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Thursday, October 27, 2016

At the Venice film festival Konchalovsky gave all “Paradise”

September 8, 73 th Venice film festival will premiere Russian-the German film “Paradise” by Andrei Konchalovsky. He participates in the main competition. The fifth time he presents his work on the island of Lido, where never left without awards. After the press preview held before the official, someone applauded, shouting “Belissimo” (that is great), and someone gave a contemptuous “Boo!”.

For Julia Vysotskaya is the second Venice film festival, where she participates as an actress and not just accompanies her husband, as in 2014, when the competition was attended by his “White nights postman Alexei Trapezina”. In 2002 “House of fools” Konchalovskogo was marked on the Lido Big jury award (Grand Prix). Vysotsky played a major role in it God’s bride. And now a completely different level of acting work in the film “Ray”.

To present a new film by Konchalovsky in Venice came not only himself, but Julia Vysotskaya and German actors Christian Klauss and Jacob Diehl, who starred in the film “dear Hans, dear Peter” by Alexander Mindadze and producer Florian Dale. “Paradise” is based on French, German and Russian languages and was featured with Italian and English subtitles. If you do not know that movie was filmed, Konchalovsky, you can fantasize anything. The feeling of European paintings present.

“Paradise” returns to the events of the Second world war. Interestingly, it was shown just after the official premiere of the documentary film “Austerlitz” by Sergei Loznitsa, who made the film-watching visitors of the concentration camps in Dachau and Sachsenhausen in our days. From Konchalovsky’s black-and-white image, full of light, which is reflected in every subject. Striking effect achieves one of our best operators Alexander Simonov who have consistently worked with Aleksei Balabanov. Here every thing, every texture cinematic and reminiscent of the author’s photo..

Three fates intertwine in this film. Each of the main characters sitting at a table and delivers a monologue as a confession or interrogation. Who as it turns out. These frames resemble fragments of old films, sometimes with intermittent sound. Olga – Russian, born in 1910, from a Cossack family, he went to Paris at the age of six with his mother, became the editor of the fashion magazine “Vogue” and then went into the ranks of the French Resistance, hid Jewish children. She was arrested, sent to concentration camps.

Olga was played by Julia Vysotskaya, and this is by far her best role. As an actress she gained pain and depth, which in previous works was not felt. But sometimes it is not doing too Intrusive designs, which offers the Director. His monologue Vysotskaya says in Russian. She almost shaved head, like typhoid. And like Andrei Konchalovsky. This is what happens when people live together. Surprisingly, the TV train and participate in the culinary program, it does not interfere with normal perception. Olga is fluent in French, but is still very Russian. At the beginning of on her way there a French collaborator Jules, played by 52-year-old French actor Philippe ducan. They begin a strange relationship. And in the camp she will meet a young SS officer Helmut, who finds out her bending neck. Once in civilian life they were familiar. Helmut was even in love with her. Between Olga and Klaus are tied intimate relationships, and there are not always credible nuances. The collapse of Nazi Germany approaching, and it is felt throughout. Hellmuth decides to save his lover, makes her the documents to escape to Switzerland, but Olga will choose a different and very scary way. He justifies it by the fact that the submission of the heroines of Paradise has changed. When you start to tell the story, he seems completely far-fetched, but on the screen much justified and credible.

Helmut played a 32-year-old Christian Klauss. The role of Himmler suddenly Victor got Sukhorukova, and if you don’t know what it is, then you will not guess, especially since it was voiced by a German actor. Vera Voronkova has played an inhabitant of a concentration camp, she is very expressive on the screen. Our filmmakers in vain it is not to be removed. Mascot Konchalovsky was Eating Sanko, which has a tiny role here, departed to the other world of the old woman. The recent companions are happy that she “died”. Someone now will get her boots and old clothes. Olga was lucky. She works in the warehouse, dismantle the glasses, plates, belonging to those who died in the gas chamber. “There were people, steel shoes, mountain shoes” – she says, looking straight at us from the screen. Terrible life turns people into animals. In the camp they could kill for a pack of cigarettes. Promise it to someone in exchange for the destruction of man, and everything will be done in the best possible way. The young Germans here are beautiful and educated, they know Chekov and I love Brahms. They also had a good peaceful life that ended. They respect Stalin, I see in him an outstanding personality. Hellmuth reason that the Bolsheviks have an idea they want to create a Paradise on earth, if I had been born in Russia, would become a Communist. Next to Helmut Olga no longer hungry, healed as a man, stopped thinking about food. Is only about her not to think again, and very quickly transform from an animal into a woman, start thinking about lipstick. Some like the sky had fallen hysterically, she yells at her lover, that the German people – a great nation, a superior race, and others you can all. And even he would not survive, to keep her quiet.

Olga goes from life to death, from heaven to hell and back. “Only scary at first, and then still,” she says. But the meaning of life she sees. There was nothing ahead. To live not for anyone. And it is necessary that the meaning was, otherwise salvation would not be. Therefore, Konchalovsky and send it in a colorless something, somewhere in heaven.

On the website of the Fund Konchalovsky, representing the picture, are the words of the German philosopher Karl Jaspers: “we Cannot allow the horrors of the past were forgotten. It is necessary to remind about the past. It was proved possible, and this possibility remains. Only knowledge can prevent it.”


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