War - and in Africa war“ the Black hawk “ Ridley Scott leaves in hire
On screens there was Ridley Scott film (Ridley Scott) “ the Black hawk “ (Blach Hawk Down), the applicant for four “ Oscars “ - for direction, camerawork, installation and a sound from which he deserves at least two figurines.
just as the idea of world peace has come to grief and it became clear that the mankind is doomed to wars, in the same way it is doomed to battle films. The fashion comes back to them each ten years: some kind of a seasonal aggravation. After “ Private soldier Rajana “ (Saving Private Ryan), “ the Enemy at gate “ (Enemy at the Gates), “ the Thin red line “ (The Thin Red Line) and “ the Pearl of Harbora “ (Pearl Harbor), chewing World War II legends, business has reached wars modern. Ridley Scott, having had time to stay for a while and in the far future (“ the Stranger “ Alien; “ Running on an edge “ Blade Runner), and far back in the past (“ the Gladiator “ Gladiator), has attended to contemporary history.
the choice of the director has fallen on an episode mirotvorchestva in Somalia where the next local Fuhrer has arranged slaughter and humanitarian accident, having starved to death 300 thousand fellow tribesmen. Americans as a result pjatnadtsatichasovoj special troops operations have bumped off on October, 3rd, 1993 one thousand more Somalis. Have lost only 18 persons - and have considered it as a terrible failure. It in Africa, and also at us people not especially consider: literally in those October days in Moscow have shot the White house. The counter of losses works for Americans smoothly and then by all means reads off scale in other party: the Pearl of Harbor turns around Hiroshima, and a drama in Somalia - start up on the screen - grows to scale of bible tragedy.
the cinema history, not only American, knows cases when the performance caught up with event on grandness: For the sake of shootings city quarters collapsed, the whole armies with infirmaries and prostitutes were equipped, burnt by wood napalm, happened also human a victim. In this case the screen image even overtakes a reality. Ridley Scott is not sorry neither forces, nor paints to represent a terrestrial hell - raked by bullets and rockets of Mogadishu, the huge prison cell teeming with cockroaches - forgive, natives - with predatory white teeth and fanatical shine in eyes. When the crowd of Negroes takes out on hands of the stupefied member of spetsnaz and it is stopped from punishment by the order “ Mohammed Fara Ajdid ordered to consider this white live and captured “ - we understand that have got to a bad dream in reality.
Ridley Scott has resolutely refused from “ a thin black line “ separating good from the bad. The director who shows Somalis nenamnogo more nice, than Alexey Balabanov of Chechens, already had time to reproach with a political incorrectness softly. Is not present - is not present, it personally has offended nobody, but has made even worse: has deprived of Africans in general any person, the person, motives of behaviour. Savages and only: want to live on - to the and to kill simply so, and the most advance say directly to foreigners: “ you at all do not smoke, at you long, boring, uninteresting life “.
However unless white heroes of a film who play stars of considerable calibre, essentially differ from the opponents? Perhaps it also corresponds to war realities, but in some minutes after the beginning of fight they cannot be distinguished from each other for on everyone the mask from a dirt and blood has stiffened. I do not know, of what Scott thought, putting in Evana McGregor`s lips (Ewan McGregor), Sam Sheparda (Sam Shepard) or Dzhosha Hartnetta (Josh Hartnett) most klishirovannye phrases, here already half a century sadly wandering of one military film in another. Type “ Tell to my parents that I fairly fought “. The typical answer to the dying: “ You it will tell about it, druzhishche “. (We Will note in brackets, authors of Russian dubbing-in have much worked to strengthen effect obezlichki. Members of spetsnaz at the height of fight express on the screen as gentlemen from the London club, and public with relief sighs, when at last is heard: “ Fucking goats! We nearly have not shot down you on a horse-radish “.)
the Universal dump is seen as if from space. The image and a sound - here two original heroes of a film. The symphony of whistling bullets sounds as one of the most inspired musical creations of mankind. By means of touch devices the fight embodied from air in etched “ monochrome “ it is visible to us the same as it is visible to general Garrisonu supervising operation, but powerless to change its course. The Polish operator Slavomir Idzjak (Slawomir Idziak) shot in due time chamber films of Kshishtofa Keslevsky with same “ the sight highest point “ which symbolised presence of God. In Scott film where the chamber is held by the same powerful hand, too there is an invisible witness of terrestrial fights - probably, “ the stranger “ the messenger of other worlds, the alien.
“ a black hawk “ with small amendments reminds any “ Stalingradsky fight “ CHiaureli - when the cinema wanted to spit on a subtlety of human individuals. But the sense at Scott turns out essentially other.
it in the same way spits on vozhdizm, a policy and the American values in the narrow sense of the word, preferring global vision of war as way of a survival, as bloody man`s soldering at level of an instinct which at the moment of fight unmistakably equals tsivilizatorov and savages.
ANDREY - PLAHOV