The movie on the Cover
Premiere of “call Banderas”, whose intense action takes place on the boundary line of the Ukrainian troops and forces of the “new Russia”, supported by Russian military personnel, by chance — and quite reasonably — timed to the Day of defender of Ukraine.
The same was not accidental, and the appearance in theaters a year ago to the Day of independence of the previous tape Zaza Buadze “red”, telling about the rebellion of prisoners UPA in the Soviet camp. After all, the social and political context in the perception of these films in addition to genre, the cinematic moves topical relevance plays a role. To prevent failure of the truce
The plot of the detective film about how in September 2014 in the Donbas, after the armistice, a group of counterintelligence, headed by captain Anton Saenko — call “Banderas” (Oleg Shulga) — trying to prevent diversion, which prepares the Russian bomber “Walker”, hiding under the guise of one of the Ukrainian military.
If the diversion succeeds — the truce will come to an end. The Banderas has only three days to find Walker and nip it in the midst of which appears the native village of the hero, bitterly left twenty years ago (as it is displayed in special scenes from the past). Authors with a sad irony called it Merry, although laughter is a strong film in which the hero is racing against the clock trying to prevent a catastrophe, expect a little.
Between reality and telecine
The script of the film written by experienced authors movies and long-running TV series Sergey Dzuba and Artem Kirsanov, having based it on the diaries of soldiers of the National guard of Sergei bashkova and stories of soldiers ATO. It gave the picture a rather unexpected form, which is directly lived and recreated the reality of war, which captures Director of photography Alexander Excavation, repeatedly alternate with the conveyor, is not always critical used TV cliches.
The tape starts abruptly dipping the audience in horror hybrid conflict, scene blasting the group of “kadyrovtsy” and “separable” Shuttle bus that goes to Hilarious (their task is to blame the atrocities of the Ukrainian military and to set them against the local population).
After which — immediately jumping to “serial,” the world of expensive two-storey of the Kiev apartment is decorated with standing in the corner by the telescope. Here Banderas is significant, quickly parted with his beloved (Julia Chepurko), going to the ATO, in spite of her very distinctly Russian — will (the language is an important meta characters).
Later it becomes clear that these two scenes do not occur in parallel and not even consistently, but in a completely different time. But equally important, because the climax will be connected in a single, almost Latin American node.
Girl, will the authors, would also be near the Banderas on his job near the first rural love and other (rival) childhood. And, of course, the Russian scout, to identify and neutralize of which have counterintelligence. To blame the TV
Having experienced the influence of television, the authors also show its role in shaping the consciousness of the audience. The characters speak “Call…” — first and foremost, of course, fans of “Russian world” — in a very recognizable manner, usipa it propaganda stamps Russian TV about the “Bandera” and “junta”. And energizing the ideological orientation of the “therapeutic” view of the stories about “the crucified boy”.
Such poisoning is a TV so big that a symbolic way of getting rid of it unless it becomes an all-consuming fire. And his “Call…” — a lot, especially in the final. Picture, confidently developing the theme of war, albeit restrained by the truce, is uniquely rich in spectacular pyrotechnic effects (especially by the standards of Russian cinema), heavily tightening the screen with smoke and the DIN of explosions and fires.
The authors try to enrich the speech of the Ukrainian military, albeit stop somewhere halfway. For example, a commander with the call dad during his first appearance on the screen “fatherly” launches his loud tirade a large number of swear words, quite appropriate in the present situation. However, in the future, despite the fact that circumstances are getting worse and worse, to a significant extent “presnet” their performances.
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“Call…” is not only the symbiosis of realism and telekino, but a mix of Hollywood genre cinema and Soviet Russian tradition of war movies, who repeatedly make themselves felt. The movie “stretch” scenes of physical action, showing superior preparation Banderas and his group, including during a picturesque hand-to-hand fight that the characters give preference to the more effective, but the fresh economical “gun” combat missions.
At the same time, the story itself resembles a film “In August 44-go” Michael Ptashuk — Soviet counterintelligence, calculating German saboteurs in the forests of Belarus.
But the beginning of “Call…” — with VoiceOver reading of the task group Banderas, who travels in the car in the direction of Fun — and at rhymes with debut footage this military detective 2001. Comes to mind while watching — most likely unfairly — and the TV series “Liquidation” of Sergey Ursulyak (a piece of the action “Call…” occurs in the catacombs). Between heroism and incompetence
But mostly the spirit of the Russian cinema emanates from the surprising ease with which the authors are in favor of inflation of the tension dealt with its own scenic installations, in particular associated with the professionalism of counterintelligence, which has to “calculate” the saboteur. Their detective thought to “Call…” is often a substitute for a reflex action, and the rigor of logic — following on a leash fleeting evidence.
These flaws are not always evident due to: at the same time subtle and very masculine game, Oleg Shulga, who convincingly creates on the screen very vivid image of a true Hero, intense story, over and over again putting pegs on the way the characters (though not always honored), talkative music by the Italian composer Franco Eco which, it seems, is not silent even for a minute, becoming sensitive cardiogram presented events and also sublime, very positively American in its spirit, the final, facing the future and affirms life.
And, at the same time, if the running titles slowly exhale and just compare made heroes of the result with the tasks set before them in the opening, it is impossible not to find myself discouraged by the thought that the authors seemingly emotionally completing the picture with a loud chord, in fact, interrupted “call…” in mid-sentence, with the audience and unsolved.
Perhaps, preparing thus a springboard for new films about the exploits of Banderas. The character played by Oleg Shulga is definitely worthy.
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