“Brother” directed by Aleksei Balabanov – 1997

“Brother” directed by Aleksei Balabanov – 1997

Aleksei’s film project titled, “Brother” led us through some interesting individuals through its mobster style story. I can imagine that the young man we call Danila was right for the part he played because he had shown his reluctance toward authority of all kinds. He’s avoided listening in the Military, home and pretty much anywhere he went. The streets is where is seemed Danila became stronger, although he had been shot a couple of times, he certainly built his image through the experiences, as we see in this film.

Viktor and some of the other characters did a great job, such as Kat and her need to focus on the drugs at hand and nothing else, German and his cemetery home and gathering of friends, Sveta and her love triangles, all had portrayed the way and life of the 90’s for Russia. To me, it seems as if the 90’s are portrayed as being worse than the 80’s in Russia.

St. Petersburg was a fight or flight kind of town during this time frame in Russia. It’s you or someone else and in the streets, it appears Danila prevails, but not as one would of thought, as a hardnosed thug or anything. Meaning, he seems to have a side of him in which he upholds his word during this film. For example, He promised a director that he can go and even though he hated directors, he still came to fulfill what he promised. Of course, that was after the chaos and body shifting around and a shot, but the fact he made good on his word says a lot of his integrity. This kind act doesn’t make him look so bad in the bigger picture, but then again, if you were on the end of his barrel, would you upset him in any way?

“Little Vera” Directed by Vasily Pichal - 1988

“Little Vera” Directed by Vasily Pichal - 1988

The film project titled, “Little Vera” was, in my opinion a made for TV reality style show. I can picture this being a TV show later on down the road when we had the reality television phase. Although, this was a film project it left room for future character options. For example, Sergei could have helped fix the toilet afterwards to show he forgive Vera’s father for stabbing him and we can see a stronger bond between everyone during the recovering from the drama time frame. Vasily spent a great deal of time displaying the emotions of the enraged father on a negative level and Sergei’s locking Vera’s father in the bathroom, but we don’t see the same level of strength in the forgiving and moving on part of the story.

I sense that this teen has a lot of growing up to do and hopefully Vera doesn’t continue smoking for fear of injury a child for her Sergei. In almost every corner of the world a teen watching this film can relate to much of what happens in Vera’s family. It’s not only her family, but the things that happen with other characters in the film. Remember the police station were Vera is sitting at a desk, there was another gentleman that appeared shortly afterward. This guy had an interesting role that wasn’t fully reveal and would of helped me figure out a bit more of why he was really part of the project. It felt as if that particular role would have made no difference if it were removed.

It must have been a normal reaction for ever family to have dramatic issues take place at home and everyone ends up pretending it never happened. I’m not sure that it would be that way in my neck of the woods, but for them, it was apparent that it just ended up a hush-hush situation after all.

I would love to see a remake of this film and with a little more attention to the recovering from the dramatic event and pulling together as a family. Like I mentioned above, Maybe show Sergei make the first move towards this goal and help fix the broken latrine.

“Moscow Does Not Believe in Tears” directed by Vladimir Menshov – 1979

“Moscow Does Not Believe in Tears” directed by Vladimir Menshov – 1979

I really enjoyed this film because of it’s fine portrayal of the many characters in each scene. At first, I thought it was just about a single lady being stubborn and hateful towards the guy who is her Childs father. As the film went on I realized that all the people, places and things in this film were all connected. From the landscape in the country to the streets in town, I noticed how the outfits had changed, not only for the season, but for the time period as well. I’m not sure who has the best story in the film as I liked them all. Katrina with her dedication to her factory work, the camera man (Rudolph), Lyudmila and Antonina each had compelling parts. It rare that I haven’t any harsh critiques about a film project, this one earned a two thumbs up from me.

Every credited role had hopes for a great future and we rode with them to wherever they led us. I could see this film remade where some of the character’s shared more of their childhood and what their upbringing was like. I do not remember any of them talking in great details of their parents or grandparents. Don’t mind me, I’m a bit tired and had thought of an exciting sequel for this film, lol. Did anyone else notice that they artwork was minimal in the rooms during the 50’s? Also they tended to use curtains that are the same for windows AND doorways in the 70’s?

“Ballard of a Soldier” by Grigory Chukhra – 1959

“Ballard of a Soldier” by Grigory Chukhra – 1959

Grigory did some amazing things with lighting for the project titled, “Ballard of a Soldier.” For example, the close-up shots of Shura and Aleksei while they were on the train. I noticed some scene were a soft lens was used to great brilliant edges of some of the important moments in the film. You must not forget that the film seemed to not only be about Alexsei nor is it about Shura. This film is about everyone that they encounter through the entire travel. Each time the train door opens, it opens to unfamiliar townspeople and station workers. Each stop was filled with the changing times during the stages of war, for the businesses and residents. How people dressed and reacted towards one another was different as they went along. But on the other hand, the radio station repeatedly announced of how the front line hasn’t changed.

Think about it for a second, While Alexsei is traveling to his home, he is going through changes along with those he interacts with, and meanwhile everyone on the frontline is still the same. It’s important to process the moments we have in life, there are people who are in our lives for a split second and others you’ll know all your life. Make every moment worthwhile and accept the changes in life and keep in mind that changes happen to every person, place or thing.

Change is Life; Life is Change, in my opinion. In addition, I see that he is still a boy that yearns for acceptance from his mother and Shura is not out of the equation for she too was looking to be accepted.

1975 film titled “Mirror” by Andrei Tarkovsky

1975 film titled “Mirror” by Andrei Tarkovsky

The beginning of the film “Mirror” was not less than confusing as the strange guy comes up out of nowhere and then goes off into the abyss? Now, I may have missed it but did he even come back or is there a part of the bigger picture in which I fell asleep (figuratively speaking, of course). I’m not sure what to make of Andrei’s project as a whole, but there are some things I thought was interesting enough to share. In my opinion, the largest thing I picked up was the fact the story hit on a sensitive situation between the link of a mom and son. Now this may have been on purpose for the resemblance of Mother Mary nurturing Jesus, it is a similarity which frequently appeared in “Mirror.”

I enjoyed the fact that the son had watched mom leave, then shut the door, only to find himself with other people in his home. Even if the kid wasn’t scared, it sure made a great scene and then it was his house again. I wonder what happened to everyone and when you think of a mirror, do we think of a boy always looks for someone that is as loving, caring and nurturing as his mother? If he doesn’t, will he forever be isolated, alone and away from everyone else. I sense another option the boys love for his mother being similar to a soldiers love for the motherland. Well, it was a challenging film to stay with but there were a lot of neat transitions and some colored scenes I recall. Overall, I can say that this project was intriguing.

“Ivan the Terrible” (Part I) a 1944 (of 1500’s) Socialist Realist film by Sergei Eisenstein

“Ivan the Terrible” a 1944 (of 1500’s) Socialist Realist film by Sergei Eisenstein

This particular Eisenstein project (Ivan the Terrible) was done in 1944 and already starts the opening scenes with the Tsar being accepted by his superiors as the choir sings a song about how the Boyers have unleashed a treacherous plot. During this scene we see a multitude of people around the massive cathedral size structure, all of which are participating in this ceremony for the Tsar. Not all are content with whom the Tsar is currently and it is unsettling to say the least. We find this out throughout the film as the camera takes us in and out of various characters conversation pieces and it’s clearer that many want nothing to do with the Tsar, especially when he makes his announcement in a few seconds. But first, we need to place the crown on the Tsar and give him a sword and orb. Alright, we see the money flowing over the new Tsar, the choir still singing, then all of the sudden the choir stops. This is when a soloist chimes in with an abundantly healthy set of bass sounding lungs. I nearly jumped out of my seat because I never saw that coming, then the big guy stops, choir adds a few more verses, the big guy does one or two more as well and we move to the Tsar Speech scene and angle(s).

Tsar says he wants everyone to give him money, even the bishop and the higher ranked individuals are to obey. They will help and obey so that Tsar can get the trained people, tools, weapons and anything else he need  for the preexisting battle ahead. A lullaby is caressing our delicate ears at this particular time in the film.

As the Tsar continues his requests, he is unaware of the gossip that has the palace going crazy because of the mega celebratory things that overwhelm him currently. The gossip is about the townspeople heading toward the Tsar as the celebration is commencing. All of the sudden, I recall someone mention wedding, a baby and the scene didn’t really change much before the guests were chanting for the couple to kiss.

Suddenly, as if it was out of thin air, the cathedral was filled with townspeople with sickles and such, shouting things like, “I want to see the Tsar” and “Where is he”. There was one man who happened to push through everyone and ended up smack dab in front of the Tsar himself. Once the Tsar was acknowledged, everyone within the room had bowed and/or gestured to the Tsar. A gesture of approval, I think, it was hard for me to tell in this section of the film.

Tsar says, “We must weed out Boyars, too Kozan.” The townspeople echoed the Tsar and off they went to with weapons like sickles and cannons. They dug a tunnel over a period of a month, when Tsar’s helpers were finally through; he instructed that he had enough gun powder to fulfill their goal. So, off to the gunpowder stock they go and with four strategically placed pieces of wick and a single candle to burn down for contact, they blew up the entire area, went to war with Moscow and succeeded.

The story takes us back to the castle-like structure, where everyone appears to be discussing how the fact their Tsar is “ILL” from the war. Holy Sacraments are then brought to the Tsar, he laid bad for his final resting position, holding a lit candle, which looked about as creepy as it can get. Only to be met up with a huge biblical looking book, this towers his skull in comparison. At this time, everyone is vying for the label Tsar, but it backfires when the Tsar is on his feet again, Stating, “The Sacraments Cured me.”

The Tsar strongly urges a move toward the Baltic States, while acknowledging he is alone outside the fact his wife (Anastasia) and child (Alyoshka or Rigy are the two names that popped up on screen at the same time) are with him. No men, weapons, help of any kind to complete his goal for the Motherland. It was not long before new outside resources teamed up with the Tsar and created, vast numbers, comrades which ultimately fought alongside the Tsar; for the sake of the Motherland.

I certainly see the similarities between some of the Socialist Realist lead character traits. Meaning, the dedication to the Motherland takes presence over friends and family. Also, the character’s of Anastasia and Tsar appear to have more of a darker side, in which is only hinted, but evidence such as Anastasia’s occasional flirtation with that other guy even while the Tsar was supposedly laid to rest in his final bed. I didn’t know what to think of it, but it sure leaves the character open for future scripts. The Tsar with his naive way of accepting everyone’s reasoning for almost assassinating him around every corner. The film had a lot of funny part, where I was giggling and a few parts were I blurted out, “Of course” or “Why not.” It’ll be interesting to see part II of, “Ivan the Terrible” and those links we had seen prior to this film starting.

Burnt by the Sun Directed and featuring Nikita Mikalkov – 1994 (film of 1936/7)

Burnt by the Sun Directed and featuring Nikita Mikalkov – 1994 (film of 1936/7)

 

This 1930’s based film opens with a star on top of a building structure and a scan through the street of Soviet Russia. There are RED flags on each light pole and some larger ones on buildings which are seen from just about anywhere you walk or drive.

Once the downtown had its debut the first minute or so into the film, we are brought to a room where one older gentleman and younger gentlemen are talking business. This business doesn’t seem to be of any real purpose to anyone else but those two gentlemen as they talk in codes and/or other languages to avoid anyone else knowing what they are saying. It wasn’t long before I figured out that this must be the scene where plans are made to get rid of someone, as the sense of spy came to mind for me. Those types of people would be using codes and such to avoid getting the info they are sharing into the hands of the wrong person(s). To ensure the person they are currently around ARE, indeed who they say they are.

Once, all details are worked out and they understand who each other is, the details are now shared. I found it odd, that the younger guy by the name of Mitsya, didn’t even pay no mind when his elder was sharing important information. All Mitsya did was pull out a revolver and place a bullet in it (at least from what I could tell), spun the dial and then pulled the trigger once he placed the barrel to his head. I guess it wasn’t the day for him to die; the bullet wasn’t in that particular chamber, this time around.

We now see a couple being serenaded outside in what looks like a very small ice rink decorated with make-shift fence pieces to signify the boundaries. While the talented instrumentalists were doing their music we hear AND see a little girl in the nearby distance singing to herself, in the tune of what she is hearing by the few people that were playing their instruments.

The story in the film had now brought us to a cottage, where we see Sergei Petrovich Kotov and Nadya in the sauna area in an awkward, to me, but natural to their culture, situation. The daughter was on top of dad without any clothes, although she was just on his back, it made me feel a bit uncomfortable. They weren’t without someone knowing, mind you, as mom (Marusia) is certainly there in site, but it seem as if she was in another part of the room talking to the both of them and nothing was out of the ordinary for anyone in the household. It was just time in the sauna for relaxation, I’m gathering from the scene.

Suddenly, we are shown multiple tanks ruining wheatfeild and creating havoc to the owners and workers of the field without hesitation. Not knowing why or being able to stop them heightened the panic. Word of this rampage reached Col. Kotov and he went to the supervisor in charge of the tanks, called someone and off the tanks went without anymore chaos.

By a swift clip of the editor we are met with a scene in which a marching band is working their way through the forest at the entry gates to this cottage. Nadya runs to hear the band and watch as they go by. It’s not long before suddenly, a rambunctious older gentlemen pops out of the marching line towards Nadya which excites Nadya as he plays a guessing game. She is trying to guess who he is,

maybe a doctor or Summer Santa but none of that really is who’s arrived at the cozy cottage as a guest, as we will soon find out. The bearded gentlemen works is way through the gate with his game of guessing, while telling each person he comes to a bit of something about themselves that he knows. This is strange and fun at the same time. Now, everyone is eager to find out who IS this unrecognizable character. They didn’t have to wait for too long as the gentlemen in disguise shows everyone his talneted piano skills; it’s off with the beard and white hair. It’s Mitya, scream a few members of the household as they run up and hugged him, some just laughed and other just simply wondered around the house.

Although the cottage has it’s fun time and laughter, by all means, it’s trouble with a past in which only Mitya and Marusia know about, outside one other family member. It slowly becomes apparent to the rest of the family that Mitya and Marusia had a relationship in the past and it was broken up during its prime moments. The time Mitya was sent out of town and when Kotov was the person who instructed him to go. Now, it wasn’t made clear that Kotov every knew about the past but the message was very clear this time when Mitya told Nadya a story and Marusia appeared agitated by it then walked away. Kotov picked up on it as well, then had his talk, sex and more talk with Marusia. I must say, their way of coping is different, but a learning experience none-the-less.

Once Marusia and Kotov were done with their moments, Marusia came out of the room and suddenly she saw Nadya tap dancing, a new step she learned from Mitya, in the hallway. Since, Mitya was also standing there he noticed Marusia and gestured to talk to Kotov. Mitya asked Nadya to play this humming game and since Marusia wasn’t in the immediate area, it was time for Mitya to let Kotov know the real reason he was visiting. It appears that Mitya had arranged to have Kotov and himself picked up in two hours. While, Nadya was humming, which just helped her not hear what they were talking about, the message was delivered and the reaction on Kotov’s face was one in which you knew that he understood the message and had no choice but to go along for the ride.

Before the vehicle gets here let’s finish what we always do on Sunday and keep the routine, "As is" was a great way to not let anyone else in the family know that Mitya’s ultimate purpose, his job, was to make sure Kotov was no longer alive. Mitya fulfilled his job requirement then ended his own life with the slit of one wrist while in a tub of water.

 I feel that Mitya used personal motives to train harder in the political arena so he can fulfill his ultimate goal and get revenge for sending him away from Marusia. Mitya clearly had a strong bond for Marusia, a dangerous bond in which, he only realized once it was too late to undo the deed at hand. The killing of Kotov didn’t have any rewards for Mitya after all.