$13 million which we have lostOn what have been spent the Russian money? Mikhalkov promised to Tchernomyrdin “ pril
$13 million which we have lost
On what the Russian money has been spent? Mikhalkov promised to Tchernomyrdin “ to use the best efforts for creation of a film epopee, a worthy history of our Russia “. From a film waited for another - violences of imperial ideology. Also have not waited.
the Scene with the emperor - only one of plug-in attractions of which, actually, all picture also consists. Just the same attraction, as bustle in a gas mask under the motto “ Sral I on Mozart “ and junkerskie dances on voshchenom a parquet. Let even review of cadets is removed with the big inspiration, than other key episodes, but all the same it is not enough of it, that from style “ a birch “ natural imperial style was generated. There is no breath.
feeling which you test on “ the Siberian barber “ it is close to disappointment. And at all by an art part: it is, of course, weaker, than in “ Tired with the sun “ but does not apply to be a global metaphor of the Russian validity and, so, itself reduces a lath of own claims to level of a romantic fiction. Where - that in area “ the English patient “ not above.
Mikhalkov over the last 10 years has made all that compatriots considered it not as the artist - the intellectual, and as artist - the populist (“ Eyes black “) And the artist - the statesman. In effect, for a cinema in Russia Mikhalkov became the same that Pikul for the literature. As to its world-wide Oscar claims, they have passed to it by right of succession from Bondarchuk: nature abhors a vacuum.
Bondarchuk, the sacred monster of the Soviet cinema, veins also operated during an epoch when our country was the same sacred monster. Having shown class solidarity and having interceded there is no time for the idol, Mikhalkov has arrived as the noble reactionary - offended, rejected, was with the mission not at the right time. And the further, the more this internal tragic element was forced by an objective course of things. Mikhalkov has ripened to consciousness of the statesman during the moment when the state de - fakto has ceased to exist. He aspires to lift patriotic spirit and to generate big style corresponding to it in a situation when the prestige of the country promptly slides downwards and has reached, apparently, a limiting point.
To go counter to a history course - a prerogative of tragical heroes. And Mikhalkov, probably, would become them if not the mean XX-th century, moreover its most end which has mixed all cards, having made pure tragedy impossible and even a tragicomedy - doubtful. In Kanne it has been clearly let know that total Tarantino`s time has come, and all variations of epic academism remained in the field of beautiful arhaiki. Also it is not necessary to refer to Spielberg`s example: and Schindler, and Rajan - only fantastic brothers of Indiana of Johns, generation of that cine populistiki to which when - that, during a time of the director`s debuts, Mikhalkov (" gravitated also; The among strangers “ “ the love Slave “) . But just for it, still since ideologically overloaded “ oblomova “ this time of easy pacing across Moscow is irrevocably cunning.
a trouble in other. In the West Mikhalkov acts in more or less proud loneliness - as the relic supermaster of Russian of cinema. Other business in the homeland. Here its diligence allies - as a rule, nevazhnetskogo support qualities. Their quantity has sharply increased after Mikhalkov`s Kremlin revenge at last year`s cinema congress. As if tabakerochnye devils, they curl round the owner and definitively define a genre. All further and further from tragedy. Even from a melodrama. The more in Mikhalkov`s acts and its commands of opera pathos, the more they seem operetta.
Mikhalkov`s less inclined to mifotvorchestvu the big brother, has understood for a long time this Russian paradox. With Konchalovsky far behind remained not only intellectual complexes, but also attempts from within to inflate itself with patriotic steam - as at the time of “ Sibiriady “. Knowing that it is much easier and more pleasant to fool enthusiastic young ladies on either side of ocean, it blinded to itself(himself) the Russian Casanova`s image. And Russia if and mifologiziruet, mainly as the country of fools and derzhimord from which it is better to be on a distance.
Mikhalkov on - former is sick of ineradicable Russian illness. He wants to be both the master of thoughts, and the minion of fortune, and the elected representative of the people. Wants, that of it both were afraid, and loved, and not klevrety, and just those who observes for a long time of its metamorphoses from outside and, strange business, does not test boredom. And even says it thanks - that has provided to the bewitched friends - to critics not only bread, but also an instructive show.
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the Half-million on hire
On a press - Nikita Mikhalkov`s conferences on March, 12th director Mosgorkinovideoprokata Vladimir Voshchansky has brought the first results of hire “ the Siberian barber “. In first two weeks at three Moscow cinemas (“ Pushkin “ “ Art “ and the Movie centre) on a film it has been sold 120 thousand tickets (for comparison: the average American film on all country types a 40 thousand maximum) . The sum of gathering has made 12 million roubles, that is about $0,5 million
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Budgets of the big films of last two years
“ the Fifth element “ - $90 million, “ the Men in black “ - $90 million, “ the Presidential plane “ - $80 million, “ Collision with a chasm “ - $75 million, “ the Forgotten world. Park jurskogo the period “ - $73 million, “ to Rescue private soldier Rajana “ - $70 million