Sunday, 30 January 2011

Leonid Gaidai: Kidnapping, Caucasian Style or Shurik's New Adventures- Кавказская пленница, или Новые приключения Шурика (1967)

Prisoner of the Caucasus, or Shurik's New Adventures (Russian: Кавказская пленница, или Новые приключения Шурика; translit. Kavkazskaya plennitsa, ili Novie priklucheniya Shurika), also known as Kidnapping, Caucasian Style is a Soviet-era Russian comedy film dealing with the theme of bride kidnapping. The title is a play on The Prisoner of the Caucasus, which is a poem by Alexander Pushkin as well as a short story by Leo Tolstoy. It was directed by Leonid Gaidai and is the last film featuring the Three Stooges-esque trio Coward — Fool — Experienced (Georgy Vitsin — Yuri Nikulin — Yevgeny Morgunov). The premiere of the film took place on April 1, 1967 in Moscow.

Wednesday, 26 January 2011

Yuri Ozerov: Liberation - The Arc of Fire / Огненная дуга - Liberation (film series)

Liberation (Russian: Освобожде́ние, translit. Osvobozhdenie, German: 'Befreiung', Polish: 'Wyzwolenie') is an epic five-part film series (combined running time: 445 minutes) considered as the most colossal WWII movie ever made in the Soviet Union. Filmed from 1968 to 1971, the first part was released during 1970 for the 25th anniversary of Victory Day. The films were a Soviet-Polish-East German-Italian-Yugoslavian co-production (by the studios Mosfilm, ZF-Start/PRF-ZF, Deutsche Film AG, Dino de Laurentiis Cinematografica and Avala Film, respectively) although chiefly made in the USSR. They were directed by Yuri Ozerov. The script was written by Yuri Bondarev and Oscar Kurganov.

The films depict the liberation of the Soviet Union's territory and the subsequent defeat of Nazi Germany in the Great Patriotic War, starting with the Battle of Kursk and ending in the Battle of Berlin.

Thank you IgorRussland

Andrei Proshkin: Orange juice - Апельсиновый сок (2010)

Director: Andrei Proshkin
Cast: Ingeborga Dapkunaite Mikhail Kozakov Lada Maris Andrei Panin Aleksandra Skachkova Olga Yakovleva

First Prize Festival Russian Kino 'Moscow Premier Screenings', Russia, 2010

Sunday, 23 January 2011

Pushkin. The Last Duel - Пушкин - Последняя дуэль (2006)

Natalya Bondarchuk
Natalya Bondarchuk
Sergey Bezrukov, Andrey Ilin and Iulian Makarov

Russian 19th century author who often has been considered his country's greatest poet and the founder of modern Russian literature. Pushkin blended Old Slavonic with vernacular Russian into a rich, melodic language. He was the first to use everyday speech in his poetry. Pushkin wrote some 800 lyrics with a dozen narrative poems.

"Love passed, the muse appeared, the weather
of mind got clarity newfound;
now free, I once more weave together
emotion, thought, and magic sound."
(from Eugene Onegin, 1823)

Aleksandr Pushkin was born in Moscow into a cultured but poor aristocratic family. On his father's side he was descended from an ancient noble family and on his mother's side he was a great-great-grandson of a black Abyssinian, Gannibal, who served under Peter the Great. Pushkin himself had black hair and swarthly complexion. Pushkin started to write poems from an early age. His first published poem was written when he was only 14.

In 1829 Pushkin fell in love with 16-year-old Natalya Nikolayevna Goncharova, whom he married two years later. Her family was as impoverished as Pushkin's, but she become a beauty of the Imperial court. The marriage was unhappy and Pushkin had little peace for intense creative activity. His wife was invited to every ball at the palace, and her frivolous social life led Pushkin into debt and eventually to his early death. The gossip of an affair between Baron Georges d'Anthès and his wife started to spread. An anonymous note informed Pushkin that he had been elected to "The Serene Order of Cuckolds". Although A'Anthès married Natalya's sister, the scandal was not quite over. Pushkin defended in a duel his wife's honor with her brother-in-law. D'Anthès fired first his pistol. Fatally wounded, Pushkin fired also his shot and his opponent got a slight wound. Pushkin died on February 10 (New Style), 1837. The Czar buried him in the monastery near Mikhailovskoye, in secret for fear of popular risings at the funeral. He also paid all the remaining debts of the poet. Natalya received a pension.. D'Anthès was expelled from Russia. He died in 1895.

Saturday, 22 January 2011

Golden Eagles for 2010 awarded

Alexei Popogrebsky’s movie “How I Spent This Summer” has won the Golden Eagle award for motion pictures and TV series as the best Russian feature film of 2010.

The famous Italian actress Claudia Cardinale, starring in such films as “Eight and a Half”, “Cartouche”, “The Pink Panther” and many others, and also a guest of honour at the Golden Eagle ceremony has been awarded a special prize for her contribution to world cinema.

Alexei Uchitel’s film The Edge has won the biggest number of awards in the best actor, the best actress, and the best director categories. The movie is about the need to overcome hatred and enmity in the post-war year of 1945. Russia submitted the picture for the Oscar award, and the movie was, besides, nominated for the Golden Globe.

But the main prize has nonetheless gone to Alexei Popogrebsky’s “How I Spent This Summer”, which was earlier spoken highly of at the Berlin film festival. The plot of the movie builds on a clash of interests of a seasoned weather forecaster Sergei and a lad in his late teens, Pavel, who came from a city to a polar meteorological station as a tourist. Here’s more from Alexei Popogrebsky.

The conflict of generations and outlooks that arises, Alexei Popogrebsky says, is manifested in just about everything, - in man’s treatment of nature, and in the stand on everyday work. The elder character knows all about hard work, but has no idea about a PC. Meanwhile the younger one has brought along his up-to-date equipment and should do nothing but read measurements.

Pavel is the first to learn about the death of Sergei’s family. But when he finally breaks the horrible news to Sergei, the latter almost kills him. The situation does not get settled until it comes to the point of boiling. In the end, both men defy the decision made to mothball the station.

The Golden Eagle award also went to the cameraman of the movie “How I Spent This Summer” Pavel Kostomarov.

Voice of Russia

Wednesday, 19 January 2011

Aleksandr Kott: Hero of Our Time - Герой нашего времени (2006) Pechorin's Duel

Alexander Kott
Irakli Kvirikadze (screenplay), Mikhail Lermontov (novel)
Igor Petrenko, Elvira Bolgova and Yuri Kolokolnikov

Film about Chernobyl disaster to debut at Berlinale

Alexander Mindadze's new film about the 1986 Chernobyl disaster will get its world premiere at next month's Berlin Film Festival.

V subbotu (Innocent Saturday) is a story of a Communist Party official, who is looking for his loved one to try to escape the aftermath of the world's worst nuclear accident in April 1986.

The $3-million picture starring Anton Shagin of Valery Todorovsky's Stilyagi (Dandies) fame was coproduced by Russian, Ukrainian, Belarusian and German companies.

The festival runs from February 10-20.

RIA Novosti

Tuesday, 18 January 2011

Russian war drama to hit the US silver screen

Russian Aleksey Uchitel's film 'The Edge', nominated for an Academy Award and a Golden Globe in the best foreign film category, will hit American screens in spring 2011, reports.

"The Edge" is a war drama and a story of forbidden love between a Russian war hero and a German woman, taking place in the twilight of World War II.

In the USA and Canada, independent company Samuel Goldwyn Films, established in 1999, will be engaged in the distribution.

In Russia the film did not enjoy big commercial success. According to "Film Business Today" magazine, it earned a little over $5 million, whereas its budget, excluding advertising expenses, exceeded $10 million.

Within the past few years, only Timur Bekmambetov's "Night Watch" series was relatively widely-screened in the USA. More recently, Andrey Konchalovsky’s "The Nutcracker in 3D" has failed to make noise in the States, earning less than $200,000.


Saturday, 15 January 2011

Andrei Kavun: Kandahar - Кандагар (2009)

Director Andrei Kavun
Actors Alexander Baluev, Vladimir Mashkov, Yuri Belyaev, Bogdan Benyuk, Alexander Golubev, Andrey Panin, Alexander Robak

Andrei Kavun, Kandahar (Kandagar, 2010)reviewed by Anindita Banerjee © 2010
in KinoKultura

Viewing Kandahar in the United States in September 2010 is a strange experience indeed. America’s nine-year military presence in Afghanistan has been overtaken by a chain-reaction of highly mediatized spectacles, all clamoring for the restoration of 9/11 in the national cultural memory: the grievance against a Sufi-led cultural center in downtown Manhattan, a parade complete with costumes and floats around Ground Zero, a preacher calling upon citizens to burn the Koran on the fateful date. The teeming, persistent half-lives of September 11, 2001 cannot help but bleed into Kavun’s rendition—a word which has also lost its innocence over the last decade to stand for “disappearing beyond borders”—of a real-life incident inextricably bound with the politics of memory and forgetting.

In 1995, the crew of a Russian IL-76 aircraft en route to Kabul was forced by the Taliban to land in Kandahar and held captive in the war-torn city for more than a year. The film visualizes the long twilight of the physical, juridical, and cognitive disappearance of this group of men, whose affiliation to the Russian state remains unclear from beginning to end. Locked up in walled stone compounds of a terra incognita pockmarked by violence, they became tragically invisible in the eyes of both the government and the public back home, even after their return 378 days later on the same aircraft. In an interview to the Los Angeles Times, the director ascribes a higher objective to his project of recuperating the notes kept by Vladimir Sharpatov, the captain of the captive crew. Committing the forgotten saga of the “unsung heroes” to screen, Kavun asserts, serves an important function in the new era of diminishing patriotism: it reconnects the audience to the idea of the motherland (Loiko and Stack).

However the film does not lend itself easily to this seamless alignment between source, content, intent, and objective. Encoded within its very fabric is a far more complicated interrogation of the redemptive powers of memorialization. Clad in the big-budget mantle of the Hollywood-ish thriller, featuring iconic male actors, set against exotic locations and people (Morocco standing in for Afghanistan), and enhanced by computer-animated graphics, Kandahar nevertheless seems to dismantle, layer by relentless layer, the very notion of patriotism as unquestioned allegiance to an imagined brotherhood with a shared geography and history. Ironically, the disjuncture is most apparent in its relationship with a foundational narrative shared by the Russian and American national imaginaries: captivity and heroic survival amidst geographical, linguistic, ethno-racial, and cultural Others. ...

Tuesday, 11 January 2011

Silent Souls - Овсянки: arthouse, road movie, erotica

Alexei Fedorchenko's pungent and disturbing film combines folklore, ethnography and eroticism.

Based on Denis Osokin's novel, Ovsyanki (The Buntings), Silent Souls is set in the Lake Nero region in western Russia, where the Merya, a pre-Russian Finno-Ugric tribe, are still in evidence.

The film's voice-over narrator, Aist, is a factory photographer and collector of the Meryan folklore. His boss, Miron, asks him to help send off his recently deceased wife, Tanya, in true Merya fashion.

Her corpse must be cremated by a lakeside and the ashes scattered in water. But before that, Miron must 'smoke' - that is, chat quietly and honestly about the deceased's sexual allure. Two caged buntings - small, sparrow-like birds - accompany them on their journey through sepia-lit lowlands to the moody, folksy soundtrack. ...

RIA Novosti

Film Gromozeka Competes at Rotterdam Festival

Evgenia Dobrovolskaya

Vladimir Kott's film Gromozeka has joined the competitive program of the Rotterdam Film Festival to be held from January, 26th to February, 6th.
Gromozeka is a story of three former schoolmates: militiaman Gromov, doctor Kaminsky and taxi driver Mozerov – who used to play together in a school band called Gromozeka and now at the age of 40 meet at a school reunion and discover the vivifying power of nostalgia.


Evgenii Bauer: Twilight of a Woman's Soul - Сумерки женской души (1913)

Nina Chernova

Director: Yevgeni Bauer
Writer: V. Demert
Stars: Vera Chernova, A. Ugrjumov and V. Demert

In Bauer’s earliest surviving film Twilight of a Woman’s Soul (1913), a bored society woman finds some spark in charity work until she is raped by one of the poor and cynical recipients of her compassion. Some time later when, troubled by conscience, she tells her new husband of her past and he cannot accept the thought of it — a la Tess of the D’Urbervilles — and abandons her

Saturday, 8 January 2011

Vladimir Bortko: Taras Bulba (2009)

Directed by : Vladimir BORTKO
Writing credits : Vladimir BORTKO
Based on Gogol's novel
Mikhail BOYARSKY (Михаил БОЯРСКИЙ) ...Mossi Chilo
Vladimir ILIN (Владимир ИЛЬИН) ...Kourennoï
Liubomiras LAUCIAVICIUS (Любомирас ЛАУЦЯВИЧЮС) ...Mazovetski, voïvode polonais
Magdalena MIELCARZ (Магдалена МЕЛЬЦАЖ) ...Pannotchka
Daniel OLBRYCHSKI (Даниель ОЛЬХБРЫХСКИЙ) ...Krasnevski
Igor PETRENKO (Игорь ПЕТРЕНКО) ...Andri
Bogdan STUPKA (Богдан СТУПКА) ...Taras Boulba
Vladimir VDOVICHENKOV (Владимир ВДОВИЧЕНКОВ) ...Ostap
Cinematography : Dmitriy MASS (Дмитрий МАСС)
Production design : Marina NIKOLAYEVA (Марина НИКОЛАЕВА), Vladimir SVETOZAROV (Владимир СВЕТОЗАРОВ), Sergei YAKUTOVICH (Сергей ЯКУТОВИЧ)
Companies : Central Partnership, Telekanal Rossiya
Release date in Russia : 02/04/2009

First prize Festival "Vivat Kino Rossii", Russia, 2009
Best actor Aleksey PETRENKO , Festival "Vivat Kino Rossii", Russia, 2009
Best actor Bogdan STUPKA , Golden Eagle awards, Russia, 2009

Propaganda or just good business?

Vladimir Bortko is one of Russia's most famous film directors. His film "Taras Bulba" went on general release in April 2009. It was more of a political event than a cultural one. For it reflects the current mind set and its problems very clearly: the elite aspiring to become part of Western culture, while at the same time assuring Russians of its Russianness.

The film attracted a great deal of attention for several reasons. Firstly, it was timed to coincide with the 200th anniversary of the birth of Nikolai Gogol, one of Russia's greatest writers, whose work is studied by every schoolchild in the country. Recently, events such as the anniversary of a major writer have become an occasion for a large-scale propaganda campaign. In Petersburg, for example, Gogol now looks down at passers-by from dozens of advertising posters on streets in the city centre.

Secondly, "Taras Bulba" is a special story: it's very patriotic, which is not particularly typical of Gogol's work. At the centre of the tale are the Zaporozhian Cossacks, who were free and independent of the Tsar. They lived in what is now part of Ukraine and fought with Poland in the 15th-17th centuries (Gogol does not indicate the exact time of the events he describes). The story tells how Andrii, the son of the main character, Colonel Taras Bulba, betrays the Cossacks because of his love for a Polish woman. Taras kills his son with his own hands, demonstrating that loyalty to the nation is more important than any personal feelings of love. He himself eventually suffers a painful death at the hands of the Poles.

Thirdly, Vladimir Bortko became famous during the late 1980s, when he made the excellent film based on the story "The Heart of a Dog" by Mikhail Bulgakov. Bulgakov was a major Russian (Soviet) writer of the first half of the 20th century, whose works were not popular with the Soviet authorities. "The Heart of a Dog" had a clear anti-Soviet message, poking fun at the values on which the Soviet state was founded. When "Taras Bulba" was released, many people were interested to see how Bortko, the critic of Soviet morals, would position himself now as a supporter of the state and a patriot.

Predictably, "Taras Bulba" provoked bitter disputes. Russian filmgoers were divided into two groups: those who fully appreciated the filmmakers' patriotism, and those who had some serious questions for Mr. Bortko.

Firstly, why did the director and screenwriter feel it necessary to rewrite Gogol? He is a classic of Russian literature, and not just some hack writing scripts for contemporary films.

Secondly, how does the work of Vladimir Bortko as the director of the famous "Heart of a Dog" fit in with the work of Vladimir Bortko the director of "Taras Bulba"?
Let us try to answer these questions.

In Gogol's text the conflict between the Cossacks and the Poles arises because the Cossacks live by raiding their neighbours and are fed up with sitting around and doing nothing. They are spoiling for a battle with the Turkish Sultan. Their entire way of life is a series of battles and the capture of trophies. Cossacks are at war so often that they rarely live to old age or die a natural death.

In Gogol's story the Koshevoy (leader elected by the Cossacks) refuses to start a war, saying that he has signed a peace treaty with the Sultan. The Cossacks then decide to have an election to replace the peace-loving Koshevoy, but at this moment refugees from the west bring them news of outrages inflicted by Poles and Jews on the defenceless Cossacks. The infuriated Cossacks immediately start a Jewish pogrom and take up arms against the Poles, rather than the Sultan.

Tuesday, 4 January 2011

Bulgakov’s Master and Margarita to hit screens

This year Russian book lovers will be marking the 120th birthday Mikhail Bilgakov of the Master and Margarita fame, a Gogolesque fantasy touted by many as one of the best novels of the 20th century. Just weeks before that, a screen version of this timeless literary masterpiece will hit the screens a whole 17 years after it was actually made!

A journalist, playwright, novelist, and short story writer and a certified medical doctor too, Mikhail Bulgakov is best known for his major work - the Master and Margarita, a fantasy about the Devil, disguised as a professor, who causes havoc in the city – a story that is as mystical as it is philosophical and awash with satire. Long banned by the Soviet authorities, the novel finally came out in a censored form in 1966 – 25 years after its author’s death… It has since been staged and filmed in Poland, Italy, Britain, Hungary, Israel, Germany, Canada, the United States and, of course, here in Russia. One of the first such attempts was made in 1994 by prominent Russian director Yuri Kara. It seems that the book’s mystique overshadowed Kara’s work though, because the director had for a whole 17 years been struggling for the right to release his film with someone who claimed to be the lawful inheritor of Mikhail Bulgakov who, incidentally, never had a child…

" Mikhail Bulgakov never lived to see his book published, but it is just about as relevant as it was back in 1940, Yuri Kara said in a recent interview with the Voice of Russia. It’s a pity my film did not come out when it was supposed to. It was shown at the Cannes film festival, Miramax wanted to buy it and people here in Russia have since been waiting to see it.I still think that it has lost none of its original urgency and maybe we will finally live to see it on screen."

Unfortunately, some of the actors who appear in Kara’s version never lived to see its premiere. Neither did Alfred Schnittke who wrote the music for this film. The film the movie was shot on itself seems to have lost some of its original luster and experts are now re-mastering the 17-year-old celluloid.

"We just can’t wait to see it coming out, Yuri Kara continues. The fact that Master and Margarita is considered as one of the best novels of the 20th century and that it is still alive and well inspires hope that our movie will enjoy a long and happy screen life".

Voice of Russia

Monday, 3 January 2011

The year at the movies - 10 top Russian films of 2010

Reinvention was the order of the day as Russia went to the movies in 2010 - with many of the year’s biggest releases focussing on the war years.

But the 65th anniversary of the great victory inspired directors to more than empty tub-thumping, even if nobody told Nikita Mikhalkov that was the plan.

Mikhalkov's improbable sequel to his Oscar-winning Burnt by the Sun was perhaps the most talked about film of the year.

Paying little heed to the small detail that the heroes had largely been killed off at the end of part one, the follow-up was billed “A great film about a great war” and instantly became both a critical flop and a part of the curriculum at some schools.

The Moscow News’ Mark Teeter looked beyond the hype to find a flawed but fascinating film.

“If ‘Burnt by the Sun – 2’ fails as a coherent epic (or even the first half of one), consider it as a series of set-piece sequences – some of which are very effective and affecting,” he wrote.

Two other big war films also packed out cinemas as they dealt with different ends of the war and different ends of the country.

Brestskaya Krepost returned to the terrifying days of 1941 as the Third Reich launched its blitzkrieg on the USSR.

And it divided opinion at MN, with Teeter enjoying a fresh look at a murkier moment of history while colleague Tom Washington was less impressed with a sentimental attempt to tug the heartstrings in the cause of Russian national pride.

Deep in Siberia, Krai (The Edge) tackled the complex aftermath of a nation victorious yet split in two by the human, social and political costs of the war.

But while Teeter waxed lyrical about a “remarkably candid” reassessment of recent history, he conceded that the lasting memory of the film is a thrilling race between two huge, steaming, snorting Soviet-era trains.

It wasn’t just recent history that got a lookover – historical blockbuster Yaroslav went back to the time of ancient Rus to preach a message of unity and tolerance.

Shot by a team which had clearly watched the Kevin Costner Robin Hood film more than once it told the story of bear-slaying legend Yaroslav Mudry (the wise) and his triumph over treachery to found what is now the city of Yaroslavl.

As a historical romp it’s amusing enough, but the awkwardly tacked-on ending where Yaroslav delivers his wisdom to an assembled crowd of good honest peasants rather spoils the effect.

It’s not that his message of unity for Slav and Varengian alike is anything less than irreproachable; it’s the way the script makes him sound uncomfortably like a United Russia slogan. ...

The Moscow News

Pavel Lungin: Tycoon - Олигарх (2002)

France and Russia, CDP, Arte France Cinema, France 2 Cinema, Gimages Films, Network Movie, ZDF, Arte, Magnat, Kominter, STW co-production, 2002, 128 min. Color.
Director: Pavel Lungine.
Script: Yuli Dubov and Aleksandr Borodianskii.
Cinematography: Oleg Dobronavov and Aleksei Fiodorov.
Music: Leonid Desiatnikov.
With Vladimir Mashkov.
Nominated for best screenplay in the 16th Annual Nika Awards
Starring Vladimir Mashkov, Aleksandr Baluev.

Russia in 90ties of the past century was politically and socially instable with windfall money and criminal shoot-outs. The power and business can live in peace just till the moment, when appear officials at the same time trying to seem patriots and to turn the money flow pro domo sua. One of such “hawks” – is Koretskiy (Aleander Baluyev). He starts the “crusade” against the authoritative business owner of the independent TV channel “Infocar”, Platon Makovskiy (Vladimir Mashkov). Firstly Mashkov is given a possibility “to share”, but after his attempts to step in politics – he is blown up. The investigation held by the too much honest and zealous officer Shmatko (Andrey Krasko) clear, that Platon Makovskiy is alive…
The scandal Pavel Lungin`s film was rumoured long before its première. The picture cinematized the book “Big Share” written by Yuliy Durov. Many are of the opinion, that the real prototype of the Makovskiy is the disgraced businessman Boris Berezovskiy, cause Juliy Durov very long was his “right hand”. But Makovskiy is more likely to be the summarized portrait of the authoritative businessman from 90ties. Koretskiy brilliantly played by Baluyev is the exact copy of the certain security officers, that overfilled the chain of command then. “The Oligarch” is brave and dynamic film precisely showing the realities of that time. ...

Pavel Lungin: The Age of Dinosaurs in Russia at the end of

The film is directed by Pavel Lungin "Oligarch" firmly linked in the public mind with the figure of Boris Berezovsky. Here partly to blame for the book "Big ration", which became the basis of the script, but even more - engaged by television, try to use the premiere for resuscitating the legend of the generous oligarchs, the stronghold of freedom and democracy in Russia. In fact, social Detective Lungina - the first successful attempt to see the era and her puppeteers look aloof and independent, no chanting and revelations. In this sense, the new picture - continuation of the previous "national" bands Lungina "Wedding". It dealt with the new life of real mining town of Limes, which continues despite any calamities. Now, the action shifted to where the game is for high stakes and large amounts of capital at stake. The oligarch, the movie - piper-piper, manipulate society and the country, playing with authority in the deadly game where the stakes - the fate of the country and the people. And the fife-TV in vain tried so hard, trying to show the film for its trump card - in fact it is their verdict. The sooner we free ourselves from the political illusions, . the sooner we pass from eternal fight to peace and freedom. - Do you think the book Yuli Dubov "Big ration" sufficiently reliable document? - Oaks is one of the directors of LogoVAZ, . was close to Berezovsky, . understandable, . his book inspires confidence,
. But it ended in the auto trade, but we introduced a line with the channel and much else that brings this story with the fate of Gusinsky and other Russian oligarchs. So Plato - collective image. Direct narrative seemed to me boring and the script does not work, until we come up with a policeman rate - double the investigation, which allowed to do flashbacks - diversion in the past, it immediately brought the movie plot and topography. - Television announced the film, parallel mounting expressions hero and similar rants Berezovsky. It seemed that comes a new "Story of a Real Man" with the ideals of freedom fighter: he kept going back through all the hurdles in its Russia to restore order. The film knocked these forecasts. - I do not know why it was Berezovsky so deeply penetrated into the mythology of the Russian soul, but he has already found a place somewhere between the devil and sexual giant. Black, bright-eyed, to the women's keen on ... So anyway now tied to the this figure. Although this is ridiculous - why do a feature film about Berezovsky? He is sitting in London, wildly misses, take your camera and shoot a documentary film, although expose, though slavoslovte. Feature Film at the other is mixed - it can not be pure biography. But try to see the tragedy of our intellectuals - it seemed to me urgent. It's not about the bandits, not about the subjects in red jackets, and on the intellectuals, scientists, professors, wit, slightly dissidents. What happened to them? How is it that - one killed, the other from the balcony fell, and the third was a traitor. And how to change assessment of society, its internal laws. That's what wanted to talk. - In the film, it looks like a menacing meat grinder, where the time inevitably draws heroes. Age as a kind of King Midas turned upside down: all the gold turns to shit. But then this is an indictment of our time. - All the harder, and this, of course, not a sentence. We still exists the consciousness that can be clearly seen in the films "Brother" and "Brat-2": they actually fabulous, folklore. And among these eternal folk formulas is this: rich - poor, poor - good. I wanted to destroy this relationship: you can be poor and poor, can be rich - and like a man. Therefore, the main character has somewhat elevated. - He romanticized it, but not more than Cowperwood in Dreiser. Ready to shoot, you met with Berezovsky? - Twice. He looked at me appreciatively, apparently, trying to figure out whether I am fit for the role of the new Nevzorov, thought, weighed, fed, but the money for the film did not give. - Here, many alert: sing oligarch! But your hero on the positive hero is clearly not up: he and the player comes to the same contract murders. Cynical manipulation of public consciousness through its channel. He puppeteer. - Puppeteer. That is what we wanted to show a scene where he "makes the country the President". - In applying the same teleanonsov hero promises: "I'm going back to Russia!" - Like Lenin before landing at the Finland Station. I watched a movie and thought: well, come back, but are we supposed to wait for what? New political adventures? Assassinations? What good will it? - Tycoon - centaur, he is half of the flesh, half of the titanium. By the end of the film haunted hero loses the last crumbs of human. He is now a wolf. But he was forced to this! In Russia it is now time selfless admiration for power, while the responsibility for what happened to the country, is as much on the oligarchs, much to the Kremlin. Among them were short periods of love and had long, protracted war. - The result was as if a snapshot accomplished era. But where it goes? The film is not a positive hero, except for an investigator from the province - "Ural nugget, which affect the event is not in the state. - It is just very important - this is a new type of human. This is a free man. Let these dinosaurs up there - the state and the oligarchs - are fighting, but he can just spit on all this dirt and leave. And to live independently of the powerful. - But it is on film, kicked out of the prosecutor's office "- kicked him, but he was not afraid and do not despair. He has no fear of eternal Russian Akaki Akakievich the boss. And I think this figure is encouraging. People need to understand: no need to wait for something from the top, you just have to live like people. Getting rid of a feeling of humiliation and lamentation for the past, from the expectation of a miracle. You're healthy, you have a head and hands - do matter, and life twist. I can see how the country is growing small and medium business, how to fill shelves, as people began to travel more ... - But the country does not rise to the travel, it must be something to make. It's a big country, it can not live under the laws of the Third World. - I do still think: a great country. But she had no idea. Our ideas are terribly demagogic. In America, more and more clearly: the concept of life as fun - from work, from his family, good children and good house, a glass of whiskey on the rocks. But, we always lived in the sense that the need to suffer, to overcome, to fight for everything and everything. We still hypocritically criticize money - in this case to him terribly committed. Even, a new cliche expression, . I constantly hear it on TV: good luck to you! We have that, . hunters, . mushroomers, . Players, . Pirates? Why must we live in expectation of success? We have not yet been formulated: what 150 million people live? So many of the roof gone from love to the dollar, . and this is just typical of Third World,
. - We have assumed that America has gone astray on the dollar. - America has not gone astray on the dollar. It is crazy on the idea of living well. Including on a diet, on the morning run and breaks in a meditation on clean air and healthy lifestyles. They say: we will not suffer like we have all the cars with automatic transmission. In America, many refuse to cash a career for the sake of a quiet life at home with children on nature. But reigns in the abstract love of the dollar, without a clear understanding - what he needed, why and where we live. - From the episodes depicting the movement Platon Makovsky to wealth, it is clear that this clever financial player, the smooth operator who makes money out of thin air. But in the mass consciousness of all easier: stolen! Your hero - stolen? - I think there. People paid dearly for his wealth - some of their own destiny, someone lives. They combine, worked on the brink of law and lawlessness. Were the oligarchs, who grew up from the ground like boulders - oil, gas ... And there were combinatorial minds - as the same Berezovsky. All the time something come up, calculate. And the trees grow with gold coins, as in the Land of Fools. - The working title of the movie - "Citizen M. Are you sure you want to remove the new "Citizen Kane" - I wanted but could not, of course. Too much time was needed scenario to explain the viewer technology exotic Russian business. A time for deeper psychological ... No, psychopathological analysis - not enough. - You are very attentive to the national nature of each of the characters - it seems important to you? - Since the Soviet Union as a multi-ethnic country - but you're just a magician, if made from Vladimir Mashkov Jew. To do this, so he had to dry up? - I told him: you must be a disembodied spirit. I wanted to make "black Mozart". To this man was talented, but not furtively. While the thief, of course, also. He wanted everything at once. To be loved women, friends, money. He knows how to forget, bestride, not to dwell on his troubles. Vladimir Mashkov all played, I think, well, he risked, went on his own image - and I thank him. Besides this, he brought with him a splendid Georgian actor Levan Uchaneyshvili, who once played in a Parajanov in "Legend of Surami fortress, and now lives and acts in the U.S.. - Curious character in Alexander Balueva: Koretski, a former aristocrat who require always love power - even the king, even communists, even His Excellency the President. Something in these speeches can be heard familiar. - The basis for this dialogue, I found a Eugene Schwartz: there gentleman complains - well, why the Soviets have rejected, . because we all authorities are ready to serve! Such people like to swear in his patriotism: "I have my heart aches for Russia - so I have a right to plunder it!",
. Such a robbery with a tear to me and wanted to show. Thus emerged the image of a gentleman-Communist who feels good with all the authorities. For the money fights worth fighting two ideas about Russia. The eternal debate: Russia - like everyone else? Either this is a special country? And it is not dangerous for her freedom? And do not corrupt democracy a special Russian spirit? Or it could be in line with other countries that are developing dynamically and in the West and the East. This dispute is still going, but if I had the answer seemed obvious: let freedom - and the country will go in a civilized manner, it is now, not hide, one wonders. I do not know, we are moving forward or backward. In the material sense - probably yes. In the spiritual - I do not know. - I must say, the movie did not add optimism. The sense of a closed circle, squirrel cage, the constant return to zero. The era ended and its outcome is unfavorable. - Film and was made possible because I thought: the stage is completed. I'd call it dinozavricheskim. Once the fish reached the shore, where they were badly. And the dinosaurs emerged, they bronetanki, these monsters with teeth and scales, they were fixed on the ground. Ruthlessly trampled trees and devouring each other. Performed their role - and disappeared. And was a different life. The oligarchs in Russia - a dinosaur. - Is it right to compare Russia to the Chicago 30's? - To some extent yes, and both times it was encouraging. Because America is very far advanced from the days when were purchased and the police and court, and mafia clans have their deputies. But they all were based on the family as a unit, and we have a large family was not important than ever. We - friendship. Men's and very cold. - And yet, the film is in Russia vista? - No matter how the fire today, but the liberation of man occurred. We like to look back, which allegedly is performed the golden age of Russia. But perhaps with the kings was not so good if people frantically rushil everything, including churches. And now, perhaps the first time ever, people can live within my mind - can choose to read any books and watch any movies, free travel around the world. The emergence of internally free people - the main achievement of the time, it is here - our perspective. Valery Kichin

Saturday, 1 January 2011

3D Nutcracker by Konchalovsky to Premiere in Russia

Director: Andrey Konchalovskiy
Writer: Andrey Konchalovskiy
Studio: Freestyle Releasing
Cast: Elle Fanning, John Turturro, Nathan Lane

Andrei Konchalovsky’s new film The Nutcracker in 3D goes on general release in Russia from the first day of the New Year.

The Nutcracker mainly features foreign actors, but Konchalovsky's wife Julia Vysotskaya plays the Mom and the Fairy.

American viewers already had time to watch The Nutcracker in December. However, in the USA the film was no success commercially and, moreover, was crushed by critics. “Critics attacked the film, I had not even expect it”, Andrei Konchalovsky mentioned. In his opinion, the reason of this failure is that there are lots of American films released before Christmas in the USA, and critics appear to be more loyal to them. However, the film director does not lose hope that The Nutcracker in 3D will be a success in Russia, Europe and Asia.