Tuesday, June 23, 2015

Andrei Proshkin introduced the “Orleans” in the competition of the festival Moscow – Russian newspaper

God knows where the town of Orleans slept hovering over him curled corpse flies. But was a strange man, who had a first look of the artist and presented as Sukhorukova Executioner. Then his appearance has changed many times, but his eyes and his voice is still owned by the artist Sukhorukov, and the Executioner persistently hovered over what’s happening with their non-vanishing Cheshire Cat smile.

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The cat will also be – huge, like Bulgakov’s Behemoth. Ball And Satan will – but in a circus tent, where, spraying blood, sawing people. Such a time.

In these coordinates do not expect domestic comedy. Hell is brewing – a rare visitor in our cinema. Feature film Andrei Proshkina “Orleans” is defined as a phantasmagoria of sin. Its writer Yuri Arabs repelled by the world’s best as the phantasmagoria of the second reality – it was more viable than the first. Someone already saw in the film echoes the “Last tales Rita”, not knowing that this “fairy tale” – take “Orpheus” Cocteau. But the closest relative, of course, with his Bulgakov Woland. Not quoting the plot, the film takes the idea to cast our gaze outside world, critical and pervasive, seeing even that safe shelter in the darkness of the soul. The eyes personified conscience.

This immediately makes the fantasy of the earth: the conscience, at least sometimes, tossing and turning in each. As much as it may try to kill all the available public funds, it is a means to society uncontrollable. It was a hero and actor Victor Sukhorukov, whose velvety voice says philosophically, “moral and ethical roaming” our greshkov. Most sins everyday, conventional wisdom, suck like a quagmire. The investigator, who all the drum and who lives according to the law “Think not the head, but from the inside.” The surgeon, who is also all the drum, from patients to the native father. Hairdresser, where the drum and unborn babies and their own future. The people in the tent, which is better not to describe the words, from the time of Bengal, he greatly thinned their interests and baldeet only at the sight of blood – the rest of the drum. Everything looks bright, fun, recognizable and Bulgakov optimistic. Perhaps because there is a bright young man in the guise of the youngest of the family Tabakov – Paul. It is, of course, hit in the face, but it is just a glimmer of hope, without which the parable is not a parable.

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The film immediately break out of a series of modern kinozhvachki: no dialogues in everyday verbal garbage, and there is the literary language, which can be enjoyed. You can follow the development of the author’s thoughts – in all the most exciting movies. There’s something called the poetics, and there is no need for what is called obscene language. Cannon directed – grotesque. Modelled everything slurry, which is sinking town, the buzzing of flies instead of the overture, battle scars on the face of the fundamental investigator, inflatable elephant wandering on rough roads, circus, instead of passion for life, it is paradoxical harmony songs of the band The Tiger Lillies, the Virgin on the left shoulder and constantly fading candle, vaguely reminiscent of something, and a recent landmark. The wounds on the unjust life – the meaning of the film, but he was deprived of all pritcheobraznosti edification – probably because of the same soft tone actor Sukhorukov, sorry, but no sentencing on his own behalf. It is, of course, Executioner, but lost the hunt to punish or pardon – he can only toss and turn around, like nedorezanny conscience. From this Satan-conscience all the time want to escape: it is buzzing like a fly, it makes easy to love, to sleep and eat. Some have found a good way to meditate on the interference of the TV, which, in general, it makes sense – better than a talk show. In difficult times people are attacked by nervous zhor, and sometimes you want to sew up the eyelids – Alaverdi to Guillermo del Toro, while dreaming, and Gogol. In general, a way out, of course, is there, but calm street workers loading very, very disturbed. So Executor will need to cut, the more it means – the most usual.

These artistic means a novelty not only for the director Andrei Proshkina, but for all of our cinema. Some foresight style and method flashed in “Chapiteau show” Sergei Loban and especially in his “Dust.” Do not take the course, the film adaptation of Bulgakov’s because it’s so easy and accessible to Goethe, but the last quarter of a century our mundane movies rarely ventured to rise above the skirting – basic and most obvious art-house audience. The proposed code feature film insidious: if a game is not included willingly and immediately sur may remain “rekbusom-kroksvordom”, and nonsense, which did not agree to make ends meet. But if you catch a wave – the film will not let go. Almost every move it interesting to think out, the playwright wants to shake hands: “Happiness – is when you understand.” And ask him to explain why the elephant and the monkey why pointless: everything starts to sag and may crumble because artistic masterpiece sealed no lime, and intuition.

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In the film, the four main characters and four main roles. And played recklessly: the actors hurriedly picked up the script every thought, she lives in them, and rages, puppeteers every movement of his eyebrows. It’s not by chance, nothing goes unnoticed. About Victor Sukhorukov I said. Vitaly Hai in the movie somehow gets the role of police officers, which, although they call the cops, and Milton were booths with their iron horses and slowly-thoughts. But each time the actor is revealed in a new way – this time in front of us sad Derzhimorda from the meaninglessness of existence indeed forgotten how to think the head. New appeared and Elena Liadov, where first-class dozing comedienne. The opening of the film became the surgeon Rudik Oleg Jagodina – the metrazhnaya and probably the most crucial part of the picture. It only wakes up something, it’s something painfully smekaesh, something shimmers and gleams in his eyes, first empty as polished bowls, and then more and more meaningful. That it becomes like our representative in the plot, it was in his shoes to wander the streets of cargo, not knowing how to get away from the obsession. This work is smart, powerful, once again draws attention to the school Nikolai Kolyada, which has become almost the main supplier of talent for our cinema – drama, directing, acting.

Will it be possible to saw Satan and finally crush the conscience – as they say in the first place, “time will tell”.

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