Open space operation – Weekend
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The “Challenge” by Klim Shipenko was released, which went down in history as the first feature film shot in space. Despite the sensational achievements in the field of film technology, the artistic component can hardly be called modern.
Damage to the lung of one of the astronauts on the ISS threatens to turn into fatal complications, and there is not a single chance to deliver him to Earth alive. A team of space ambulances is assembled from the best surgeons in the country, so that after a couple of weeks of training, one of them will go to the station and perform an operation – not very burdensome on Earth, but only theoretically possible in weightlessness. But as a result, this “one” turns out to be “one” – thoracic surgeon Evgenia Belyaeva (Yulia Peresild), who initially, in all cases, was supposed to remain on Earth. But as a result, she withstood the centrifuge test, and came up with a method of fixing the patient in the absence of attraction, and the future operation itself was most clearly demonstrated on a grilled chicken in the Roscosmos canteen. And, taking with her a plush mascot of the Sochi Olympics, presented by her daughter, she set off on her longest call in the Universe.
If we ignore the well-known circumstances of the filming of The Challenge and try to look at it, so to speak, on a general basis, it becomes clear that within the framework of the genre, The Challenge is located in the field of “cosmic realism”, not burdened by excessive metaphysics: rather close to “ Good Guys” by Philip Kaufman and “Apollo 13” by Ron Howard than in the non-Euclidean spaces of “A Space Odyssey”, “Gravity” or “Interstellar”. And he feels quite confident there: for every sock that helped the crew of the unfortunate Apollo plug the hole, there is a tablespoon on board the ISS that can be used as a surgical instrument. But if we ignore the Hollywood, moreover, the cinematic context in general, then the direct analogue of The Challenge will be found in areas much more dear and cherished. Highly artistic works of exactly this kind in abundant quantities were born half a century ago, including in the writer’s house near the Aeroport metro station (“An exceptionally convenient place: at the bottom of the clinic, opposite (one minute walk) – the production plant of the Literary Fund, to the left (two minutes) – metro, to the right (three minutes) – grocery store “Komsomolets”. And also, a little further, within, as the Americans say, a walking distance, – the cinema “Baku”, the Leningrad market and the 12th police station”). It was there that the writer Efim Semenovich Rakhlin, the main character of the immortal “Hat” by Vladimir Voinovich, lived. When asked what his next book would be about, Rakhlin “modestly lowered his eyes, smiled shyly and answered:
I always write about good people.
And with all his appearance he made it clear that he writes about good people because he himself is good and in life notices only the good, but does not notice the bad at all. His good heroes were representatives of the so-called courageous professions, who are fighting against the elements, that is, a force that has no ideological orientation. In all his novels, some central dramatic incident invariably happened: a fire, a snowstorm, an earthquake, a flood, with all sorts of medical consequences, such as burns, frostbite, pumping out drowned people, after which good people run, fly, swim, crawl to help and willingly share their blood, skin, extra kidneys and marrow, or show their courage in some other way that is dangerous to health.” Strikingly consistent with the Rakhlin method in general, the authors of The Challenge (perhaps unconsciously) adhere to it in particular. So Anna German’s “Tenderness”, which Dr. Belyaeva begins to sing after going out into outer space, and the romance “I met you, and all the past …”, the translation of which is awaited by the ship’s doctor of the research ship Romantika, who has just cut out his own appendix in Rakhlin’s unfinished novel “Operation” sound as if on the same wavelength.
All the same Efim Semenovich, it was no coincidence that he gave his works titles from one word, reasonably believing that the true proof of success is the appearance of this name in crossword puzzles. And in this regard, the filmmakers clearly did not fail. The full-length debut of Klim Shipenko was quite prudently called “Unforgiven”, then for a while the director turned onto a winding path of names like “Who am I?”, “Loves – does not love” and even “How to raise a million. Confession Z@drota”, but recently strictly adheres to the canon: “Text”, “Kholop”, “December”. So even now everything is in perfect order: “Film by K. Shipenko”, five letters vertically, starts with “B”, ends with “B”.
In theaters April 20
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