To knock on the dome of the sky

To knock on the dome of the sky
The head of a large family learns that a tumor of an impressive volume has ripened in his head and that therefore he will have about a year to live, if not treated. And he does not want to be treated. Instead, he wants to fulfill his cherished dream: to go to the Grushinsky festival (this is where the bards, embracing the bend of a yellow guitar, scratch each other's whiskers) and perform a song of his own composition from the stage. After all, in heaven, they only say that about the Grushinsky festival. For which the whole family is loaded into an old minivan and set out for an amazing adventure.

"Native", I must say right away, is a film by Zhora Kryzhovnikov. That is, Zhora Kryzhovnikov is listed here only as a screenwriter, together with his permanent co-author Alexei Kazakov, and for the director - who worked on the series "Peace! Friendship! Chewing gum!" Ilya Aksyonov, but this is Zhora Kryzhovnikov's film. For all the characteristic clinical signs. The opening scene, where the hero of Sergei Burunov takes pictures of himself on the phone, immediately as if declares: Zhora Kryzhovnikov is back. In the sense, as they say, to the origins. So he did not go anywhere - after "The Best Day" he tried to revive "Yolki" (unsuccessfully), shot his own drama series (relatively successfully), took part in the creation of a fantastic rom-com with Yegor Creed (no comment), and also directed the sequel to the melodramatic musical about figure skating (almost one and a half billion fees).

Zhora Kryzhovnikov's origins lie, as you know, in the genre of dubious moral qualities of folk comedy with songs and dances. To which "Native" is fully consistent, differing from previous similar opuses by Zhora Kryzhovnikov only by the format - the wedding pseudo-documentary and "karaoke-comedy" were replaced by a more traditional road-movie format. And this is a definite plus, since the opportunity to admire the various summer beauties of Russia encountered along the road, despite the hateful winter fiercely outside the window, to the high endless sky and green spaces under it, is a pleasure that cannot be spoiled by anything. Although Zhora Kryzhovnikov is trying his best.

In particular, the demonstration of beauties is interrupted by a nostalgic excursion around the entrance, which in one very important - without it the film would undoubtedly have fallen apart - the scene is conducted by Burunov's hero, strongly recommending to smell this entrance. Burunov's hero more than once invites someone to smell something, he has such a strange fad, and this, apparently, should be funny. Like everything else that Burunov's hero does or says, except for those cases when it should not be funny, but dramatic.

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But here's the thing. Firstly, Sergei Burunov plays about the same everywhere, and "Native", alas, is no exception and not a sudden breakthrough. We all imagine his simple arsenal: he raises his voice, grimaces, stutters, puffs his eyes, waving his arms - as a rule, all at the same time. This may well produce a comic effect, but it cannot produce a dramatic effect in any way. Moreover, secondly, Sergei Burunov plays here not just a noisy fool, but a real selfish bastard, a vile manipulator who secretly drives his daughter-in-law away, lies to his son that she herself ran away, then he extorts money from his son, crushing pity, and then on little things: regularly rolls up scandals for any reason, brings everyone to tears, throws things, runs away in hysterics.

And this in all respects vile type is invited to sympathize. How not to sympathize with the poor fellow, who does not want - precisely does not want - to be treated, but wants to ruffle the nerves of loved ones and sing a song. However, not such, if you think about it, is an unreasonable approach, given that in the universe of Zhora Kryzhovnikov, with the help of a song, as you know, all wounds are healed, all insults are forgotten, all problems and conflicts are resolved. What an optimist, what a humanist. Any person, even the last scoundrel, according to his teachings, is worthy of love, compassion, and forgiveness if he sings the right song. Thus, we will defeat the new ethics and culture of abolition. Uncover the guitar, Johnny!

True, Zhora Kryzhovnikov does not aim at new ethics (hopefully, for now), but focuses on his beloved, on the disagreements between generations. The first disagreement is that the son of the hero Burunov and his wife are going to move to Canada, and why to move there, if we are so good, and what is there, in this Canada, such. The second disagreement, between older generations, is even less clearly outlined, something about hazing and unjustified expectations. Moreover, the younger generation is also represented by the second son of the hero Burunov, whose individuality is limited to wearing a T-shirt with a portrait of Danila Bagrov, and the singer Monetochka as the daughter of Burunov's hero.

Singer Monetochka is needed in order to perform three of her cute little ditties (two of them are in the scene with the cameo of Andrei Grigoriev-Appolonov; by the way, there is also a cameo by Oleg Mityaev), to appear in the trailer and on the poster and thereby attract an additional audience to the film ... The film does not need it for anything else and is hardly involved in any way. However, there is something else: through her character, the hit of the artist under the pseudonym Charlotte "Cheek on Cheek" is introduced into the plot for the sake of a musical number in which this hit is sung by Sergei Burunov. The words there are as follows: "You want candy / I can only give you a cigarette / You want a party / I will go with you, girl / Tongue to tongue / Lip on lip / Eye to eye / Cheek to cheek." Nothing more monstrous domestic cinema did not know from the moment when in the film "

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