"Unceptible" Sarika Andreasyan: The heartbreaking drama with Dmitry Nagiyev, who often seems to be a comedy

The picture of Sarik Andreasyan “Determined”, based on real events, was released. The film tells the story of Vitaly Kaloev, who killed the air traffic controller Peter Nielsen. Kaloev considered Nielsen guilty of a plane crash over Boden Lake, in which his whole family died. According to the film critic of the "Medusa" Anton Dolina, the "non -pusher" is more like a parody of films about revenge than they are.

There is nothing surprising in the next turn of the career of Sarik Andreasyan. The director - a consistent propagandist of “good movie”, hated by many critics and beloved by the audience - has long proved his unique ambitiousness. This is the 15th picture of the 34-year-old author; About the same amount he produced. Starting as a comedian, he quickly switched to other genres and forms: a militant (“American robbery”), anti-utopia (“mafia”), a catastroph film (“earthquake”), a superhero-comic book (“defenders”), a romantic drama (“Love in the city of Angels”). The turn came to the tragedy on real events. With the "uninvited" Andreasyan, who had already stormed several festivals, clearly metil somewhere towards Oscar. Perhaps he missed, but he will not be confused.

Surprisingly different. With each next experiment are gullible idealists who sincerely hope: this time he will probably succeed. To come to terms with a simple thesis that ambitions do not always guarantee talent is as difficult for them as Andreasyan himself.

The “non-navigated” tells the heartbreaking history of the builder-builder Vitaly Kaloev, whose family-his wife and two children-died in a plane crash over the Boden lake. He sought justice for a long time and, as a result, brutally killed - apparently in a state of affect - the Swiss air traffic controller Peter Nielsen, whom he considered guilty of what happened. Kaloev was convicted and released from prison ahead of schedule, after which he returned to his homeland. This beautiful and terrible plot in 2002-2004 kept the attention of journalists not only in Russia, but also around the world.

An ungrateful business is to guess what was on the director's mind when he took up this project. Perhaps we will not suspect the evil. Suppose Andreasyan really wanted to make a spectacular drama about grief and revenge. Is it that it was not the point that he had not shot anything like that before, in the fact that he decided to use the alleged recipes from the best masters of the genre, but most “non -pusher” resembles a parody. Very funny, funnier than the majority of Andreasyanov’s comedies.

Each of the characters is a walking collection of stamps, and not even cinematic, but serial, about twenty years ago. Kaloev himself is a real man with a capital letter. The hero of Dmitry Nagiyev, for whom it is also a debut in a specific, to a lot of binding a genre, steps firmly and speaks a laconic, with an difficult accent, a little similar to the Belarusian. Kaloev’s daughter flaunts in the crown (since he considers herself a princess) and with a fluffy cat, who subsequently disappears without a trace, even the main character is surprised at this. The son loves chess and dinosaurs, so his father gives him chess in the form of dinosaurs. The wife looks at Kaloev with an affectionate reproach long before his death - and, moreover, after: the family constantly returns to the murdered engineer in the form of ghosts. All this is accompanied by a monstrously stereotyped and very loud symphonic, but in some places, organ music (composer Mark Dorbsky - his name should be remembered not to avoid to avoid avoiding).

The world of post -Soviet Russia is affectionate and comfort. In vain, the engineer led to a favorable offer and flew to Barcelona to work (Andreasyan did not follow his example: a couple of three -second plans of Barcelona were clearly removed illegally, wasn't it on the iPhone?). There, behind the hill, the world of cleaning reigns. And there are few good people. Even compensation to the relatives of the victims of the tragedy, the damned capitalists try to pay less, trade like in the market. But it is better to pay than “apologize to these Russians” (quote). At the same time, foreigners are mainly played in the sultry Spain of blondes with Slavic faces. Most artists in the film are clearly Russians, although they often explain to each other in English-if the action takes place in Spain, Germany or Switzerland. The role of the villainous dispatcher went to the blond and brutal Lithuanian Andryus Paulavichus; Apparently, the Soviet tradition to take the Baltic stations for the roles of the "fascists" is still alive in the soul of Andreasyan.

We will have to compare the “non -obscured” with the mediocre film “Conditions” (2017), shot based on the same events by the Elliot Lester with Arnold Schwarzenegger in the title role. It is impossible not to admit that in the broken grim of the giant Schwarzenegger there was a certain greatness, which was not completely spoiled by the Trivial script and dull directing. The “consequences” were a hint of a moral parable about forgiveness: the dispatcher became a hostage to circumstances, he was also sorry, and in the final his son forgave the killer of his father. Andreasyan is not the same. His picture is an ardent speech in defense of Kaloev and his right to revenge to the soulless Europeans who have drunk dozens of people and not at all worried about this. Nielsen looks like a collective figure. As, in fact, Kaloev, embodying the harsh patriarchal spirit of Russia, not spoiled by Western political correctness and rotten humanism.

All this could be looked at almost without negative emotions, if not for one circumstance. Dmitry Nagiyev turned out to be the Trojan horse of the “non -obscured”. In the motives of Andreasyan, you can still be happy, the motives of Nagiyev are transparent: the adult and popular actor, of course, would like to get rid of the comic role of the ensign Zadov, the physical education of Foma and the restaurateur from the Kitchen, playing a large serious role. Is the artist to blame for this, it is difficult to say (as a rule, the artists are not to blame, only the directors), but at the sight of the screen Kaloyev it is difficult to restrain laughter. Its tense and comic-reclaimed facial expressions-especially the fold between the eyebrows and one semi-pinched eye, its anecdotal and clearly glued beard, its squeezed intonations are so broken out of the tradition of psychological realism due to such a picture, which cause an involuntary reaction. It destroys all the effects that the director was counting on: even the violin violins do not save the situation.

The only truly intriguing moment in this predictable film is its name. What does the "non -bombed" mean? So one could call a film with Schwarzenegger - his hero could not forgive himself for his deed, was broken by his own crime; For Andreasyanovsky Kaloev, the murder is a happy moment of retaliation, at least surrogate justice. It would be more logical to call the picture "not forgiven." Probably “non -united” just sounded more spectacular.

Anton Dolin