Cinema on weekends. A cautionary tale about careless handling of artifacts

The new film “May’s Calendar” is based on a teenage novel by the wonderful children’s writer Victoria Lederman. The writer’s debut work has gone through eight reprints and is now being filmed.

Whoever says that in Russia there is no children’s and youth literature, let him wash himself with his own tears. There is even a movie.

The film “Calendar ma (y) ya” brought together branded actors: Fedor Dobronravov, Anna Ukolova, Raisa Ryazanova, Yuri Baturin, Ravshana Kurkova. In this film, the stars are given supporting roles. The main characters here are teenagers Gleb Elizarov, Yura Karasev and Lena Zyuzina (Danila Uyutov, Ruslan Panshin, Milana Kopnicheva), and the most difficult age is thirteen.

Teachers and parents are well aware that the sixth grade is the most explosive. It’s really hard with parents. Our three heroes come from three different dysfunctional families – the father is in prison, or the mother is absent, or the child is raised by grandparents.

One family has many children and parents are not visible at all. Their role is played by the older sister. They live on a pier.

Three very different children were connected by a common place and time in an archaeological excavation near an ancient stone with absolutely incomprehensible writing. Gleb messed up, scrawled the date 05/23/13 on the artifact, and was punished for this: every next day was yesterday. Together with him, Lena and Yura got into the reverse life, they just happened to be nearby.

The Trinity gets into the most unthinkable situations, striking the surrounding characters with their knowledge of what will happen next on this day and the next. For example, who will score a goal. Or that Yura’s grandfather would die of a heart attack.

The idea to save my grandfather became maniacal. For the sake of this, the irreconcilable Gleb is trying to reconcile with his father’s friend, the doctor Vera.

Current improbability is superimposed on old grievances and chronic problems. The community of fate made friends with the guys, and they show such human qualities that they had previously avoided in themselves due to their age intransigence.

Toward the end, the trinity has an adult accomplice who unquestioningly believes them and, accordingly, helps in solving the main task – to return to their own time.

It turns out that this person also suffered due to careless handling of artifacts. He wanted to scare the visitors, climbed into the tomb and the artifact spat out a man for half a century ahead. The film begins with an episode on May 22, 1972.

Why invent ridiculous fiction in order to expose, to dissect the human qualities of the characters for the viewer? These stories are very hard to put together. A colorful episode can imperceptibly break the logic of the plot. If you don’t fix it, the audience won’t believe it. An attempt to correct may extinguish the attractive mystery of the plot.

And here the Mayan civilization, we did not understand. Excavations are taking place in the suburbs of St. Petersburg. The very word “Maya” sounds once, and not only it, even the Sumerians. Venerable archaeologists are trying to decipher the mysterious letters. Nothing works out for them, except for the main thing – Yura’s grandfather discovers mirror signs …

The pangs of creativity in creating fantasy are well displayed in the wonderful French film “Magnificent” with Jean-Paul Belmondo in the title role. It is shown how the development of the plot is affected by human relations and simply everyday hacks of the authors-performers.

Some features of the film “Calendar ma (y) I” are deciphered in this way, very simply. The viewer at the screen does not care what feelings were played out on the set. The main thing is what happened on the screen. There is no direct connection.

Art today solves the most important task of science and education. It is about understanding the phenomenon of man and designing a model of the future.

The time of physical turbulence creates points of furcation when a person is able to switch the tracks of his evolutionary destiny. With a certain degree of simplification, two groups of models should be identified. On the one hand, the butterfly effect described by Ray Bradbury under the influence of the writer’s friend, mathematician Edward Lorenz, the creator of the theory of dynamic chaos structure. The meaning of such a model is the ability to switch the course of evolution by a random insignificant impact.

An alternative option is reflected in one of the Yeralash series. It’s somehow more fun and understandable. Meaning – everything can be different in form and absolutely the same in content. According to the principle of Sergei Kurdyumov, self-organization predetermines the future.

Roughly the same is described by Ben Elton’s novel “Time and Only Time”.

The film “Calendar ma(y)ya in an understandable and accessible, almost everyday form reveals for the viewer the entire accumulated layer of problems of awareness of space-time.

The idea of ​​contramotion is spelled out in the Strugatskys’ story “Monday begins on Saturday.” The idea, in general, is simple, three teenagers became counter-winders for two weeks.

Yet why exploit fantasy to describe natural human feelings?

Three teenagers are very different from three completely dissimilar dysfunctional families. A key moment in history occurred at an archaeological site. Professional archaeologists have cleaned the ancient writings on the stone. There are two symmetrical symbols, meaning movement into the past and the future. One of the three children, out of pure prank, entered the date between the symbols, and the whole trinity began to move into the past.

Children had to go through events twice, including tragic ones.

There are four degrees of freedom in the modern world – three spatial and one temporal. Before inflation, the universe was eleven. We can only know this from the fantasies of the great physicists of the past. Because you can return to the same point in space, but time is beyond our control. Hence the appeal of fantasy based on time travel.

Everything falls into place and fits into the single logic of the narrative, if you delve into the name of the genre. Both the film “May’s Calendar” and the book at its core are about teenagers and for teenagers. At thirteen, there is no fantasy.

Representatives of the older generation can remember how they read Anatoly Rybakov’s novels Dirk and Bronze Bird.

The children’s and youth genre is distinguished by a clear diagnostic feature. In it, teenagers are distinguished by some superpowers. Children turn out to be stronger and smarter than adults, and now this is not fantasy at all. It happens often.

The film “Calendar ma (y) I” came out somehow gently touching. A high-quality game of adult actors looks like a golden setting for a diamond of a childhood dream, which is so dear to us all our lives.

The behavior of children on the screen in a reconstructed extreme situation looks a little unnatural, but this is our adult view.

We respect children’s conceit. Including in yourself.

For example, let’s take an excerpt from the beginning of Victoria Lederman’s book. It generally gives an idea of ​​what was said above.

May 23, 2013, Thursday

Historian Klara Borisovna would like to become a tiger tamer. Right now, immediately! Then she would have had a whip and an iron rod in her hands. The whip would have cracked deafeningly to intimidate, and with an iron rod she would finally have herded everyone into one heap and counted. Not ferocious predators, no. His sixth “A”, distraught from the feeling of freedom and the upcoming summer holidays. Eight boys and twelve girls … As always, together they did not want to have fun or be enlightened. In vain she contacted this excursion.

“Five more are missing,” Klara Borisovna summed up. – Where are Semak and Zagorkin, I wonder? I saw them ten minutes ago.

– Semak fell into a puddle! – Cheerfully told her. Klara Borisovna incredulously asked where he had found her, because not a drop of rain had fallen since the beginning of May. Witty comments about dirt and the resourceful pig poured in from all sides.

– Well, where is Zagorkin? The class teacher lost patience.

– And he squeezes Semak! shouted from the crowd.

The sixth “A” chuckled in unison. It was the only thing they did well together. Exhausted, Klara Borisovna raised her eyes to the sky, as if repeating a spell to herself that she was taking them somewhere for the last time, and began to direct the boarding of the minibus. Not only did the sixth “A” not see her at close range and did not hear her, the tour desk also let her down. Instead of a full-fledged bus, they sent a small Ford for sixteen seats.

The slimmer girls had to be crammed three by two, despite their indignant cries. While we were seated, Semak and Zagorkin appeared in wet T-shirts. Klara Borisovna clenched her teeth and said nothing, pointing them to the front seat.

– Well, young people, let’s go? – the driver shouted into the cabin, a good-natured full uncle of about forty.

– No no! the class teacher protested. – We don’t have three… Ah, here’s another one! Elizarov! Are you waiting for a special invitation? Live!”…

Natalia Vakurova, Lev MOSKOVKIN.