Boy and the Dove – The Independent Newspaper

The Jury 71 th Venice Film Festival took a wise and intelligent decision

Photo from https://ru.wikipedia.org/

 

As if apologizing for the folly of hasty last year’s jury, headed by Bertolucci, who gave the “Golden Lion” mileyshemu, but not outstanding Italian documentary, current intelligent jury headed by composer Alexander Depla ordered awards supremely intelligent. And if the minor prizes – Volpi Cup for best actor works or special prize of the jury – was summoned to the Hall of surprise, turning into a whistle, then the principal lions – gold, silver for Best Director and Grand Prix – given in good hands.

  
 

Depla did something somehow to it for a long time nobody did – put the main prize for the best film, without reservation and without looking at the political situation. In this solution, there is no drama-calculated, except ingenuous and wise desire to encourage finally genius director, to make a film artistically perfect, philosophically sophisticated and breathable genuine humanism. By the way, “Dove sitting on a branch and reflects on being” refused to take in the Cannes Film Festival competition. Well, the rich their quirks …

  
 

Grand Prix – is also to be expected – got Joshua Oppenheimer for the bloody documentary of the life of the modern Indonesian torturers, those in the 60 cut almost half the country’s population. How do they live now? Do not grieve for what he did? Blood of the victims do not obscures the eyes of? It turns out that not only did not repent, but are willing to remember the past few days, and with a view of the Hollywood Superman happily playing in front of the camera scene penalty – “it was like that, and I am his ax – like this.” For your previous film – “The act of murder”, shot on the same subject, but from the point of view of the victims’ relatives – Oppenheimer was nominated for “Oscar”.

  
 

Award Andrei Konchalovsky – “Silver Lion” for “White Nights postman Alexei Tryapitsyna” – has upset many who expected a shutout Konchalovsky. But in fairness it should be noted that the “White Nights” undoubtedly lose “blue” in the definition of artistic structure. It is as certain as the fact that Konchalovsky took his best movie afraid to say how many years.

  
 

The life of deaf northern village at first glance, only a glimmer. Sense of abandonment enhanced proximity to the cosmodrome “Plesetsk”, where every now and then soar upward brand new rocket. The locals do not even look at them – who potatoes who stole the motor from the boat, who – intimate conversations with a bottle. Civilization pointedly turned his back to these people, waiting, they are bent without it.

  
 

The local postman Tryapitsyn and his entourage – a drunken local nedofilosof Victor, a single mother, a strict rybnadzorschitsa Ira, her son, Timur and the rest of the population deaf village – not only are not going to bend, but also on the part of the viability of a hundred points ahead of any Plesetsk rocket will. Only the rocket together with civilization do not know about. But the camera knows Konchalovsky resettled among these people and meticulously winding them around the bends of their life stories.

  
 

Previous as a continuation of “village cycle” a new picture of Konchalovsky in a certain sense – the antonym of his previous tapes cycle – “The Story of Asya Klyachina who loved, but not married” and “The Speckled Hen.” If the “Ace Klyachina” shocked the audience by the true picture of rural life, revealing under tons of this painting, unkempt, frightening moments of life, the “White Nights” Konchalovsky reveals to the viewer the beauty and poetry of the Russian countryside, hidden under the gray squalor of houses and courtyards, recessed in gekalitrah vodka, sandwiched between poverty and destitution.

  
 

The heroes of the movie – the locals all non-professional actors (except Irina Yermolova playing rybnadzorschitsu). They – the Full Collaborators Konchalovsky, rulers plot and media director thought. They live in the proposed director of the circumstances, it is hardly knowing what happens at the output. They – clay, clay in the hands Konchalovsky. Or a sheet of paper on which he writes a letter to the viewer.

  
 

None of the “artists” in Venice did not come – it’s time to dig potatoes. And it is unlikely they will ever learn about his triumph.

  
 

Konchalovsky began his career here in Venice, on the island of Lido. In 1962, he received the “Bronze Lion” in competition of children’s films for course work “The Boy and the Dove.” It was co-author in the script of the film Andrei Tarkovsky’s “Ivan’s Childhood” – the owner of “Golden Lion” in the same 1962. Then there was the “first teacher” – Natalya Arinbasarova then was recognized as best actress.

  
 

The boy grew up and returned to the winner. The dove flew to the branch to reflect on existence.

  
 

Venice Film Festival has once again confirmed: old age adds wisdom.

  
 

Venice