Rus Articles Journal

The fighter “A tango and Cash“ or How Andrey Konchalovsky improved Hollywood?

What there was sung by domestic cinematographers about “the rotting West“, sample Hollywood blockbusters and a celebration of rich persons over the creative person, each of faultfinders secretly dreams to show a fig with oil towards the homeland directly from Factory of dreams.

To sweetheart the western viewer - dreamboat of many cinema-men on this side of Atlantic. Does not stop at the same time thought of total control from powerful producers, the strict censorship and system of ratings operating in the American cinema angry shouts of compatriots in a back. Europe, Asia and Russia standing at the crossroads of steel for Hollywood a peculiar smithy of talents where, like heartless cars from “Matrix“, Americans derive inspiration and break for a long time the most mature fruits.

Here and the screenwriter of movies of Tarkovsky “Ivanovo the childhood“ and “Andrei Rublyov“, the eldest son of the Soviet poet Sergey Mikhalkov, Andrey (Andron) Konchalovsky, too, without thinking twice, slipped in slightly slightly opened Iron Curtain. Still at the beginning of 80 - x the director of “Asya the Klyachiny“, risking to be despised, drove off abroad to shoot especially the film. Certainly, about any financial independence of the speech could not go. At us Mikhalkov` family successfully drove it the hairy hand, and over Konchalovsky`s the ocean nobody knew. And many also did not want to know.

Everything began with quite successful drama based on Platonov`s story “Maria`s Beloved“ with Nastassja Kinsky`s participation. And then also the first experience of genre cinema - an action “The train - the fugitive“ for which shootings entrusted the little-known Russian director John Voight and 9 million dollars followed. The picture received quite good critical comments, but did not break cash desk. It seemed that the emigrant is capable to work effectively only in a favourite genre of the drama that was confirmed also by its subsequent tapes. But there came year 1989 and Konchalovsky, at last, achieved the “dream of the idiot“. Its new statement received the massive budget, two stars of world size and full advertizing support from air. And if not eternal languor of the Russian soul …

… More abruptly - Andzheles not to find Ray Tango and Gabe Cash in police of Los. Tango is the elegant superman in a suit, the employee to the law not for the sake of a daily bread, but in the form of a hobby. He earns money at the exchange. His competitor Cash, on the contrary, is not soiled by riches, lives in some klopovnik, but goes by a fashionable cabriolet. This couple, being not familiar personally, brings to criminals of the city a lot of headache. To the press such involuntary rivalry even on a hand. Every week cops devastate pockets of drug barons on kilograms of “snowball“ and cubic meters of money. And it completely bothered crime.

The shadow swindler Yves Pere suggests the subordinates Juan and Lopez to substitute the gone too far police stars. Both are trapped, and voila - next day newspapers dazzle with headings that Tango and Cash trade in the confiscated coke and on couple killed the federal soldier. The fast court took place, and the tandem was sent for one and a half years to prison. Certainly, it was supposed that cops will separately sit from other prisoners. Especially as among the last there are a lot of those who went to jail thanks to activity of gallant attendants of a law and order. But artful Pere took advantage of the opportunity and the couple was thrust into the general compartment where him definitely not to pass punishment. Now Tango and Cash are simply forced to become workmates and to bring down amicably from places of confinement. And also to find at liberty for a black sheep and to show her a kuzkina mother … the Main scandal over Konchalovsky`s picture burst in

already closer to the final of shootings. According to a legend, the director allegedly did not please with something to producers. And those, without thinking twice, chucked out the Russian, having forced a certain Albert Magnoli to complete begun. Nevertheless Konchalovsky was not forgotten to be mentioned in credits in which he still appears as the only director. Proceeding from these facts, the belief went that supposedly the initial plan was very quite good, but the dull doubler Magnoli ruined an ending and in general turned potentially cash hit into “very average cinema“.

The picture was not glued from the very beginning. Patrick Swayze left the project at an early stage perfectly to act in “A roadside institution“. Shootings started without final version of the scenario. Then powerful Slay personally took care of that the platform was left by the operator and future creator of “Men in black“ Barry Zonnenfeld. And only then kicked under the back of Konchalovsky which, as he said (memoirs in the help), not the second-grade fighter, but a serious action tried to rivet. However, it is unclear at what stage Mikhalkov - younger was going to start high mission of an upclassing of Hollywood because the movie cheap since the very first minutes is watched. Well and in end of this carnival producers invited the third-party film editor and the director who had to remake a tape and dosnyat the depressing final.

Certainly, for those who are not familiar with fighters 80 - x, “Tango and Cash“ can become revelation, however everything turned out just the opposite. Palmed off on public frankly crude, stuffed with genre stamps product, and without any hint on the parody. Konchalovsky embodied the dream on the screen, and to it was to spit from a high belltower that literally each shot of its movie is simply filched by it at colleagues from shop. Approximately the same effect on audience was caused by attempts of his descendant Timur Bekmambetov who realized the ambitions in a boyevichka “Is especially dangerous“. However Bekmambetov at that time behind shoulders at least had “Patrols“. It was really supposed that Konchalovsky who had scanty experience with big budgets and the fighter`s genre in general suddenly will take and will shoot the cash blockbuster?

After fluent viewing “Tango and Cash“ you understand three things. In - the first, the movie was obviously scripted by the principle of Bollywood where the last has no principles at all. Hindus shoot the film “with all the heart“, filling gaps in the text with “dances with a tambourine“ on the process course. At the same time, at all without shunning loans. In - the second, was an obvious mistake to push in one shot of competitors on a genre Stallone and Russell which it is simply close on the screen. In - the third, this unforgettable Russian “color“ which rushed to Hollywood for some reason does not please at all. At all it is offensive for the great comedy actor Saveli Kramarov on whom got on a t-shirt with the inscription “Glasnost“ and forced “to respect reorganization“.

Which - who, without having understood, will dare to call “Tango and Cash“ “the classical fighter 80 - x“. Friends, classics are “Kommando“, “Over the law“, “Rambo“. And this opus - attempt to dance an Irish jig under rhythms cha - cha - cha. And if not rather clockwork music of Harold Faltermailler (“The police officer from Beverley - Hillz“, “The Running Man“), then it would be absolutely sad to look at clumsy sword-plays of two “superheroes“ driven into a corner.

It is natural that after so unsuccessful experience Konchalovsky stopped trying to fit into a mainstream. Unfortunately, over the years bad was forgotten, and in 2010 the director stepped on a rake “Nutcracker“ again. And who will remember its “Sibiriada“, “Uncle Vanya“ and “A near circle“ now?