In the recent past, the Soviet and now Russian film and theater director, scriptwriter Yuri Mamin was not without reason awarded the title of Honored Artist 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 handed the maestro “The Golden Cane of Chaplin”. Mamin Yuri - a director whose track record is known not only to the domestic audience:
- "Rockman."
- "Wish you…".
- “Don't Think About White Monkeys.”
- "Feast of Neptune."
- "Russian horror stories."
- "Fountain".
- "Bitterly!".
- "Sancho with the ranch."
- "Whiskers".
- "Sail to Hawaii."
- "Window to Paris."
- "Rains in the ocean."
Not the best of times
Now the master is going through far from the best period, he was tired of the search results 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 became a mirror, accurately reflecting all the processes that took place in society in the early 90's. Inspired by the success of the film, which was appreciated by viewers with healthy self-irony, the director was increasingly returning to the idea of creating a sequel. Since he believes that the ability to laugh at one’s inferiority and one’s shortcomings is a great gift, and an initial step towards healing society from disease. The director’s idea was supported by screenwriter Vladimir Vardunas, but his sudden death pushed the production start process even further. Last year, Yuri Mamin decided to implement their common plan, and then there was a problem with financing.
Crazy phantasmagoria
Unlike the other films of the director, more or less clear and sometimes predictable, it is almost impossible to classify the genre affiliation of the film “Don't Think About White Monkeys”. For a long time, the silent comedian finally pleased the viewer by creating a natural opus magnum, with its author's forms, pluses and minuses. This is an enchanting phantasmagoria, rampant satire. Mom managed a decent timing (two hours), ignoring the peculiarities of the audience’s perception, to shove almost all the known variations of the beautiful - oral, musical, written and visual. The viewer will certainly remember the soundtrack from the movie “Don't Think About White Monkeys”. The musical composition written by the director is similar to the Mephistopheles divertissement of the memory of all composers.
Sublime or earthly
If the form of Mom’s creation does not cause any special complaints, rather discouraged surprise, then the content is clearly limping. The main character, a promising and not deprived of talent bartender Vladimir, is simpler than Vova (Mikhail Tarabukin), receives a decent amount from his future father-in-law and chef Gavrilych to transform the flooded basement into a tavern, and the attic attic into an office. Everything went well with the basement, but in the attic of the hero an unexpected reprimand awaited in the form of: unlucky Daria (Ekaterina Ksenyeva), prone to suicide and striptease; alcoholic and free artist Gennady (Alexey Devotchenko); strange man hu-pun. Guided by mercantile considerations, the protagonist decides to use the hiding bohemian as a slave. But the rapprochement between Vova and the strange trinity causes a fundamental change in the psyche of the protagonist and everything in his life flies somersault.
Kitsch show
In order to reach the viewer, Yuri Mamin arranges large-scale shamanism in his projects: songs and dances alternate with modeling and painting, continue with philosophical dialogues and recitation with the participation of Basilashvili and Jurassic. The author’s "sorties" into the "personal" of the protagonist and into the "collective" - a madhouse are also indicative. An authorial technique with shooting a parallel tape in the Hermitage is interesting.
Socialabsurdist
Yuri Mamin makes films similar to champagne - burlesque, sometimes ridiculously confusing, similar to the unrivaled kitsch show. Watching his works of cinema, over and over again, he embarks on a precarious path of interpretation, which, due to the abundance of satirical skits and a mass of cultural references, becomes even more unstable. Surprisingly, the social-bolsurdist Mamin manages to remain topical with an eternal, exciting allegory of Russian thought. The director’s message, if you recall his filmography: “Window to Paris”, “Feast of Neptune”, “Whiskers” and “Fountain”, is similar to a quarter-century series. Another work draws attention to Mom’s commitment to three metaphors - the house, the roof attic and the basement. In general, all the works of the author are similar to the world festival of crafts and arts. This is not to say that they keep everyone in suspense every minute, they simply calm down, or gush with half-forgotten moods and fantastic images. It cannot be argued that the director exudes impeccable taste in everything, but each of his creations is a kinenigret from the sublime and the base.