The fifth season of the series “Olga” turned a comedy into a melodrama
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The fifth season of “Olga” for many was unexpected by the very fact of its appearance. Three years have passed since the finale of the fourth season, and the public might have the impression that the song was sung. However, the authors of the project still have inspiration. Or so they decided.
After the premiere in 2016, the reputation of a folk comedy was firmly stuck to the series “Olga”. The title is probably the envy of many, but pulling the plot of a folk comedy forward is so-so work. Jokes, as you know, are often born in pain, and even jokes with a claim to presenting the essence of the local mentality can become something of a masochism for screenwriters.
After showing the very first episodes of the fifth season, the fans of the project were divided into those who manage to laugh, and those who see more melodrama than comedy in the final episodes. The main character Olga (Yana Troyanova) finds herself in a situation that is completely unnatural for her. The apartment turns into an empty nest, where Olga lives with her beloved man Grisha (Maxim Kostromykin), a turtle and mushroom harvesting kits. Children (Ksenia Surkova and Mohammed Abu-Rizik) have matured and are trying to live independently, even dad (Vasily Kortukov) has stopped drinking and behaves, by his standards, quite tolerably.
In this situation, Olga can only jog, improve in pickles, draw her own turtle and fight off the proposals of her beloved man to try himself as a parent. For a woman accustomed to solving problems, giving out slaps in the face to keep everyone in good shape, and generally being a savior, such calmness is an occasion for a nervous breakdown. And he would have happened if not for his beloved relatives. Sister (Alina Alekseeva) falls into a sect, dad tries to save her, children, or rather their relationship with soul mates, also need to be saved.
As the series picked up its seasonal pace, fans of the show could probably have had a pretty good idea of what the final game would be like. The intrigues of the final season are also predictable, but the desire of the writers to finish all the storylines gives the plot additional dynamics.
However, the main plus of the series is not so much in the development of the plot, but in the actors. Almost all the main characters made it to the fifth season, and the show is still more than stellar. For Yana Troyanova, as for a real star of the art house, “Olga” at one time became an exit to new territories. Perhaps the role of “mother Courage” is not the main one in the filmography of the actress, but Troyanova did a lot for the series. Most likely, those who consider her the main engine of the plot are right, and even in the fifth season, the main star of the show wins back what is offered to her, very convincingly.
Yura Borisov appears in the series in the far from the main role of Olga’s daughter’s boyfriend, however, the trail of the actor’s festival successes gives the project some additional significance. The actor generally has a rare gift not to spoil anything, and sometimes even to some extent to save, as happened with the second season of Epidemic, where his character turned out to be perhaps the most noticeable.
There are quite a lot of series about women living under the motto “I myself”, but there are very few cases when the plot is not limited to a dull melodrama. Last year’s “Nina” was obviously launched with the intention to develop the theme of “Olga”, but in a slightly different way. An impressive star company has gathered under the auspices of the screenwriter and producer Zhora Kryzhovnikov. Burunov, Lavygin, Burkovsky, Rozanova, Khlynina and Victoria Isakova as prima. It must be admitted that everyone tried, but the project turned into a “Daddy’s Daughter” rather than a cocktail of jokes and feminism.
The first season of The Ordinary Woman under the direction of Boris Khlebnikov was one of the breakthroughs of Anna Mikhalkova, who turned into an actress at this turn, capable of playing anything. In this situation, she has the role of an average wife, mother and entrepreneur, who, however, also has a criminal business.
Troyanova, Isakova and Mikhalkova play completely different characters in Olga, Nina and Ordinary Woman. The first has the role of the motherland, the second in the image of a rich wife with a broken trough, the heroine of the third is ready to hide the corpses of priestesses of love, if it is in the interests of the family. It is possible that such characters reflect what is called the local model of feminism. A burning hut and a galloping horse, and without any fashionable ideological background.
Newspaper headline:
Strong woman crying at the window
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