ginzberg, about Mandelstam and Blok.

These conversations and life around them were felt as something self -sufficient and self -determining. Vile and Genis - friends of Dovlatov - wrote about the bohemia of that time that she "focused not on the result of the creative process, but on the process itself." Conversation, love, drinking - part of this process.

In the monolith of a huge lack of freedom, a rather amorphous group of people managed to fence off the space of freedom almost complete. This does not mean that the state could not reach there. This means that it could not do anything about it.

This is a strange thing that is difficult to explain in words. And in this movie it turned out to be conveyed. Create just such a mood, just such an intonation, just such a sound. (The latter - even in the literal sense - the sound solution in this film is inherited by what was done in the film by the director of the director “My Friend Ivan Lapshin”, and performed masterly).

This is a thing directly important to our consciousness, our cultural memory. Which was made by Alexei Herman in the film called Dovlatov. In vain it is so called. But this does not cancel.