2024 Author: Leah Sherlock | [email protected]. Last modified: 2023-12-17 05:25
In the recent past, the Soviet and now Russian theater and film director, screenwriter Yuri Mamin was not without reason awarded the title of Honored Art Worker of the Russian Federation. In some films, the author also acted as a composer, composing music for his works.
At the film festival in Switzerland, the widow of the great and unsurpassed genius of cinema herself personally presented the maestro with the Golden Cane of Ch. Chaplin. Yuri Mamin is a director whose track record is known not only to the domestic audience:
- Rockman.
- "I wish you…".
- "Don't think about white monkeys."
- "Feast of Neptune".
- "Russian horror stories".
- "Fountain".
- "Bitter!".
- Rancho Sancho.
- "Whiskers".
- "Sailing to Hawaii"
- "Window to Paris".
- "Rain in the ocean".
Not the best of times
Now the master is going through a far from the best period, he was tired of the unsuccessful search for funding for the filming of the satirical sequel "Window to Paris, 20 years later." Yuri Mamin created the first painting "Window to Paris" back in 1993. The film has become a mirror, exactlyreflecting all the processes that took place in society in the early 90s. Inspired by the success of the film, which was appreciated by the audience with he althy self-irony, the director increasingly returned to the idea of creating a sequel. Since he believes that the ability to laugh at one's inferiority and shortcomings is a great gift, and the initial step towards curing society from diseases. The director's idea was supported by screenwriter Vladimir Vardunas, but his sudden death further pushed back the process of starting production. Last year, Yuri Mamin decided to realize their common plan, and then there was a problem with funding.
Crazy Phantasmagoria
Unlike the other films of the director, more or less clear and sometimes predictable, it is almost impossible to classify the genre of the film "Don't Think About White Monkeys". For a long time, the silent comedian finally pleased the viewer by creating a natural magnum opus, with its author's forms, pluses and minuses. This is an enchanting phantasmagoria, unrestrained satire. Mamin managed to fit almost all the known variations of beauty into a decent timekeeping (two hours), regardless of the peculiarities of the audience's perception - oral, musical, written and visual. The viewer will certainly remember the soundtrack from the movie "Don't Think About the White Monkeys". The musical composition written by the director is similar to the Mephistopheles divertissement in memory of all composers.
Sublime or earthly
If the shape of the creation of Mom's special claimsdoes not cause, rather discouraged surprise, then the content is clearly limping. The protagonist, a promising and talented bartender Vladimir, simply Vova (Mikhail Tarabukin), receives a decent amount from his future father-in-law and boss Gavrilych to transform a flooded basement into a tavern, and an attic-attic into an office. With the basement, everything went perfectly, but in the attic the hero was waiting for an unexpected reprimand in the form of: unlucky Daria (Ekaterina Ksenyeva), prone to suicide and striptease; alcoholic and freelance artist Gennady (Aleksey Devotchenko); strange man Hu-Pun. Guided by mercenary considerations, the protagonist decides to use the bohemian hiding as a labor force. But the rapprochement between Vova and the strange trinity causes a cardinal change in the psyche of the protagonist and everything in his life flies head over heels.
Kitch show
In order to reach out to the viewer, Yuri Mamin arranges large-scale shamanism in his projects: songs and dances alternate with modeling and painting, continue with philosophical dialogues and recitations with the participation of Basilashvili and Yursky. The author's "forays" into the "personal" of the protagonist and into the "collective" - the lunatic asylum - are also indicative. The author's technique with shooting a parallel tape in the Hermitage is interesting.
Social Absurdist
Yuri Mamin makes films similar to champagne - burlesque, sometimes ridiculously confusing, similar to an unparalleled kitsch show. Watching his works of cinematography, over and over again, he embarks on a shaky path of interpretation, which, due to the abundancesatirical parodies and masses of cultural references become even more unstable. Surprisingly, the socialist absurdist Mamin manages to remain topical with the eternal, exciting allegory of Russian thought. The director's message, if you recall his filmography: "Window on Paris", "Neptune's Feast", "Whiskers" and "Fountain", is similar to a series of a quarter of a century. Another work draws attention to Mamin's commitment to three metaphors - the house, the attic-roof and the basement. In general, all the works of the author are like a worldwide festival of crafts and arts. It cannot be said that they keep in suspense every minute, they just calm down, then gush with half-forgotten moods and fantastic images. It cannot be argued that the director is distinguished by impeccable taste in everything, but each of his creations is a film venigret of the sublime and the base.
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