Fyodor Bondarchuk vs. Pavel Volya: both spud celebrities
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Fyodor Bondarchuk and Pavel Volya seem to be people from different planets, but colleagues nonetheless. Both in their TV projects trade interviews with various celebrities. Will talks in a hard entertaining format, and Bondarchuk, at first glance, does as he sees fit. It remains to understand which is better.
It’s good that they both exist, because there are not many conversations on television that are not burdened with sovereign significance. And it’s not so easy to chat with celebrities, depicting life in a vacuum. But Bondarchuk and Volya are trying.
The other day, the singer Slava visited Pavel at the Will Show, and his colleague Pyotr Buslov, who is Boomer, Vysotsky. Thank you for being alive”, “House arrest”.
Slava rolled up a real tabloid interview. The worries of a young grandmother (the singer’s daughter became a mother a few months ago), the betrayal of a common-law husband with subsequent forgiveness, a breast correction operation that got out of control, a fight with Turkish waiters, sympathy for a young dancer … Pavel looked like an interviewer who was blessed with great happiness .
Buslov tried to be clever, telling the story of the creation of Boomer. Vgikovskoe brotherhood, ridiculous budgets (the stars of the film – one and a half thousand dollars, the director – five), the deceit of critics, poorly read contracts and other behind-the-scenes truth of life. Fashionable glasses added to the director an additional chic to the charisma of his brother, who took up his mind in time.
Slava and Buslov are as far apart as Volya and Bondarchuk, but all four tried to look as casual as possible. Probably, the audience would have done without their stories full of narcissism and not the most elegant jokes. However, right now, these sets of star tales are like medicine for many. It, of course, does not cure, but only relieves for a short time the symptoms of total anxiety. But thanks for that too.
ITALIAN FOREVER
A concert called “In the circle of friends” can hardly be called an ideal program in memory of Toto Cutugno. But in a situation where it is impossible to shoot something quickly, such shows can be a real ace in the hole. Hits sound, local color in the form of local pop stars is more than enough – in general, quite emotional commemoration.
The concert itself took place in the Kremlin in 2007. The producers and writers were apparently confident that they were making the show according to a proven recipe. There is a foreign star adored by everyone, and if you add your relatives to it, instruct them to sing the Russian-language verse in the maestro’s big hits, then you get the perfect adaptation.
The scope of the show is still impressive. A rich scene, concert numbers interspersed with documentary filming in the studio where joint tracks were recorded, and a rating company: Presnyakov, Nikolaev, Aziza, Marshal, Boyarsky – in general, a branch of “Songs of the Year” with the Italian repertoire.
The result was a fairly typical party for a well-fed time. There are a lot of opportunities, no one thinks about saving, and the concert looks like a crumbling cornucopia. It’s a pity that most of the songs – under the plywood, but then it was accepted. The nice moment was the opportunity to see our stars in decent shape. Then they were younger, slimmer, and besides, many of them had not yet spoiled their reputation with various non-musical statements.
But what about Cutugno? He floated in his familiar role of Mr. Irresistible. Maybe he was a little embarrassed when Aziza sat on his lap, or was surprised how Tatyana Ovsienko entered the image of Mireille Mathieu and sang “Chao, bambino, sorry.” But it seems that he received great pleasure from the performance of “Moscow Evenings” together with Nadezhda Kadysheva and “When Spring Comes, I Don’t Know” with Pesniary.
It was not the best show with Cutugno in the lead role, but it is difficult to spoil such an artist even with far-fetched duets. “Italiano”, which sounded in the final in a solo version, was sung by the whole audience and, probably, by many in front of TVs. Even sixteen years later.
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Teleweek with Ilya Legostaev
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