Genre - Constantinople

In Moscow, the premiere of the film "Clipmakers": the history of the metropolitan bohemia of the nineties

“Eight and a half dollars” Grigory of Constantinople, published in 1999, ended with the stormy nineties. The new picture failed the fat line under the era of the stiff tenths.

When, at the discussion of “clipmakers” after the premiere in the “art” producer Sergei Selvanov, they asked to name the film genre, he thought, replied: “The film”.

If they asked me, I would say: "Constantinople."

The cult figure from the 1990s, the incomprehensible and shocking author took off the auto-firm, kneading a cool dough from fantasy and comic book, glamorous clip and fairy tales, criminal black comedy, romance of dashing roads in the spirit of Ricci and traverse with shootings in the spirit of Tarantino, buffooneas and lyrics. It cooks this fiery mixture over low heat of an almost two -hour timing.

If you want - dive into this boiler in the hope of a good well done to wake up, get bored - leave the dark hall, the old people have no place here.

Constantinople is the author of more than three hundred musical videos, shot clips for Alla Pugacheva and Time-Auta, Sokacheva and the Moral Code. It was he who composed the “time machine” of the clip of the epochal hit “Once the world bend us under us”.

Then he put his spectators in the time of the time and sent on an excursion to our dark kingdom with the help of the guides of Ostrovsky, Dostoevsky and Gogol.

But the famous art parodia on the Fellinievsky masterpiece-the legendary VHS hit “Eight and a half dollars” made it famous. The comedy of the absurd or trash-chapito is more accurate than the program “Time” and “Glack” captured the wrong side of the era of unrealized possibilities.

Back in 1990, the USSR examined the outrageous project in Goskino, which was represented by a sense in breakthrough films, the teacher of Constantinople Rolan Bykov. The script was called "K. G. B. - Constantinople Grigory Biography. " The officials were indignant: “But who is it, this Constantinople, that the KGB itself is already chasing him all the time?!” Bykov was found: “And who was Eugene, that the copper horseman himself jumps behind him?!” Funding was found only in the late nineties.

And twenty years later, again the story of the Moscow bohemia of the 90s, explaining a lot about us today.

So, the beginning of 1992. The USSR collapsed, Soviet cinema also turned out to be under its wreckage. In cinemas, cars and furniture are sold. And instead of the previously reigning film, the main film professional is a vague profession of clipmaker disrespectful to cinema. Among the domestic aspen, this profession is re -blessed - from the white sheet. And almost on the knees, the genre pioneers create their viral video shows. It would be loot. And he is provided by pop stars and their fans.

Grisha Byzantine (Alexander Gorchilin) ​​- a talent growing in his eyes. Looking at the shooting of the dull video of the foggy Bogdan Titomir (Rinal Mukhametov) “Girl in Red”, he lights the lights of the holiday for one or two-three. Aim even such a matter clipmaker as Vasya Coppola (Alexander Kuznetsov). The actress takes off in the skies, her red dress flows with an endless waterfall. It is clear that she will become the muse of Grisha, who, even a moment ago, wanted to solve herself because of his previous love.

Four of the main characters. About each - a separate short story. About their battles, novels, betrayal, personal discoveries, fractures and compromises incompatible with life. About their arrogant unjustified cosmic hopes, collapsed not overnight, but lost in dust.

Four charismatics. Written off from specific prototypes and collective images. In Vasya Coppola - the son of Kinocchoknoklassik Grigory Koppola - Fedor Bondarchuk is easily recognized. Alexander Kuznetsov plays a brutal explosive playboy, equally relying on his charm and fists, which goes ahead, risking and winning. To any order, from musical to political, he has a duty answer: "I will not let you down, we will do it."

One of the most real prototypes from Armen (Aram Vardevanyan) is Armen Petrosyan (Khitruk's student, he shot clips for Christina Orbakaite, Linda, Meladze), the director’s closest friend, who died in a car accident in the year of the “eight and half dollars” release. He even managed to star in that picture.

The film is a tribute to his memory.

Armen on the screen is the cleanest, sincere, simple -minded, and therefore walks constantly with noodles on his ears. The final scene of the film was shot at the site of the death of Petrosyan on the Berezhkovskaya embankment.

The protagonist of Grisha Byzantine is not quite a portrait of the author, rather his very romanticized variation. Grisha Alexandra Gorchilin - a fragile cholera, lyricist, neurasthenik and a sad clown. Basically suffers from love, although it can accidentally betray it in this universal, frozen fucker.

The action engine will be the universal friend of the clipmakers, a perpetum mobile of failure ideas-screenwriter Tonya Vodkina (Maria Shalaeva). A girl with a green strand, in a leather jacket and a leather cap - the nineties commissars, cynical and charismatic, drowning for proletarians dying in poverty, protesting against philistinism and will not miss a single money tranche. Vodkina Masha Shalaeva (between her and her prototype Avdotya Smirnova, who wrote dialogs for “eight and a half dollars”-a distance of enormous sizes) is a girl who constantly draws friends in trouble. She pulls them out: covering her eyes with fear, goes with a revolver to the bustled brothers, laying them with even stacks. The role-ghost, pure fireworks, shalaeva in it is unique. Especially when it sobs excitedly, flying past a bonus at the annual clip competition. The actress dissolves in an eccentric, almost clowning, playing extremely honestly, without falsehood. Out of greed, stupidity or excitement with a light movement of the hand with the phone, Tonya draws friends in creativity and business into arrows-rushing-disassemblies.

First of all, with the main capital's bandit Bobr (Vladimir Epifantsev). They kill him about ten times. Mostly chairs. They say that 50 chairs were defeated about Epifantsev’s head. Ilf and Petrov never dreamed of this. But the beaver is tenacious. Evil, unlike good, - as we know well - unbearable. A broken-overwhelmed, shabby brain, the mafiosi who has traveled periodically forgets his offenders. And at each new meeting, it hires them to create a new clip.

All of them are at the peak of time - sharp, cutting, pricking peak. When fantasies do not keep up with reality, even the fantasies of such hungry pioneers. Encourage a large game, not knowing its rules.

So the river of loud time flows, until it reveals that the shot space has changed and musical clips that are not sparkling with sparkles and busts, but agitroplits of the election campaigns, are demanding from creative guys.

The bridge to the power structures will again be the same broken bandit of Beaver. And who else. They have complete understanding with birch (Nikolai Fomenko) - Yeltsin's right hand.

While they survive, sing and remove, in the offices, political technologists compose a business plan for an oligarchic country under strict supervision of organs. Soon everyone will be under supervision.

A movie about the poor romantics who have embarrassed a criminal TV for a moment. Composing their pink flamingos and small horses in a bloodthirsty but free era. About lonely rangers in the wild field and a deceptive dizzying drunken feeling that they conquered and saddled time ... And time stopped at the full gallop and dumped them.

No, these are not the heroes of the film killed. This world is killed. Now it will come to life only on the screen.

There is such an episode in the film: an exalted, wild colors and hairstyles, a group of clipmakers walking until the morning moves through a gray half -to -be crowd in a warm coat.

The night will pass, will the morning come out? Yeah.

Konstantinopolsky gives his own credo to his Grisha: "Just design and a little drama." In this film, design is on equal terms, if not ahead of the drama. The point is not only in the nostalgic clips that Constantinople rethinks: Presnyakova (Nikita Presnyakov), flying on the tap over the sea of ​​tulips, Titomir-in the center of the round dance of the half-nucleated diva, Christina Orbakaite with graphic black and white choreography "Tango Threes" (by the way, this clip was shot by Armen Petrosyan) ... but The director into clips also turns entire fragments of history.

The romantic date of Grisha and his Muse in the rain in the Bittsevsky park is the initiation of Sergei Solovyov and “One hundred Days after childhood”, therefore, the hero of the T -shirt with a portrait of young Tatyana Drubich in a wreath of wildflowers.

I want to be with you and I will be with you.

There are grotesque parodies on the famous militants. As an episode, Tony's firing gang of beaver against the backdrop of burning barrels of gasoline. There is no law, solves the whole barrel ... if it is charged. On the extreme - a chair.

Or the elegant parade of heroes in the casino-their victorious passage past the players in the spirit of Ocean's friends.

A separate divertissement of Armen's grandmother is Anush (Rosa Khairulin is only a distant abris of the queen of the Moscow underground Mrs. Brone). Who gave his grandmother in the dying dementia "Coconus"? But now she is already dancing in the rhythm of the established doll, throwing her hand into tremolo happy chips. Dostoevsky and Gaidai at the same gaming table with a peak in her happy dying rave.

Among the evil caricatures are Okhlobystin. On the set of “eight and a half dollars” of Okhlostans performed by Daniil Gazizullin - a hysterical drunken insignificance, however, without his signature acid smile. In this film, everything is to the maximum - love and dislike.

The strength of the film is a luxurious casting and a selfless game of actors, especially Epifantsev, who did not regret his head. Actors dream of acting from Constantinople and are terribly afraid of him, on the site he is an unbearable dictator. Until he achieves an ideal state - he will not leave. If I understood correctly, the task of the actors was to “catch the radiation of a certain image”, its energy and connect it with their own energy.

Therefore, it turned out about the generation of not only the nineties, but also the current twenties. It turned out to himself. The actors, according to their admission, put their own experiences into the characters. The current time was invested, which again pushes, gets rid of bright, talented, unpredictable.

By the middle of the picture, the story seems to break off, it lacks development, it stops, circles in place. But the directorial muscles and acting benefits are saving - one another is better.

Yes, the nineties - the youth of Constantinople - romanticize nostalgically here. They see how a crazy carnival on the edge of the Kitchevoy abyss, personal dramas foam from the uncorked bottle of champagne ... about the tenth in the evening.

From the past, the best is most often remembered. For example, what is it like to live in large.

"Clipmerackers"-a movie vulnerable from the point of view of dramaturgy, but living, rock and roll, perspicacious to chills.

Such a mirror of a crooked era, and the fact that the mirror is broken is not to blame the mirror.

As Armen tells us from the screen: "Ara, we cannot constantly take us." Freedom swallowed, intoxicated from opportunities, relaxed. Here, strong guys with epaulets arrived.

In cinemas - from January 5.