“All my films crap first”
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February 25 marks the 65th anniversary of the birth of Alexei Balabanov, one of the cult Russian directors of the nineties and zeros. Viewers know him from the films “Brother”, “Brother-2”, “Zhmurki”, “Cargo 200” and others. Kommersant followed the director’s work through its publications.
Alexey Balabanov was first mentioned in Kommersant in note “Yalta will depict winter Berlin” from January 20, 1994. His name is listed among other “stars of the “new wave” of Russian directing” who came to the event then. At that time, Balabanov had one full-length feature film to his credit – “Happy Days” (1991). The second one was preparing to leave – “Lock” based on the novel of the same name by Franz Kafka. Kommersant will publish a full review about its premiere.
About the “Castle”
“Kafka wrote a parable about alienation. Alexey Balabanov directed a parable about freedom. Using a simple comparison method, we find the desired result. Alienation is freedom.”
More details in publications “Kommersant” “Prisoner of Castle K. is not experiencing the happiest days,” March 12, 1994.
Subsequently, Kommersant reviewed all the director’s full-length films and interviewed him several times. Publications about the work of Alexei Balabanov continue to be published after his death in 2013.
About the first “Brother”
“Alexey Balabanov saw in his current life something not seen before because he did not take any point of view that was somehow appropriate to the topic. Traditionally judgmental (killing is bad!). Obediently acquitting (I’m killing, but what should I do?). And even fashionable and courageous (to kill, so competently).”
More details in publications “Kommersant” “Russia will be represented by “Brother””, May 7, 1997.
About “Brother 2” immediately after the premiere
“The film is generally not very suitable for reviewing – because there is really nothing special to write about it. It’s also difficult to make fun of in particular because of its invulnerable stupidity, as well as to reproach the creators: they seem like intelligent people, but they did some kind of obscenity… Few people expect from sequels that they will be deeper, smarter, more interesting.”
More details in publications “Kommersant” “Morganatic Brother”, May 13, 2000.
About “Brother-2” after 20 years
“Today the second “Brother” can be deciphered almost as the prophecies of Nostradamus, it is especially convenient to do this when everything has “already happened”: say, until 2014, the phrase “You will answer us for Sevastopol” sounded just like a joke on the edge – but Now it’s clear, Balabanov knew everything in advance…”
More details in publications “Kommersant-Weekend” “A – Alexey Balabanov”, April 16, 2021.
About “Zhmurki”
“In “Blind Man’s Bluff” there is such an extraordinary concentration of idiots per square meter, and their unconditional, all-pervasive idiocy is so contagious that the susceptible viewer very quickly begins to physically feel his own dullness. Therefore, for a correct and high-quality viewing of this picture, it is necessary to “turn on the stupid one” in advance.”
More details in publications “Kommersant” “Zhmur and still”muree”, May 27, 2005.
About “It doesn’t hurt me”
“Who would have thought that Alexei Balabanov, the most provocative of Russian directors, would make pure melodrama? But that’s exactly what happened. “It Doesn’t Hurt Me” is a soft, lyrical and sad movie, without the juicy satire of “Dead Man’s Bluff,” without the atrocities of “War,” without the social revanchism of “Brother,” without the decadence of “About Freaks and People.”
More details in publications “Kommersant-Weekend” “Balabanov Super Light”, June 9, 2006.
About “Cargo 200”
“The easiest way is to interpret this picture in a social, anti-Soviet key – and indeed, if anyone still had nostalgia for socialism, then Balabanov’s film completely knocks it off: it clearly follows that wanting to return to the Soviet past is the same as wanting to voluntarily lie down in coffin”.
More details in material “Kommersant-Weekend” “Former mistakes are a burden”, June 8, 2007.
About “Morphine”
“Many journalists accused the film of the exact opposite sin of Russophobia, calling it a creation for the needs of Western viewers, eager to see a disgusting Russia consisting of garbage dumps, brothels and cemeteries. And this accusation, just like the accusation of xenophobia, has been relentlessly accompanying Balabanov for ten years.”
More details in material “Kommersant-Vlast” “Existentialist Scandalist”, December 1, 2008.
About unfulfilled plans
“I want to complete The American, a film that I stopped making once. I want to invite Mike Tyson to play there. He is now a very popular artist, he has his own theater. I have a script ready for it, it’s quite strong and has even been published in a book.”
More details in interview director “I’m not a fan of talking to people,” October 8, 2012.
About criticism
“All my films are crap at first, and then they turn out to be in demand. After one film, one bandit told me: “This is your coolest film. Well, of course, after “Brother”.”
More details – in an interview director “I’m not afraid, because I came up with everything,” December 7, 2012.
About Balabanov’s latest film
“God grant that the film “I Want Too” turns out to be the same magical ritual that Alexey Balabanov performed on himself. After the Venice premiere, Balabanov spoke in an interview about his illness and that this was his last film. Not only, as one could understand, because of the illness, but also in an existential sense: a summing up, if not a testament.”
More details in publications “Kommersant” “The Place Under the Bell Tower”, December 7, 2012.
About death
“The news of the death of Alexei Balabanov fell like a heavy burden – although even those who were not part of the inner circle were, as it were, privy to it in advance, and the director himself prepared and prepared for it. He sent himself, “a member of the European Film Academy,” to the next world in the film “I Want It Too” and hinted at his imminent departure in recent interviews, warning that “most likely there will be no new films by Balabanov.”
Read more in the publication “Kommersant” “Precision of no return”May 20, 2013.
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