Rus Articles Journal

Soviet detective story “Entrance to a Labyrinth“. Why the last screen version Wainierov was not successful?

When in 1987 TVs of the USSR the serial detective film “Visit to a Minotaur“ came out, in use of the audience the term “telerating“ still was absent. TV men perfectly understood that the five-serial screen version of a novel of the same name of brothers Wainierov really became a hit of an autumn season.

By the way, till 1987 - guo Wainierov was picturized not once, but these tapes did not try to obtain special success. The same “Visit to a Minotaur“ in 1974 was adopted by the Georgian cinematographers - the movie was called “Night visit“. And the famous story “Medicine against Fear“ was turned into the feature film on the Sverdlovsk film studio in 1978 - m, but too it is not too successful. When there was an unexpected surge in interest in creativity of brothers - writers, on the Soviet television was decided to rethink the book, to lick the scenario into shape and to try to enter this river twice.

… Having regained consciousness on a sobering-up station bed, the militia captain Pozdnyakov quickly thought that evening stopped being languid. Vaguely remembering two strangers and the drunk not enough beer bottle, he reported to the administration that he lost the symbols of the power entrusted it by the people - red crusts and a service weapon. The dirtied honor of an officer uniform was charged to be cleared to the skilled investigator of an ugolovka Muromtsev who does not want to punish the at all, let also on conscience.

However Muromtsev was lucky: chemical examination of the stopper found in a pocket of the robbed Pozdnyakov established that the militiaman was poisoned with a strong tranquilizer. And it which and in the nature does not exist. Experimental “medicine for fear“ under the name metaproptizol is at a stage of development and officially it is considered “artifact“.

Meanwhile, the certificate of the captain emerges in the criminal chronicle. Two “jackets“, having presented by workers of OBHSS and having shown the false warrant for a search, accurately withdraw from the citizen of material values for the sum wild for those times - fifty thousand rubles. Muromtsev understands that the simple manicurist from sanatorium is not able to afford a mink coat and such stock of cash in a savings bank. Robbers perfectly knew where and what badly lies, and madam was the mistress of the swindler serving long sentence in places of confinement.

Thus, the investigator is forced to look for two bandits, under the guise of representatives of the law of the plundering former accomplices, and also to understand - from where they on hands had a mysterious preparation in which search the leading institutes of the country … As one would expect unsuccessfully are engaged in

, in a pursuit of a rating quality of material suffered. Let`s not forget that the television movie appeared against full-scale crisis in the USSR, on a break of Perestroika process. In full-length cinema revolution was well under way, and ailing censorship quietly cheeped from pages of the becoming obsolete Soviet magazines about motion picture art. On screens of the country “small beliefs“, “interdevochka“ and “Accidents, daughters of cops“ walked. And therefore the politically correct story had to be “rewritten“ urgently on topic of the day.

And still Vaynera were ashamed to shovel the scenario cardinally. Nevertheless the first screen version of their book (1978, the director Albert S. Mkrtchyan, the coauthor of “Sannikov`s Earth“) looked much more sterile and pro-regime. Being limited to one and a half hours of timing, it was focused on the central detective subject line, and there is no time left for study of characters simply. The new format repeating multiseriality of “Visit to a Minotaur“ allowed to break the fast and transfer the most part of the minor details capable to add a picture to the screen and to give it integrity. However instead authors adjoined camp of opposition - accusatory implication was copied from reality roughly, but precisely. In a shot “heroes of the time“ appeared: the corrupted militiamen who are letting out criminals on a call of the higher management and acquaintances; scientists are the charlatans ready for the sake of glory to go for treachery, forgery and theft; angry neighbors are slanderers; parasites, black marketeers, speculators. Well unless did without fashionable prostitutes, addicts and code-bound criminals.

A format pass - series played a dirty trick with authors: paginal transfer of the literary original destroyed already absent dynamics of the narration. “Visit to a Minotaur“ did not differ in a storm action too, but there the situation was rescued by magnificent actors - Sergey Shakurov, Valentin Gaft, Mikhail Pugovkin, Alexander Filippenko and Rostislav Plyatt (for the great actor this statement became the last in life). “The entrance to a labyrinth“ in respect of a casting does not impress at all. The best actor of 1986 on poll of the Soviet Screen magazine, Igor Kostolevsky, against Shakurov looks as the whipping boy. It is extremely professional and authentic for the investigator of that era, but for some reason does not cause respect. Neither by work methods, nor human qualities. Kostolevsky frankly missed in this image and did not even do attempt to represent on a face something bigger, than heavy everyday life of criminal investigation department.

The sure director`s hand in a picture is not felt. Valery Kremnev for whom this work became the last in career (he is living - it is healthy, simply departed from affairs), apparently, did not know from what party to approach the project. Also lack of profile experience affected, Kremnev in a detective genre was not noticed earlier. It is more and more drama, type of “The owner of orphanage“ from Gundareva or in general “Jumble“. There was a modest criminal tape “Confrontation“ with Elena Safonova and Karachentsov`s participation, but who saw it in all-Union scale? Therefore “The entrance to a labyrinth“ sticks in dialogues, close ups, pauses and emptiness. Much more a suspense the musical subject of the composer Eduard Artemyev whom just borrowed from “Visit to a Minotaur“ directs. And at all any horror film can envy gloomy chords on header credits.

Like the predecessor, the narration of “An entrance to a labyrinth“ (by the way, it is necessary only to guess the hidden sense of the name) is also broken into two temporary eras. Only, unlike very interesting and informative story of ascension of the violin master Antonio Stradivari, the tedious biography of wanderings and drudgeries of the medieval doctor Paracelsus finally kills all interest in the events on the screen. The Estonian actor Mikk Mikiver, though is externally poorly similar to a prototype, played adequately. Nevertheless the long, occupying to a half of each of five series, historical inserts, tire and nullify any attempts of creators though somehow to recover action. As usual, the most intense turned out final part, but to it still it is necessary to wait.

The eightieth ended, and together with them also the last decade of existence of the Soviet Union ended. In new, now the Russian cinema, the reorganization began, and many earlier demanded film figures, directors, screenwriters and actors came to be on a roadside. Wainierov forgot partially too - “The entrance to a labyrinth“ became the last screen version of their joint work. Ways - roads of brothers - writers dispersed. Arkady remained in Moscow, and his brother Georgi moved to New - York. Both did not live up to now: Arkadi Weiner died in 2005 and is buried in Moscow, and his younger brother died in 2009 - m and is based upon a cemetery of Maunt - Mauriat in Feyrvyyu (New - Jersey).