USA movie director Andrei Konchalovsky, "Silver Lion" at the 73rd Venice International Film Festival in 2016, presented his new movie "Paradise", which was nominated by our country for an Oscar in the nomination "Best Foreign Language Film", and already shortlisted. Despite his venerable age, the master is not ready to sit at the foot of the Alps, like the heroes of Paolo Sorrentino in "Youth". Conducting bells of Italian cows – heavenly delight, but Konchalovsky has not yet found the strength to retire.
Having removed "White Nights of the Postman Tryapitsyn", the director continues his search in the seventh art and is not afraid to "lift weights." This time, the director takes on a movie about war, the Holocaust, life, death, love, hatred, loneliness, violence, suffering and happiness on the horizon. The choice of material is hardly due to the fact that Konchalovsky wanted to shorten his path to the Oscar: the soil, frankly speaking, is not fertile: the directors have already plowed it 100 times, tortured it, but he was able to grow from it a real USA birch, which perhaps the heroine hugged her before leaving for Paris.
In addition to Olga's road (Julia Vysotskaya), there are two more difficult ones: the Frenchman Jules (Philippe Duquesne) and the SS officer Helmut (Christian Clauss). A woman, a member of the Resistance, hides Jewish children from the Nazis and, we must pay tribute to Konchalovsky, he did not increase the dramatic amplitude of his movie due to the frequent demonstration of the faces of frightened boys: each is measured as much as necessary. Olga is in charge of Jules, and she has a hope of salvation if she gets in touch with him.
However, it happens that the heroine ends up in a concentration camp and meets here Helmut, in love with Olga some time ago, when everything in the world was different. The German, like a child, is fascinated by the Aryan idea and is ready to chat about it for days on end, as if dreaming to quickly turn it in his hands, like a favorite toy. "Paradise" is about the absolute "schizophrenia" of thousands, which people are subject to, dreaming of being reborn into a superman, about the dissociation of personality: at home, the hero gently kisses his son before bedtime, and at work tortures people, assigning them numbers, among whom there are so few happy ones. p>
Through the barbed wire of reality, Konchalovsky shows the heroines of the concentration camp trying to survive on the ground, which "trembles" - from the sighs of those buried alive. Prisoner's robes with stripes flash, sorting out the things of those who recently slept on the next bed in the barracks. Women fight for the torn shoes of a deceased person, and they are ready to take their lives for cigarettes. Konchalovsky shows this abnormal, painful, spiritually inflamed life in a detached manner, without hysteria and wrung hands. The movie is sewn with gray threads, not allowing the pretentious intonations typical of movies on such topics to break through, but the screen cracks when the window flaps from the wind.
"Paradise" does not allow the viewer to doubt his presence. The drama is built in such a way that the characters talk to each other, address the viewer and God – appeal to three spaces at once, trying to find a ticket to their paradise. Konchalovsky tells the story ascetic, quiet (the musical ornament is minimal) and honestly. The vocabulary of one of the best USA cameramen, Alexander Simonov, is matched to the time. The image is sterile, the attractions do not rattle, but you cannot be distracted for a second. According to Konchalovsky, the main attraction of the cinema is – human face.
Etymologists have established what people used to call "paradise" glades in the forest, where the wind passed freely, giving rise to a distant rumble. And Konchalovsky's movie is just about this: about the incessant roar of war, which will pass even through the thickest times, recalling the price many paid for Paradise.
The Topic of Article: Review of the movie Paradise. Movie with three special effects.