Rus Articles Journal

“Life on a limit“ (1989). The drama in torture chambers at reorganization? There are no

anything the tosklivy lack of talent multiplied by kilometers of a film of Shotkinsky chemical plant “Svema“ thanks to what the dullness seeks to exceed an epidemiological threshold in the shortest possible time. Alexey Rudakov`s movie “Life on a limit“ - one of many faceless “masterpieces“ of the Perestroika period. The drama immured in own ambitions which action is not beyond a dirty ragged communal flat where live … is not present, not people. Population.

the Unaccomplished prima donna of big and Maly Theatres, Svetka whose left, creative, the hemisphere calls her on nonexistent tests eternally and practical right forces to trip habitually on kitchen in night-clothes and to cling to any opportunity to pass into orchestra seats. The former athlete, the next become an inveterate drunkard “Gurin“ dreaming to stick and go for trainer`s work. The baggy and laconic subject Spinoza obliged by a nickname to badly hidden remains of the university past and dissident manners. And, at last, a charming exterior not arrived provincial Masha on the bird`s rights let in the emergency dwelling waiting for a new season of entrance examinations.

On the eve of inevitably coming “life holiday“ in the form of the Olympic Games - the 80th lodgers - quota workers reconciled to lack of hot water and electricity, rudeness and bribery of the local house manager and try not to gleam, blowing out the candles during the become frequent night raids of militia. However after the next round-up on the apartment there is suspiciously cheerful companion, whose aspiration to overreact and struggle by all means with despondency inevitably leads to a catharsis.

There is nothing more simply, than to mingle with the crowd of the same “the unrecognized, misunderstood, underestimated talents“ and, having saddled a permissiveness trend, to give a kick long-term “íčçç˙“. There is a suspicion that the director - the debutant chose a slippery slope of discrediting of myths not on a need of the heart, and owing to the reasons objective: the scanty budget, thin movie theaters and hungry actors ready to act in anything though for food if only to remain on a look. From there is quite decent cast among which not only the fresh graduate of GITIS Marina Zudina and still little-known to the wide viewer Eudoxia Germanova and Sergey Gazarov, but also Oleg Menshikov, Vladimir Steklov and Sergey Nikonenko, popular in masses.

Just it was easy for authors of the movie and to recreate reality especially as in a decade nothing changed - you never know across Moscow the dirtied communal flats which each detail of an interior literally cries out about topical character. Rusty batteries and filthy walls do not need magic of operator art or professionalism of artists and decorators. They already in a genre, they should not look better or worse, they also so perfectly reflect reality. From how many - nibud the decent composer, probably, got rid by inertia therefore off-screen boomingly the silence rings, something sounds, reminding “the cat who got stuck in a drainpipe“.

There is nothing more silly, than to buy the admission to the world of illusions and to look an hour and a half in a muddy and curve mirror. But, as one famous film character of the same era, force - that in the truth told. And there is exactly so much truth in a social seamy side how many in life. Here they, “darlings and family“ to heart types and details: neighbors are alcoholics, bydlovaty workers of housing and communal services, poor intellectuals, a limit with ambitions, a household fight (on love or just like that) and, by itself, “our everything“ - the lonely bulbs which are hanging down from a ceiling, dirty pools in gates and creaking iron beds. For some reason, when removed “The guest from the future“, the public did not concern that in the middle of Moscow there is an abandoned house where after lessons school students hang around. At the end of 80 - x, including thanks to it here to opuses, similar pastime meant anything, but only not travel in time.

It would seem, all is so bad that worse than ever. But if to reject all peel, deliberate cynicism, persuasive sendings to “the shadowy Soviet past“ and clumsily removed exposed flesh, then on a surface there will be a simple and clear love story: she dreamed of the prince who will make laugh her and will take away to the sea, and he was the coward bastard who is eager for a fast profit and a readily available body of the naive provincial girl. All the rest - drugs, bums, cops, the preolympic cleaning and a complete negation something light and kind in irrevocably left era - a tribute to severe and evil fashion.

Primary interest of the public excited by small beliefs and interdevochka was quickly enough replaced by irritation, and then at all indifference. Perestroika “neo-realism“ was the phenomenon deadborn, useless and, in fact, to nobody necessary. Including to companion Rudakov whose name is entered in the contemporary history of the Russian cinema not shablonno forever - the gloomy drama “Life on a Limit“, and tasteless pseudo-erotic cheap stuff about “features of the Russian bath“.