Roll - the comaIn hire leaves a mystical tragicomedy “ I remain “ devoted to Andrey Krasko`s memory which has played here the last leading role. The picture offers the version of that occurs to the person while its body is in coma. Lydia MASLOV has found out, as here from it demand the report on the done work, only in spiritual sense.
a film “ I remain “ it is aimed at that in the entertaining form not deprived ironical freethinking to shake especially materialistic sight at the afterlife, consisting that it simply is not present. This hard line is sounded in the beginning of a film by Andrey Krasko`s hero - the doctor arguing on death with medical cynicism (“ From the person there is only a handful of ashes or a small group of fertilizers for a ficus “) And about life approximately as. In particular, about private life of the daughter - the old maid (Nelli Uvarova) enamoured of the director publishing houses (Andrey Sokolov) where it works. The sensitive and careful father in plain terms names the daughter`s lover the old man and tortures it gastroskopiej when that precipitately registers to it in reception. The doctor - the agnostic yet does not know that over it the hand of destiny belonging to the drunk visitor of bowling which unintentionally gets a sphere to it on a nape then the hero and appears in a clod is already brought.
the next world waiting room where komatoznikov revaluation of values is necessary to a handful, represents the uncomfortable landscape similar not those on stony desert, not that on a sandy open-cast mine. Similar art interpretation intermediate between life and death of a condition meets in the screen version of the novel of Lyudmila Ulitsky undertaken by Yury Grymov “ the Incident Kukotsky “. Only at Grymov prevailed warm yellowish tone, and at the director “ I remain “ Karena Oganesyan (which just studied in Yury Grymov`s workshop and worked for it as the second director) the cool dominate is light - grey.
Besides, in oganesjanovskom “ a purgatory “ more cheerfully, than in grymovskom: in the middle of coma desert it is possible to come across not only the two-volume book of Chekhov hidden under a stone, but also a cooler with vodichkoj, besides even in a clod not to step and to a step without Feodor Bondarchuk - he plays the Instructor who drives the others komatoznikov on desert and teaches them that to what, though, who and why has appointed it “ zvenevym “ does not speak. But against grey stones the original visual combination of a round head of the Instructor and a square cube of Rubika which it all time plays is effectively allocated, - should be, it the old resident of a coma and stays in it still with 1980 - h when the Hungarian puzzle was fashionable. In general - that, and all film is similar to a cube of Rubika: it too well-known that should turn out as a result that was on - to the present interesting to spend intellectual efforts to streamlining of multi-coloured small squares of which it consists.
however, separate paints among a motley mash which represents life of the characters, yet not got to whom, all - taki please an eye. So, except inevitable Feodor Bondarchuk more and more irreplaceable for directors there is actor Vladimir Epifantsev - this time it represents the hypocritical dealer ritual services, the modern master Bezenchuka who are whipping the cat: “ Late we on this market have come, all is already divided “. One more selling creature - the well-known composer and the executor of a hit “ potoskuj, potoskuj and once again potoskuj “ (George Martirosjan), about whom one of komatoznits (Irina Grineva) who has spent, seemingly, all conscious life on grieves writing letters to the idol, and then with own hand them and to answer.
it is possible, such autichnoe existence in depths of own private world is meant by director Oganesyan when assures that the side between life and a coma is more thin, than it seems, and in general “ in life too it is possible to be in a clod “. However, on the screen this relativity and obscurity of transition it was not possible to transfer to it, and “ I remain “ distinctly breaks up on two diverse parts between which only the left physical plan Andrey Krasko is capable to move smoothly and easily, without noticing partitions.