yahin
A rejoint août 2003
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Commentaires7
Évaluation de yahin
The only modern Russian film I can label a total failure (given it was directed by Khotinenko, formerly the leader of 1980s Russian intellectual cinema).
Nothing and nobody worked well in this piece of crap. How can one shoot a film which is a total disaster given the best opportunities provided: Ennio Morricone as a music composer, Chulpan Khamatova (the best Russian cinema actress (along with Ingeborga Dapkunaite)) as a leading female hero, enormous funds of Russia's Channel One, good (meaning cheap:) connections with the military allowing to use resources of the Russian Navy, and a plenty of good examples of "submarine movies"?
It is almost impossible to make a bad submarine movie nowadays given the stunning (e.g. Das Boot by Wolfgang Petersen) or simply good like "K-19" or "U-571" sub film examples. "72m" even employs some citations from Das Boot which means that somebody from the film crew has seen that film:)) - however, ineffectively.
One might argue this was the first experience of a "blockbuster" film by contemporary Russian TV producers - I regret they have not realized that they should better shoot their TV-series crap than to spoil the perception of the great Russian cinema. I mean the great Russian directors like Eisenstein, Kozintsev, Pudovkin, Dovzhenko, Klimov, Tarkovsky, etc. just whirl in their coffins when somebody tries to judge about the Russian cinema thinking of the "72 meters".
The same producers later delivered the "Night Watch" - an evenly questionable, though better shot, piece of film. So there is some hope for Russian viewers - maybe the Channel One (ORT) producers in a dozen of films will learn what they had to learn at a film school which nobody of them have attended.
Please do not waste your time or money. 0/10.
Nothing and nobody worked well in this piece of crap. How can one shoot a film which is a total disaster given the best opportunities provided: Ennio Morricone as a music composer, Chulpan Khamatova (the best Russian cinema actress (along with Ingeborga Dapkunaite)) as a leading female hero, enormous funds of Russia's Channel One, good (meaning cheap:) connections with the military allowing to use resources of the Russian Navy, and a plenty of good examples of "submarine movies"?
It is almost impossible to make a bad submarine movie nowadays given the stunning (e.g. Das Boot by Wolfgang Petersen) or simply good like "K-19" or "U-571" sub film examples. "72m" even employs some citations from Das Boot which means that somebody from the film crew has seen that film:)) - however, ineffectively.
One might argue this was the first experience of a "blockbuster" film by contemporary Russian TV producers - I regret they have not realized that they should better shoot their TV-series crap than to spoil the perception of the great Russian cinema. I mean the great Russian directors like Eisenstein, Kozintsev, Pudovkin, Dovzhenko, Klimov, Tarkovsky, etc. just whirl in their coffins when somebody tries to judge about the Russian cinema thinking of the "72 meters".
The same producers later delivered the "Night Watch" - an evenly questionable, though better shot, piece of film. So there is some hope for Russian viewers - maybe the Channel One (ORT) producers in a dozen of films will learn what they had to learn at a film school which nobody of them have attended.
Please do not waste your time or money. 0/10.
Genre definition of this film is a hard thing: I have written "comedy" but at the same time I can label this film a "tragedy" because it delivers an overall sense of the Russian 20-th century tragedy, on which background a personal tragedy of the heroes looks just as a particular case. Besides, all the heroes are already dead by the time of the film and the back voice belongs to the youngest hero who is also late.
Plot outline is simple (I hope, I won't spoil viewing:): a tractor woman-driver dreams of a chintz pattern to lace a dress, however, in a setting of the total poverty of the Russian post-WW II village, the fabric may be only presented by authorities as a prize for the "high tempo" labor- and how hard (actually, too hard) she works! As a result, the woman is presented a challenge prize - a velvet "Red banner" which she has to keep at her village house. The banner immediately becomes a target for mice willing to eat it, and the woman tries to do her best to keep the banner intact because the loss or damage of a communist symbol may inflict an "anti-communist" charge against the whole family. The labor victory changes the life of the family: as the back voice says, "This was the last time I saw my mother smiling." The film well shows the twisted labor motivations people had when alienation from the results of the labor was the norm.
Almost a docu-drama, the picture uses many tools its author, a prominent Russian documentalist, has developed in her previous documentary works: shooting in a real Chuvash village, the use of not professional supporting actors all of which are real gems, modest, natural coloring, depiction of some still existing pagan rites, etc.
The film is a rare example of an honest and sincere movie free of "visual effects" and "product placement" crap deemed "cool" and profitable by modern Russian cinema producers. No surprise, it had an almost zero distribution in Russia and would probably find more fans among Western viewers.
If anybody wants to sense what and how simple Russians felt during the Stalin era - this is THE FILM.
Plot outline is simple (I hope, I won't spoil viewing:): a tractor woman-driver dreams of a chintz pattern to lace a dress, however, in a setting of the total poverty of the Russian post-WW II village, the fabric may be only presented by authorities as a prize for the "high tempo" labor- and how hard (actually, too hard) she works! As a result, the woman is presented a challenge prize - a velvet "Red banner" which she has to keep at her village house. The banner immediately becomes a target for mice willing to eat it, and the woman tries to do her best to keep the banner intact because the loss or damage of a communist symbol may inflict an "anti-communist" charge against the whole family. The labor victory changes the life of the family: as the back voice says, "This was the last time I saw my mother smiling." The film well shows the twisted labor motivations people had when alienation from the results of the labor was the norm.
Almost a docu-drama, the picture uses many tools its author, a prominent Russian documentalist, has developed in her previous documentary works: shooting in a real Chuvash village, the use of not professional supporting actors all of which are real gems, modest, natural coloring, depiction of some still existing pagan rites, etc.
The film is a rare example of an honest and sincere movie free of "visual effects" and "product placement" crap deemed "cool" and profitable by modern Russian cinema producers. No surprise, it had an almost zero distribution in Russia and would probably find more fans among Western viewers.
If anybody wants to sense what and how simple Russians felt during the Stalin era - this is THE FILM.
A nice touching story about a group of old women living the rest of their days in a dying Russian village inhabited only by old women and a Down-syndrome guy.
The women are frequented by the local tank-unit commander helping the old, often in exchange for home-brewed vodka, who is in fact the only respectable and influential person in the neighborhood.
The situation changes when the village is entered by a newly arrived family of Uzbek refugees who are the only ones who do care for the old women. The film consequently shows how the initial hostility to the aliens grows out into true friendship when the old women realize that these Uzbeks are their "comrades in distress" that has whirled most of the former Soviet population in the maelstrom of wars, alienation, privation, break of social ties and betrayal by their rulers, that was going under the propagandistic kettle-drums of "democracy" and national prides. Sadly enough, the high words have been used as a cover for corruption and marauding by political elites often, sadly, backed by the irrelevant (putting it mildly) and superficial advice by Western "analysts" and "consultants" willing to implement university-learned "theories" but hardly acquainted with real life in general and having seen Russia/Soviet Union only on CNN or from their government-sponsored elite apartments.
Politics aside, this is the personal optimism and desire to enjoy the life carried out by the main hero, an Uzbek, that revives the village. Extrapolating, personal responsibility and energy is the only thing that drives positive changes in the former Soviet Union countries where the settings of social darwinism are implemented by profit-driven "native" (including those praised by the West as "democratic") elites and contributed by fear-of-the-unknown-inspired hostility of the West.
Good art direction and brilliant work of the native village women who have never previously had any relation to cinema. It seems that even the dialogues are improvised because it is hardly believable that a modern script writer can invent such grains coming out of the very depths of the Russian language. This creates a minor problem of numerous foul (i.e. bitter and sincere) expressions coming from the bottom of the old women's soul (which, however, would hardly find their way to subtitles). In general, the old women's Russian is so colorful and spicy, it might be hardly understood by those (including some urban Russians) used to the literary form of the language and rarely encountering older or dialectal forms.
Overall, a refreshing example of a positive, optimistic and truly humanistic movie close to the Russian realities (unlike the official-optimism crap found today in some Russian TV series "created" by newly-born Russian TV producers).
7/10. Recommended.
The women are frequented by the local tank-unit commander helping the old, often in exchange for home-brewed vodka, who is in fact the only respectable and influential person in the neighborhood.
The situation changes when the village is entered by a newly arrived family of Uzbek refugees who are the only ones who do care for the old women. The film consequently shows how the initial hostility to the aliens grows out into true friendship when the old women realize that these Uzbeks are their "comrades in distress" that has whirled most of the former Soviet population in the maelstrom of wars, alienation, privation, break of social ties and betrayal by their rulers, that was going under the propagandistic kettle-drums of "democracy" and national prides. Sadly enough, the high words have been used as a cover for corruption and marauding by political elites often, sadly, backed by the irrelevant (putting it mildly) and superficial advice by Western "analysts" and "consultants" willing to implement university-learned "theories" but hardly acquainted with real life in general and having seen Russia/Soviet Union only on CNN or from their government-sponsored elite apartments.
Politics aside, this is the personal optimism and desire to enjoy the life carried out by the main hero, an Uzbek, that revives the village. Extrapolating, personal responsibility and energy is the only thing that drives positive changes in the former Soviet Union countries where the settings of social darwinism are implemented by profit-driven "native" (including those praised by the West as "democratic") elites and contributed by fear-of-the-unknown-inspired hostility of the West.
Good art direction and brilliant work of the native village women who have never previously had any relation to cinema. It seems that even the dialogues are improvised because it is hardly believable that a modern script writer can invent such grains coming out of the very depths of the Russian language. This creates a minor problem of numerous foul (i.e. bitter and sincere) expressions coming from the bottom of the old women's soul (which, however, would hardly find their way to subtitles). In general, the old women's Russian is so colorful and spicy, it might be hardly understood by those (including some urban Russians) used to the literary form of the language and rarely encountering older or dialectal forms.
Overall, a refreshing example of a positive, optimistic and truly humanistic movie close to the Russian realities (unlike the official-optimism crap found today in some Russian TV series "created" by newly-born Russian TV producers).
7/10. Recommended.