The Kid, Charlie Chaplin film, rewievs

четверг, 3 июня 2021 г.

Extraordinarily beautiful, original, fantastic, shocking and mesmerizing three-hour movie adventure

"Cloud Atlas" is one of the most anticipated, discussed and controversial film projects of 2012. This is a very specific and I would even say a strange film. In order to be convinced of this, it is enough to look at the extremely unusual situation in the assessments of critics and spectators. Please note that for the most part such experimental projects are perceived by film critics with enthusiasm, while viewers, on the contrary, treat such films coolly and with incomprehension. On the contrary, "Cloud Atlas" did not win warm reviews from professional critics (according to many newspapers and websites, the attitude of critics is characterized as "mixed"), but was enthusiastically received by the audience. Here is such a phenomenon (I must say right away that, unlike most of my fellow critics, I really liked this film).

Let's find out what explains this phenomenon and whether you should watch this film. For this we will analyze some of its specific features.

1. Incredible, multi-tiered and intricate plot. I must say right away that you can write a separate review and even a scientific work about the plot of this film. After all, it is simply impossible to briefly describe everything that happens on the screen in 3 hours of timekeeping. For acquaintance, I will say that the action of the film develops in six time planes: in the 19th century, in the 30s and 70s of the 20th century, today, in the 22nd century, in the distant future and very, very distant post-apocalyptic future. Moreover, the main characters are the same everywhere, but in different guises. That is, we are talking about the rebirth of the soul in different places and eras. Thus, "Olive Atlas" is a kind of tangle that we have to untangle, or, if you prefer, a Rubik's cube, which the viewer has to collect. Of course, as a demanding and attentive viewer, I have a lot of questions for the filmmakers, but I think I can resolve them by reviewing the film itself. It is worth saying that the action taking place on the screen is very captivating and could well result in six independent solid films. If we talk about the genre of this picture, then everything is very diverse. The film covers such genres as fantasy, drama, melodrama, detective, includes thriller elements and even serious comedy inserts. In general, it is really very interesting to watch "Cloud Atlas". It is also worth mentioning the serious semantic and philosophical load. The film touches upon the following aspects: love and its nature, inspiration and its sources, the soul and its eternity, vocation, the meaning of life, as well as topical issues, be it unconventional love or racial prejudices. Thus, "Cloud Atlas" is a very deep and very specific film.

2. Amazing atmosphere and beautiful, even magical image. Just think of the budget of this film - some pitiful (and in terms of the scale of the modern film business it really is) 100 million dollars! This picture looks at least 250 million. And if you consider that a huge percentage of this money went to pay for the work of numerous actors and move around the shooting locations, then the film itself took very little money. And this is an example of how to properly spend this money (the creators of the fourth "Pirates" - learn!). The image is simply crystal clear, all six worlds are carefully crafted, all the details have been taken into account. I would also like to praise the elaboration of the future in the film - the world created in this film can easily compete with the unforgettable Avatar. And how beautiful everything is! The screen image is just magical. Space, stars, flights, pre-sunset sky, sea waves and ships, mountains and incredible fantastic constructions - all this is within the framework of one film. Bravo!

3. Mind-blowing, brilliant acting ensemble. This is something with something! Those who have already decided to go to this film, I highly recommend that you wait for the final credits and see the ratio of actors and characters. And I think you will be amazed, because every actor plays at least three roles in the film, and some even more and their acting is so amazing, and the makeup is so complicated that many of them are almost impossible to recognize. I must say right away that Cloud Atlas will have all the awards in 2012 for an ensemble, collective or cast. This film is unlikely to receive personal awards, since it is too unusual. Special praise deserves the magnificent Tom Hanks and the amazing Halle Berry, for whom "Cloud Atlas" has become one of the most successful projects in recent years. Also praise Jim Broadbent, Hugo Weaving, Ben Whishaw, Hugh Grant and the adorable Susan Sarandon, whose skill at reincarnation is amazing. In addition, this film opens up a new star for us - Bae Dong. In general, the actors are top notch.

4. Incredible special effects, decent music and amazing work of make-up artists. I will not disclose this point, I will only say that I have never seencases of makeup and special effects that can SO change a person's appearance ... I'm just shocked.

I would also like to praise the wonderful directors Lana and Andy (I want to say - brothers) Wachowski and Tom Tykwer for the fact that the three of them managed to make such an interesting ideological film. Very often, when several directors are at the helm of the project, the film turns out to be unequal and heterogeneous, since one can feel the struggle between the directors for the palm in the project. But this is not the case here - the film turned out to be very solid and ideological.

In general, "Cloud Atlas" is a film that, like the "Avatar" I mentioned above, will be discussed for more than one year. Moreover, the points of view of people will be very different: someone will admire, someone will condemn, but there will be no one indifferent to this film. For me personally, to fully comprehend "Cloud Atlas", I will definitely need several additional views, because it is simply impossible to understand everything that happens in these three hours within the framework of this film at once. In addition, I really want to once again enjoy the skill of the actors' reincarnation, since I simply did not recognize so many of them with their seriously changed appearance.

Who do I recommend this movie to? A) To all those who can sit in the cinema for 3 hours, literally until the last second, completely not understanding the essence of what is happening on the screen. B) To all lovers of intricate and multi-layered films, with a serious philosophical "stuffing". C) Perhaps, to every self-respecting film lover, because "Cloud Atlas" is something qualitatively new in the world of the film business, a film that destroys many of the usual standards and stagnant traditions of cinema.

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Cloud atlas review 2021

An elderly man with a picturesque scar tells stories from his past lives, sitting on the beach, by the fire, and surprisingly aptly scolding the forces of nature and the long wait, which very inappropriately accompanied the Moscow premiere of Atlas. Long ago, a young lawyer rescued a fugitive slave. On the eve of the Second World War, a talented musician runs away from his lover, to serve as the secretary of the brilliant composer. In her seventy-third year, the pushy journalist seeks to get to the bottom of the harsh world of nuclear power. At two thousand and twelve, the unlucky publisher catches luck and bad luck by the tail. In the not too distant future, a factory-made girl, a servant from Neo-Seoul, is interrogated by a bald infernal investigator about the desires of the strange. A hundred years later, a boat of the most futuristic kind sails to the savages on the island, and a girl dressed in white tells the unwashed Robinsons about thermonuclear reactions. All stories are interconnected, they are all about love, about sacrifice, about freedom, as well as about the boundaries and consequences of this freedom. That the revolution of the spirit is impossible without self-sacrifice, and evolution is impossible without pain and suffering.

What is time? A river flowing in all directions at once. An element that cannot be curbed or defeated - it rolls in waves, destroying and preserving, destroying and restoring again. Neither the past nor the future exists, there is only the infinite "now". The unity of generations is carried out through art, be it music, cinema or literature. History is material, it is at arm's length - you can reach it through the symphony of a genius, you can touch it through yellowed paper with blurry lines. "Cloud Atlas" is a movie about the cycle of life, love, art and freedom. The latter lives in melodies, looks, beliefs and decisions. Freedom to resist imposed dogmas. The freedom to create and enjoy. The freedom to be yourself and be free from yourself. In everyone there is both great good and great evil, life is an eternal struggle between hell and heaven. A series of deaths and rebirths, the battle of the dead Order with Chaos full of life. "Cloud Atlas" is a movie about choice as the fundamental basis of everything - and the choice is made more than once, it has to be done every second, every time slice.

The story of the friendship between a lawyer and a black sailor is about freedom of choice. When experience dictates who you are and you are ready to fight for yourself. A sketch about a tandem of composers is a parable about the sacrifice that eternal life, life in art, demands. The incident from the life of a journalist also demonstrates a sacrifice, a sacrifice for the truth, demonstrates the importance of the inner core and the unacceptability of retreat. Caricature modernity is a short respite, now everything is funny and not real, now it is just an eternal escape from the poorhouse to the bar. The post-apocalypse of diametrically different savages and "seers", the last children of an agonizing civilization, is a story about freedom from an inner demon, the strength that is required to do the right thing, even if it is incredibly difficult. And the world presented by Neo-Seoul is truly scary, albeit schematic in revolutionary straightforwardness. After all, evil begins exactly where people begin to look at things. And even though Orwellianism through sinister consumption is not too fresh, ramming arrogance in scoring - yes, several outdated truths - has always charmingly distinguished Wachowski's projects. Pretentious, ambitious cinema captivates with a graceful apology for flashbacks and flashforwards. A humorous brilliant solution to the problem of criticism. Skillful self-citation and self-irony, not slipping into self-parody. Diagnosis "pussy" and a portrait of Solzhenitsyn crossed out with the inscription "banned". Hommages to a lot of things are not harsh, not provocative and do not flirt with the public - they show through in details, silhouette at dusk. Each story is linear, but the end result is greater than the sum of the terms. Harmony.

It might be ridiculous to talk about technical excellence, but it would be a crime not to mention it. "Cloud Atlas" looks flawless - not so much even due to non-trivial engineering solutions and beautiful staging, its magic - in the ragged rhythm of editing phrases, in the dynamic bitingness of switching between stories. The film keeps on the hook, leads by the nose, with a supernatural sense of the right moment, giving out exactly what is needed now, what is most interesting in a particular second. Kabatsky scuffle is replaced by virtuoso playing the piano, a kind greasy joke is replaced by a pretentious conversation about life after death, a rare but caustic naturalism gives way to innocent fetishism. The search for God ends at the bottom of the glass, at the top of the mountain, in the inexorably black muzzle of a pistol, inside himself. The evolution of mankind is carried out through the evolution of man. Each of the directors brings something of his own, author's, hard-won and valuable, but at the same time no one pulls the blanket over himself - a rare quality of symbiosis.

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четверг, 14 февраля 2019 г.

Child of cinema.

Right now, everything should happen ... After a brief and completely unnecessary prologue, an arch will surely appear in front of you. The fragile creation of man has long covered the old oak door behind him. This arch Dreyer ... Weightless and almost completely covered with a thick bloom of dust. And only at the very basis the sloppy inscriptions of those few who still remember the existence of this stunning by nature miracle are clearly noticeable ...

The court is in full swing. The collection of the greatest theologians of its time under the strict guidance of the English Five. Scared mannequins scream furiously to death and ask tricky questions. These old spiders with mock contempt are rejecting the words of the unfortunate Jeanne ... Angrily screaming at the one who appeared in this mortal world only to serve their own country. Serving the people, god and king. And only a young monk played by the great Antonen Arto supports the unfortunate girl. He and several of his fellows took on the role of unwitting onlookers searching for the right words. You can not burn the holy! We need evidence that will allow a high-profile trial. And everyone understands what this will all end up with.

Karl Theodore Dreyer created not just a metaphysical arch. Joan of Arc's Passion is undoubtedly one of the greatest creations of the tenth muse. But the monolithic figures of Dreyer and the aforementioned Arto go aside in front of the actress of a single film ...

Maria Falconetti.

The girl whose story has remained behind the dense wall of time. Countless generations flashed after the appearance of the legend. Not just another star whose story will definitely go beyond the sky ... This is a legend that has won a great victory. Child of cinema.

Piercing close-ups make you not just empathize or feel excitement. A series of individuals passing through the viewer will eventually take possession of them. Tearing the heart has long been unaccustomed to such shocks and carefully collecting its numerous fragments for the final scene with a fire. And the fire, ultimately devouring not only every person who decided to watch this film, but also the beautiful woman in whose existence you want to believe. As indeed, in repentance of the most narrow ministers of the one dead god. In fear of soldiers, the morning stars of which did not save them from the rage of the crowd.

The greatness of such films ... But is it worth talking about? In this mortal world there are not so many arches capable of standing on the same level with the creation of Dreyer. They are like the sparkling tears on Maria Falconetti’s face. Like Richard Einhorn's "Visions of Light" which became the sad echo of the main tragedy.

Joan of Arc's Passion is an echo not only of the dark in its ignorance of the Middle Ages. This is a movie, without which the world would lose one important part of its own soul. A shard not yet flown into the fire ...

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Battleship "Potemkin" Eisenstein

In ten years this great film will be a hundred years old. Do they remember? Of all the possible topics, only controversies about Eisenstein's orientation penetrated information space thanks to the dubious creative artist Peter Greenaway. True or speculation, but definitely important things are passed by and even retouched.

And the important thing is that “Battleship Potemkin” is one of the best Soviet films. Yes, and in the history of world cinema stands alone. The revolutionary theme is probably no longer interesting for everyone, but the expression with which the film was made is simply fascinating.

Already from the very first chapter - “People and Worms” we find ourselves in a recreated reality. Eisenstein hastily and dynamically scrolls in front of us a well-known outline of events. Shows the notorious doctor, worms on meat, tarpaulin, these stupid glasses (or pince-nez), severe Vakulenchuk. It's all so lively and agile that the effect of chronicles arises, as if a strange person from a distant future, on a time machine, was in the thick of those events and captured some nuances with a smartphone.

Here, many extol the scene of the shooting of civilians on the Potemkin Stairs. Indeed, Eisenstein was incredibly expressive there. With a cruel chill, he fixed the most unattractive moments of leisurely evaluation. With this viewer problems should arise. However, I would single out the final raid of the ships. How exquisitely the camera was looking for symmetry on the deck and in the layout of the ship's guns deserves some words of gratitude. In comparison, shots of ships sailing and shooting may not seem so spectacular. It is likely that it is so, but the impression is majestic.

This is a brilliant film, which in itself is a completed textbook directing. He is close to perfection in every way. Do you doubt? Just then carefully read Eisenstein's “Indifferent Nature” about logarithmic spirals, carrying in themselves images of uniform evolution in artistic compositions. It's not easy. The success of each of his films is not accidental. Is it worth mentioning a brilliant installation?

10 out of 10

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Call of duty - call of Pripyat. In real life.

Very useful and worthy film, which is quite surprising, since it was made by the Americans (because of their dislike for everything that happened in the USSR). Fortunately, here they avoided reconstruction of events on the control room-4 that were disastrous for films of this kind. It was this that significantly spoiled the other films about the Chernobyl accident, because they gave too emotional and, quite possibly, incorrect assessments to people and their characters (as, for example, in Dyatlov’s German “Minutes before a catastrophe” they put a downright villain, - angels).

The main plus is informational content and documentary shots. Shooting a smoking reactor, a red forest, a story about measuring radiation levels, showing the liquidation itself and the construction of the Sarcophagus. Another question is that they used Soviet materials taken by courageous operators who were not afraid to climb the roof of the fourth power unit, together with the liquidators themselves, who cleaned it of graphite fragments. A huge number of interviews with participants of events are also a significant plus. Particular attention is paid to the unique work of Igor Kostin, a photographer and cameraman, the conversation with which takes up a considerable share of the film. Of course, it was not without the “cranberries” in the form of a discussion on whether the liquidators were given vodka, but on the general background it looks like a trifle.

Considerable emphasis in the film is made on the technique for elimination, on the people themselves, called "biorobot", at least some protection that they could use. Especially memorable is shooting on the roof and shots taken from a helicopter on the first morning after the accident. Tula miners who dug a tunnel under the station. The dedication of these people, who understand that if they do not, no one will do it at all.

But when viewing it becomes sad. And it’s a shame that this really great country has collapsed. After all, then hundreds of thousands of people were sent to eliminate the consequences of the largest radiation accident during the entire existence of mankind. Not everyone knew how it would affect them, not everyone knew about the effect of radiation on the human body. Is it possible now? Will someone go to such a hell? The answer is one. NOT. Because there is no single spirit (even if it is sometimes out of fear of power), there is no such enthusiasm on which life was built during the times of the Union. For comparison, remember how the whole summer `2010 fought only with fires that are not compared with the work at the Chernobyl Nuclear Power Plant, where a person could be less than a minute, so as not to get damage to health, not compatible with life.

Killed city. Yes, just the city itself. But pay attention to him - a small, neat, clean. Where there were schools, and hotels, swimming pools. Just a cozy city for living. Of course, there is no guarantee that if this accident had not happened, he would not have become the same as all the small young towns - a gathering of various boors. But then he was. A beautiful city. In a completely different time.

What do we have now? Unhealthy excitement on the basis of radiation disasters and toys "Stalker", excursions to Pripyat, crowds of youngsters who played enough at the same "Stalker" and want to see firsthand the place where the game was designed, graffiti spoiling the picture of the city. Many see here only entertainment. But it is not. This is a memory, this is an experience. Negative - yes. but still experience, which, perhaps, will allow to bypass similar situations in the future.

Events at the Chernobyl Nuclear Power Plant are a kind of monument to the USSR with its negative and positive sides. Of course, the experiment itself and its course are hard to call something good even for science, but the elimination of the consequences of its failure is the personification of all that was considered the strength of the Union, the courage and dedication of the people who then lived. And, looking at it, it is impossible to blame the system somehow. Yes, there were cons. But only the very "system" was able to grow and educate these people. People who were able to defeat fascism. People who were able to eliminate the consequences of an accident of such magnitude. People who, in spite of everything, believed in a bright future, even in the allotted 40 seconds fighting radiation on the roof of the 4th power unit ...

In this situation, the system, operators or designers of the NPP itself or RBMK reactors of this type cannot be blamed. Not. The reason is precisely the totality of circumstances. Consequences - the same set of various factors. Including modernization and change of the RBMK themselves in order to eliminate the “end effect” and prevent such consequences. This is our story. Therefore, a big thanks to the creators of the film for an adequate look and statement of facts, and not speculation and subjective opinions.

10 out of 10

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среда, 13 февраля 2019 г.

Quite recently, I started reading Leo Tolstoy’s epic novel War and Peace. I honestly admit that the idea to read ALL the work I started easy convulsions. Yes, and all who were interested in whether they like this masterpiece, stated that it was mortal boredom. But after reading the first part of the first volume, I was surprised to find that I don’t just like “War and Peace”, but I’m just in love with this story and its heroes.

Now about the film.

I liked the book so much that I wanted to get used to this story not only by means of reading, but also by means of a film. Having found several novel adaptations on the Internet (namely: War and Peace, 1956, War and Peace, 2007, War and Peace, 1965), I chose the version of Sergei Bondarchuk. The choice was obvious. And the cast, and the director all attracted me in this film. So did my crazy love for Soviet cinema (which is not the case with modern Russian cinema).

My hopes came true. Acting, war, landscapes, houses, balls, costumes - that's the beauty of what it is! Literally from the very first minute I fell in love with the film too. That's exactly what I imagined. I probably will not accept any other incarnation. We must pay tribute to Sergei Bondarchuk, who managed without any special effects and computer graphics to bring the idea to life, transfer stories and characters from the pages of books to the screens. Camera work, installation - just magical. These transitions, the shooting itself, this even now you will not see. Another great feat of the director is that he was able to fit all four volumes in one film. But honestly, without reading the novel before viewing, I would not understand half of it. And it is also a great pity that the episodes with Anatol Kuragin, Marya Bolkonskaya, Nikolai Rostov were significantly reduced. Because of this, not reading a book will be quite difficult to understand the inner world of these heroes. But this is the law, because the film can not last ten hours in a row.

Heroes - exactly as I represented them. And the considerable discrepancy in age between the actors and their heroes did not bother me at all. Natasha Rostova, enraged me throughout the novel, suddenly caused me a sincere smile solely because of the wonderful Lyudmila Savelyeva. These eyes are beautiful and don't care what is not brown. A separate gift for me: my favorite actor Vyacheslav Tikhonov in the form of my favorite hero Andrei Bolkonsky. It's hard for me to imagine another Andrey. The most controversial embodiment, for many, was Sergei Bondarchuk in the role of Pierre Bezukhov. But not for me, in my opinion, Bondarchuk perfectly conveyed the image of the mismanaged Bezukhov. Anatole Kuragin, one of my favorite heroes and Vasily Lanovoy, is a wonderful find of Bondarchuk. He was perfectly approached by the role of the reveler and tear off Kuragin. Lanovoy - handsome, charismatic, generally handsome man. I can not judge this role objectively. Irina Skobtseva in the image of Helen - beauty. She doesn't even need replicas. When I saw her, I wanted to exclaim “Here it is - Helen!” Oleg Tabakov, Anastasia Vertinskaya, Oleg Efremov, Anatoly Ktorov, Boris Zakhava — wonderful actors, I admire their play.

10 out of 10

Right, this is a brilliant masterpiece, who would not say that. "Oscar" - deserved!

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