Dom durakov

A hospital near a monorail.A merciless war.The soldiers' grimness.The psychiatrist left his "psihushka" to seek means of securing his patients.The clinic is taken over alternatively by Chechens and by Russians,and made over into a battle scene.

The mad people:some are grovelling,others are grumpy,others grinning, contentious, fractious, petulant,forlorn, babyish,foul, fossils of disease.

The Chechen soldiers are portly,while some of the young ones are very handsome.

My favorite scene is the Chechens' song:heart-breaking and manly.It also offers a sample of the beauty and musical valences of that Oriental language.One of the best musical moments in cinema's history.

"Dom ..." is made of suavity and infinite tenderness.The story is limber.In depth,this flick about an amorous insane woman is a parable about the ambiguity of life.The score is a profusion of beauty and Oriental privacy.

Mrs. Vysotskaya is amazing as "Jana";the rest of the cast is first-class.

Visually,the movie is not as beautiful as many Russian movies are (e.g.,Utomlyonnye Solntsem).The photography is deliberately made to look like that of a documentary.The hospital is not grisly;"Dom Durakov" is not about madness in a clinical sense,nor war,nor love,for what love could be that;it is about the ambiguity of life,about the hidden infinite suavity.The hospital itself is a parable.It is a clinic of parable and symbol,not one of cruel naturalism.The aesthetics is one of insobriety,extravagance,fancy and powerful exuberance.

"Dom ..." features a pleasurable and plain cosmopolitanism:Adams and Chechen songs.

Konchalovsky is back in high form,with this work of contemplation and insight.

Tocilescu,the Romanian director,praised to the skies this film's richness.

I watched this movie on 7/14/06 with the Middle east ablaze and the Bush Administration still spouting their tired nonsense about democracy while Palestinians are slaughtered by the scores. Folks, the only language we, homosapiens, understand is force. Northern Ireland, Palestine, Chechnya and on and on. Might makes right and the rest is fluff. The movie is not so much, at least I don't think so, a commentary on the war on Chechnya as much as it is on human follies. For those of us who have known the wrath of a woman the scene after the newly-wed husband leaves and she stabs his pictures with a broken glass is so frontal-lobe. And then the silence when he returns! A master piece indeed! Perhaps the moral of the story is that might IS right and love insane! Enjoy.

For some I can't stop thinking about this little gem of a movie, it has more heart and soul than most of an entire decade of mainstream films combined. Konchalovsky is an interesting director, certainly when you think at the wide range of his work (Runaway Train, Shy People). I was somewhat fascinated and semi-perplexed when I first saw this, but the more I tried to peg it down ("ok this is the Russian Cookoo's Nest--with some 'I Never Promised you a Rose Garden' mixed in") the less it became so. This is an original one of a kind film, highly underrated, highly overlooked, especially in this country. Which is too bad, the rest of the sleepwalking brainwashed masses can flock to see their "Bruce Almighty's or Matrix Reloaded's every week, I'm glad I'm aware of films like this.

I saw this film yesterday and I'm still under the impression. It was overwhelming. All is brilliant -- plot, acting, images, music...

Certainly, there are motifs from other films -- "One Flew Over the Cuckoo's Nest" (for example, the episode when the inmate break out of the asylum), "Dancer in the Dark" (the dreams of Janna) -- but they are organically interwoven in the canvass of Konchalovsky's film.

This oeuvre, like other films by Andrei Konchalovsky, is a result of a happy amalgamation, a synthesis of Western and Russian cinema traditions, which does not happen often.

The film is profoundly artistic and at the same time realistic. This is achieved not least by a careful choice of details. For example, in the background, in the TV screen, you see Boris Yeltsin, the Russian ex-President who started this dirty war, and his corrupt Minister of Defence Pavel Grachov ("Pasha Mercedes").

The verbal language is also true to life. The personages, in particular the Russian military, use quite a few of Russian 'four-letter words', and here the use of such words is fully justified.

I saw the films in a DVD edition (Paramount Classics, 2003) and the only disappointment was the subtitles. The English translation is sometimes too inexact and leaves too much dialogue untranslated. This needs to be corrected in the subsequent edition.

Of course, the best is to see the film in Russian. But even if you do not speak Russian, try to see this film, because it is a masterpiece of a universal value, which transcends the language barriers. Watch it with an open mind.

I wish that all Russians had the chance too see 'The House of Fools'. Then, probably, their perception of the Chechen people would change for the better, and it would also bring them to a reflection about the war in the Caucasus, which is both Russia's crime and illness, and how the country could overcome it.

Thank you Mr. Konchalovsky, thank you all who made this excellent film! 10/10

House of Fools follows the lives of a group of patients abandoned at a psychiatric hospital during the Chechen War in Russia. The protagonist, Janna (Yuliya Vysotskaya), must reconcile her dreams/delusions for a happy life (with Canadian pop star, Bryan Adams) and the real, violent war going on around her.

Offering an insightful parallel between the minds of psychiatric patients and war-torn soldiers (from both sides of the war), the director, Andrei Konchalovsky, poses the questions: What is "madness" and who is truly "crazy"? Without losing its quirky humor, the film's questions are brought to light through emotionally moving and complex characters and plot.

Konchalovsky provides a sympathetic contrast between the psychiatric patients and soldiers upholding his theme that true insanity comes from human aggression like war rather than mental disorders. The film first depicts the psychiatric patients as "crazy"; however, the arrival of the soldiers and war suggest a role reversal. The insanity of violence and two sides fighting against each other (who had previously fought with each other in the Soviet war in Afghanistan) is highlighted, while holding on to something—a hope for love, dreams, fantasies, and, above all, humanity—is presented as the combatant to insanity.

For those who love quirky films with deeper emotional and philosophical meanings, this film provides a perfect balance. Yuliya Vysotskaya's performance as Janna is astonishing. At moments she makes you feel both utterly sad and joyously optimistic at the same time. She plays the role beautifully and intelligently, using her humor as relatable and lovable, rather than as a gimmick. Not only is the film shot beautifully, but the plot and character are just so interesting that one is left wanting to watch it over again with somebody new. I would definitely recommend it to all of my friends and family. If not for the cinematography, moving themes, plot, and characters, then for the references and appearance of Bryan Adams which is just funny.