среда, 13 февраля 2019 г.

"Lord, let me save one more!"



I am wary of films that are “based on real events,” especially if they are related to military films. As a rule, such films often go out extremely boring and with a copious touch of patriotic pathos. However, with regard to the military drama "For conscientious reasons" I had no doubt that this film would be good. And the reason for this is one - Mel Gibson. This person is able to make pompous cinema in a good sense of the word, makes him empathize with his characters and treats his chosen topic with sincere love and trembling. And the result was a remarkable monumental biopic about Desmond Dosse - a man whom his faith did not allow him to take up arms and kill people, and who, nevertheless, voluntarily went to military service as an orderly.

What this picture deserves the greatest praise for is frank realism and even naturalism in demonstrating battle scenes. Gibson is not afraid of ratings and shows the horrors of war without embellishment, because of which you penetrate to him with even greater respect, because such honest and brutal war films in recent years have practically not been made. Cut off limbs, dropping out entrails, people burning alive in flames of flamethrowers, rats swarming on soldiers' corpses - all this makes you feel sincere disgust and hatred of war and at the same time understand that in this meat grinder people really need “Tinkering up the world when he is torn to pieces”, people like Desmond Doss, faithful to their principles and their duty, ready to give their lives for the sake of others. The film is completely devoid of patriotic motives and religious fanaticism, on the contrary, it carries a strong humanistic message, in the center of it is a man and his convictions, and only then everything else.

Definite praise deserve and acting work. Andrew Garfield, who hadn’t shone with memorable roles before this film, showed a surprisingly good game. It is in such a protagonist that you truly believe - kind and seemingly gentle young man, who, when it comes to really important things for him, is capable of being an unusually hard and courageous person who is not able to break any harassment in school or hostility commanders, nor the bloodbath of Okinawa. Other actors played a worthy role, especially Hugo Weaving as the father of the protagonist, a veteran of the First World War. Very good and camera work, and, of course, the soundtrack, perfectly conveys the whole scope and drama of the story shown to us.

“For conscience reasons” can be safely called the best military drama of the last decade. Of course, this film is not perfect: there are separate clichéd scenes, patterned characters, and logical inconsistencies in the plot. But thanks to the wonderful acting game, the ideological promise of the film and its powerful emotional component, almost no attention is paid to its shortcomings. Gibson shot a very good anti-war movie, in which he showed that even an ideological pacifist has no right to stand aside when something that he loves and appreciates is at risk.

8 out of 10

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William Wyler. The best. Part 5. Epic canvas.


Ben-Hur is a historical-adventure drama lasting almost 4 (!) Hours, taking into account overtures and other inserts for breaks that were relevant at the time. Being a true fan of cinema, I have to admit that few people are able to master a picture of this magnitude in one go (I succeeded). And here the quality of the product is absolutely not important, just to keep attention for such amount of time is physically unreal. Be prepared for that if you dare to see completely that at some point the forces will leave your body and your brain will need a reboot, therefore take advantage of the intermission, which is in the narration and take a rest for at least 30 minutes at this moment.

Now directly about the film. We have before us a classic story about the confrontation of two close people, practically brothers in relation to each other. But the sense of purpose of the "Roman brother" could not coexist with patriotism and a supporter of a certain religious idea of ​​the "Jewish brother." The situation between them strained to the limit and at the first opportunity one of them (Roman Messala) betrayed Judah Ben Hur, sending him into slavery.

First of all, it is worth praising the scale of the production. It is quite difficult to describe in words, but it is impossible to forget what you see. Incredible beauty landscapes, fashion design of the time, the number of people participating in the crowd, the grand scenery - all this is done as healthy and professional as possible. Alignment of the frame, the dialogue between the characters, a huge number of events - this is only a small grain of the success of the picture. Before us is a classical theater, with the proper play of actors, but with incredible technical tools (for that time). Now no one is shooting. Everything, in order to save, try to draw on the computer.

With all this, you can chide the director for timekeeping, which does not fit into any framework. Dynamics is absent here as a class and does not appear even closer to the end. Protoganist, despite his heroism, is represented by an overly emotional man, which is why his “machismo” dies before he is born. Some scenes are trying to get ahead of the time in which they were filmed and look pretty shabby. But all this is overshadowed by the verified direction and acting (the latter concerns exclusively male roles). You literally live the life of Judah Ben Hur (Charlton Heston), suffer with him, rejoice in his good luck and success, and hope that he will eventually die his ardor, and his soul will find peace in this world. At the same time, the struggle for ideals, the opposition of the majority and minority, the authorities and the peoples under its control does not stop for a second. Jude is trying to find a path that should be followed by his people and by which he himself will want to lead him. In the end, he will find it, but pay his price for it.

In connection with the release in 2016 of another film adaptation of Ben Hur from the maestro of Russian cinema Bekmambetov, one can not help comparing both productions. Despite the fact that Timur had a lot more ways to shoot these or other scenes, he loses to the point of true breakthrough canvas by William Wahler. Not saved even significantly comfortable timing. This proves once again that in order to make Cinema it is not necessary to have the most advanced and modern equipment. Just a little desire, a little bit of luck, a pinch of arrogance, but the main thing is talent. Literally every scene that a modern representative has is filmed significantly worse than his older relative. For example, it is worth mentioning the way Jesus is presented in both pictures and what role he plays in the plot. In 1959, the author makes him a real god, deliberately not showing (not daring) his face, even in the light of the bright sun. Moreover, it is quite organically woven into history, playing an important role. In 2016 - we see in essence a person, with a face that the rest want to see omnipotent. In the film, his presence is due to the original source, rather than the necessity of the plot, and he feels like the fifth leg of a dog. Neither subtract nor add.

8 out of 10 Long thought about whether it is worth advising to join the art of the modern audience, which is utterly spoiled by cinema. There were doubts while watching, but after the end I can safely say - necessarily. Just ... you need a lot of free time.

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Once upon a time in December of the 41st

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вторник, 12 февраля 2019 г.

Rublev's not found magic



The name of this film is listed in many of the most prestigious lists. In the lists of the best pictures in the history of cinema. This is perhaps the most recognized tape of our genius, A. Tarkovsky. Both at home and in the West. You can long list the merits of this film. But even after an hour of such occupation, I will not change my opinion. The paradox is that the film practically did not hurt me.

Perhaps this conclusion is due to the fact that I simply did not understand some episodes. I did not understand the intent in them, their content, and their presence in general. Yes, and "Andrei Rublev," as probably all Tarkovsky films - difficult to understand. So far the most difficult of those that I looked from his filmography. For me at the moment it remains a mystery why, for example, the main character in the 2-part appears extremely rare. It seemed to me rather strange. If at least remember the name of the tape, and about whom it should be said. But this point, I probably also can not get to the core.

As if there was not, but of course the works of such masters can not do without merit. Directing and camera work of V. Yusov, respectively, in order. How could it be otherwise! Tarkovsky boldly shows a lot of female nudes. Although we all know the merciless Soviet censorship ... I liked the play of actors. Like awesome music. Which, like the rest of the aforementioned merits, inevitably takes place in the films of this outstanding director.

At the end of the film, in my opinion, the display of Rublev’s icons lasts too long. 6-7 minutes somewhere. But this is already as they say, "the taste and color" ... Be sure to revise this picture in the future. In order to understand it better. When I watched "Stalker", there were also questions. Then, over time, I began to find answers to them, even without re-viewing. A "Andrei Rublev" need to look. And try to understand. Tarkovsky need to look, and also try to understand. The fact that for Russia Pushkin is in literature, Tchaikovsky is in music, then Tarkovsky is in cinema. People who at the mention of each of these types of art first come to foreigners. That is all it says.

7 out of 10

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The future is not in your hands



Fascism. What do we, the children of the 21st century, know about fascism. Practically nothing, and what we know is the information on the stories of parents, and more often veteran grandfathers. And fascism, of course, is associated with the Second World War.

The film by Mikhail Romm has opened a lot for us. Of course, this master of PR cannot be completely trusted, but I’m sure that most of the facts from the film did take place. Throughout the film, the author uses many blows on emotions. Take the very beginning: students, young mummies, cheerful music, which stops abruptly ... a shot ... and here we see mountains of corpses. Even the tone of the commentator's voice has changed. At first he spoke about people, and now about the crowd, about the mass. Romm clearly separates people from the crowd. It was a smooth transition to the main theme of the film. Adolf Hitler appears in the arena, with his far from scant promises. But maybe these promises he really wanted to turn into reality, and not as we used to just listen to them. I never thought about how Hitler came to power, it turns out, according to the author of the film, his party processed the old Mr. President in 3 weeks, and Adolf took the ruling chair, from that moment on, the fate of Germany changed drastically.

In the film, a lot of attention is paid to the cultural life of different countries: police exercises with stuffed animals, descent on teeth, riots in London. It all goes into what the German people turned into ... Savages. The author says, with which I completely disagree, that half-literate half-dull people have come to power. Maybe he made such a conclusion due to the fact that these people burned the books of great authors, the classic masterpieces of not only other countries, but also their own, domestic ones. The Fuhrer ordered - we execute, but we are not supposed to think. Theater Kuklacheva some. Fascism made sectarians out of people who vowed to stop being people, swore not to their homeland, but to some uncle with a mustache, who stole a stupid gesture from Mussolini. “You are nothing, your people are everything”, how could you live with such a motto if each of these people is nothing ?! Did you want total war? Here they are women, killed at close range from a pistol.

Michael Romm in the film shows the mass of manipulation techniques of Hitler, when he had already created the largest sect. Children with bouquets of flowers looked very rehearsed, and when the Fuhrer shook the man from the crowd, the people were crying around, oh, of course, here he is our god, he will save us, he is sent to our land from above! This is the purest blow to the emotions. Ascended to heaven during his lifetime - this method of propaganda is used very often against the ruler of Germany.

The film is not simple for perception, but it is diluted with humor and satire, which the author himself brings here with his comments: now he will sit down ... sat down (thanks to the dear author, we would not see this without you). The president has lost his way, now he will find a way ... he found it (super, apparently Romm was afraid, suddenly the image would disappear, even though it would be heard by ear). The plot with the seal is generally pleased, it turns out that people not only like that they are compared with animals, they also become like them; This, of course, is done to move on to the fact that Hitler made animals out of his people. But when the author described the photos and videos of Hitler, honestly, she recalled comments in modern social networks, only comments from her own photos: it’s me, I’m fishing, I pack, I’m sad, etc.

Often, the author resorts to irony, telling us about the innovations formed power. To eat the common soup and lower the coin is evidence of trustworthiness; of the gifts, the Fuhrer can only please the right mother and the right child, from any soldier; but most of all I was pleased with VNI - the Great National Idea: the right skull! Germany should be cleared of the wrong skulls - I think this statement does not require comments. If we were to clear the country of the wrong eardrum, or the wrong liver, the population would have decreased by a factor of 2.

All this is good, and the film is good. He has more than one goal, in my opinion the main one is, as always, in the end: People everywhere remember the terrible days of war, the loss of fathers, sons and brothers. And of course, the main emotional impact is the children who naturally tell fairy tales, and the call: “Think about the future”, how can you raise children in a wild animal life ...

7 out of 10

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вторник, 29 января 2019 г.

Be kind, slow down! I am writing down…



Gaidai’s comedy “The Caucasian Captive” is perhaps one of the peaks of his work. Here the director used as much as he could and got a high-quality result.

The comedy turned out so funny and outstanding that it looks even today as a magnificent masterpiece of cinema, not aging with time, but rather becoming more valuable. This, if it were possible to compare with painting, as, say, the painting of Polenov “Moscow Yard” or any other masterpiece of that era and genre. This is a classic, unforgettable, and one of the brightest events of Soviet cinema.

The plot, of course, is hilarious and with its “bells and whistles”. A young student Shurik goes to the North Caucasus to study customs, and on the way he meets Nina, a girl characterized by only a few bright words: "She is a student, a sportsman, a Komsomol member, and finally - just a beauty." therefore, the film draws attention to itself immediately, starting from the first frame, from Shurik's acquaintance with Edik.

I can say that Gaidai used here not only his standard comedy techniques, but also the general atmosphere of filming. Firstly, the beautiful nature of the subtropical belt of the USSR, secondly the peculiarities of Caucasian color and customs, and thirdly - the indescribable atmosphere of the film and the relations between the characters. It’s like a comedy, and romance, and even a bit of hooliganism, for example, during the abduction of Nina or the scene in the house with the service. but it doesn’t diminish, but on the contrary, elevates the film, making it light and bright and at the same time enjoyable to watch.

As for the acting, I can say that it is not just at the height, but at super height. Awesome performances by Morgunov, Vitsin, Nikulin, this three-sided Gaidai, simply make the viewer laugh. especially when talking to a restaurant with Shurik, and when they came to the house where they sang one of the pearl songs of this film, it’s just a talent that everyone doesn’t have, I certainly say. But also in other episodes of the film, especially when it is a scene with a refrigerator and chasing a car in the back of it with Shurik on a water-cart, it looks just great even in our days.

Do not disappoint the film and the soundtrack. The song about bears was often played on radio and TV, and was generally loved by the people. But in the movie itself, the soundtrack, though not outstanding, but the music is appropriate in all episodes. That is, I want to say that it is appropriate, correctly chosen and put up quite well, for which Zatsepin is a huge respect.

Also, Mkrtchyan and Etush played their roles superbly. Without ngih picture would be much more boring. Therefore, they are very appropriate here and their acting game has become a kind of example in Soviet cinema. Also, Varley played for all 5 +, so first of all the film turned out because of a competent acting game.

But no less a role in the film is played by the comedic situations themselves and the catch phrases that have long been dispersed among our people for quotes.

In general, a wonderful, funny, without vulgar jokes and assorted humor movie. In short, a masterpiece of Soviet comedy for all times! Therefore, I put the highest rating possible, namely:

10 out of 10

Pretty masterpiece movie!

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