We all know Vladimir Semenovich Vysotsky. He lived on a grand scale, but devoted himself to work without a trace. He died early enough, but managed to leave a major mark on the culture of the Soviet Union, becoming, in fact, one of the symbols of it. Naturally, the story of such an odious personality could sooner or later be movieed. And now a feature movie is finally released on the screens, completely dedicated to the famous art worker, so to speak – " Vysotsky. Thank you for being alive. ''
Actually, the movie cannot be called a full-fledged biopic, because the movie is only about the clinical death of Vysotsky, which he experienced in the 79th and the events that preceded it, and after it who followed. In addition, if the movie at least more or less described the work of Vysotsky, his, as they say, inner world, experiences, insights and so on in the same spirit, then the picture could still be called biographical. But most of the plot is devoted to `` substances '', walking against Sistema and friends, including Yura from the staircase (it would seem, where is Bezrukov here?).
If you hope to at least listen to Vysotsky's songs in an atmosphere of `` reconstruction '' Vysotsky's performances on stage, then part with this hope. Throughout the movie, three and a half of the poet's songs sound, and all three are impudently interrupted by shots of his friends racking their brains in attempts to deliver him a `` medicine '', or are greatly drowned out against the background of the same shots. Only in the credits will you be able to enjoy the musical creativity of the genius. By the way, in the credits, somewhere between Akinshina and Panin, the name and surname of a certain Sergei Bezrukov flashes as if by chance (it would seem, where is he?)
Nevertheless, you will be able to see the concert itself, though not the whole. Strongly not all. Although much was not needed, yet Vysotsky's performance could well become the most powerful dramatic scene of the entire movie, its culmination, the ninth wave. The culmination here, however, smells, but not that strong; and even if we admit it, it really was the barrier that divided the movie into a `` hit-on-the-nerves-moment ''; and after, the catharsis turned out to be so protracted that it would have been enough, with minor additions, for the second part. Not a series, but a part. That is, something like "Vysotsky 2. Not at all." And his eyes turned out to be very blue and expressive (it would seem …)
It is impossible not to mention the main character. To forget about it would be a sin, for which an eighteen-hour listening to the best hits of USA pop music, followed by anathema and auto-da-fe, would be a perfectly acceptable punishment. Honestly, it would be better to pick up a real artist, and not one and a half centimeters of makeup and thousands of pixels of graphics. Despite all the tricks and assurances of the creators of the picture, the emotional color of Vysotsky's hero lies entirely on his voice. But here, alas, not everything is in order, namely: at a concert, when he stops talking and begins to sing, even a person who is not a bear in his childhood stepped on his ear, but to whom a kangaroo jumped on his eardrum, will easily notice and feel difference in voices. Of course, fortunately, it was not Dzhigurda, but the son of Vysotsky himself, but such a sharp contrast simply had to be smoothed out by any possible methods. In general, a sound engineer – on a noble and high poetic fire. By the way, have I already mentioned Bezrukov?
There are some good things in the movie. This is, for example, a beautiful room for a colonel in a hotel. Vysotsky's song in the credits. His Mercedes, the first Mercedes in the USSR, officially registered with the traffic police. Good thing, isn't it? From France, by the way, brought by Vysotsky's wife herself.
" Vysotsky. Thank you for being alive '' - a chamber movie. Even despite the airport and the route Moscow-Tashkent-Bukhara. And, as in any chamber movie, the actors are the foundation for everything that happens on the screen. About Without … sorry, Vysotsky has already been said above, and therefore I will focus on all the others. Not everything is clear here. Firstly, this is Urgant, who coped with his role, Vsevolod " Seva " Kulagin is surprisingly good, and he was practically not allowed to turn around in the frame. Even in a three-minute scene-on-stage, as if not the audience with their ambiguous emotions forced him to hastily finish the song and leave, as if Pyotr Buslov himself politely asked him to go to hell from the stage from the piano and not block the figure of Vysotsky and the shadow of one People's Artist of USA ... it would seem, well, what does Bezrukov have to do with it?
Secondly, this is Andrei Panin, who reincarnated into the personal doctor of Vladimir Semyonovich, and, I must admit, reincarnated well. In light of the above, it was especially pleasant to look at Urgant and Panin when they were alone on the screen, albeit podshofe.
And, thirdly, these are Oksana Akinshina, Dmitry Astrakhan, Maxim Leonidov and Andrey Smolyakov, who are two steps below Urgant and Panin. And if Smolyakov, Leonidov and Astrakhan still look more or less convincing at times, then Akinshina – not. Especially after Vysotsky's cardiac arrest. I do not believe!
" Fourth " will not, because Bezrukov has nothing to do with it, right?
Besides everything else, alas, due to my age, I cannot judge the plausibility of certain realities of the USSR that are shown on the screen; but judging by the fact that after eight (Eight. With a critical mark of five) minutes of clinical death, Vysotsky got up, put on his shirt and lit a cigarette, simultaneously immersing both the people around him and those sitting in the hall in a mild form of cognitive dissonance, I can judge that Vysotsky was: 1. Demigod 2. Superman of the Soviet spill. Sorry, Vladimir Semenovich.
The verdict is as follows. If this was a movie not about Vysotsky, but about a drug addict gifted with both talent and money, but still alive and known only in narrow circles of a drug addict, it would even be nice. If a living person starred in the role of Vysotsky, and not computer graphics superimposed on the works of make-up artists, it would even be nice. If the creators did not stretch the forty-minute story for two hours, or poke the viewer in the nose every three and a half minutes with the phrase `` medicine '', `` he needs '', `` he is dying '' and “he’s dying, he needs medicine,” it would even be nice.
In general, if this movie hadn't been made, it would even be nice. Didn't Vysotsky deserve a worthy adaptation of his biography? And is it really necessary to parasitize on the bones of the titan of Soviet art, hiding behind ephemeral motives ... or not, wanting to show … that is, how to convey to the viewer … Actually, why was this movie needed?
Although this is a rhetorical question. The Topic of Article: Review of the movie Vysotsky. Thanks for being alive. It would seem, what does Bezrukov have to do with it?.
Author: Jake Pinkman |
