The worst in us – Weekend – Kommersant
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On the more.tv platform, “Fisher” was launched, a typical, at first glance, detective series about a maniac, which has been filmed in abundance in recent years. But in this case, the authors are not so much concerned about who the killer is, but who he killed. One of the versions is this: the past once again dealt with the future.
1986, Rublevskoe highway, elite dachas near Moscow glow with friendly lights. International journalist Maltsev (Sergey Gilev), who has just returned from a long trip abroad, is preparing to pass the evening over a bottle of port wine. On his mournful face, all the disappointments of the domestic intelligentsia are clearly tangible, which for years has been busy with something other than the main thing, playing with censorship in burim, with a damaged telephone with its own conscience. For which, first of all, he despises himself, but the world outside the window, firmly woven from falsehood, also does not favor. There is truth in imported port wine and, perhaps, in the eyes of a frightened child who has returned from a late walk. Maltsev’s son claims that he saw a giant in the nearby forest, and in the hands of that man was the disfigured body of a teenager.
“Fisher” measuredly narrates about the case of Sergei Golovkin, a serial killer, popularly referred to as “Odintsovo”, and among the employees of the investigating authorities – a student of Chikatilo. Golovkin confessed to killing 11 children and was shot in 1996. This death penalty was the last in the USSR before the abolition of the law on capital punishment. It would seem that the scriptwriters could present the Golovkin case in a positivist manner – as proof that the pace of progress cannot be stopped. Identified, detained, punished, then moved on towards humanism. Here it is, the triumph of justice.
But “Fischer” breathes a completely different mood. The main characters are not conscientious, compassionate investigators for the victims and their relatives – performed by Ivan Yankovsky, Alexander Yatsenko and Alexandra Bortich, but bubbling matter, very similar to mold. For 1/6 of the land is covered with mold, this is no longer a colossus on clay feet, but a stinking corpse. Its toxic fumes poisoned everything around, destroyed even the most sacred – intra-family relationships.
Children are the most intelligible metaphor for the future, which is why in art, especially morally disturbed, terrible, chilling things are usually done to children. As if hinting, if, according to the scenario, a child is kidnapped, missing, maimed, killed, then something has gone wrong with the society in which this happens – most likely, it is doomed to extinction. In Russian cinema, children have been lost, searched for, buried behind the scenes, mourned in an undertone for a long time. Of the most impressive examples, we can recall Andrey Zvyagintsev’s “Dislike” and, with a small caveat, Alexei Balabanov’s “Cargo 200” – let the heroine of Agnia Kuznetsova be an adult, as well as her fiancé, who was killed in Afghanistan, but what is the 18 years they lived in comparison with the eternal bloodthirstiness of the motherland – eat, our hungry fatherland …
Directors Sergey Taramaev and Lyubov Lvova in their previous work, the TV series Black Spring (2022), tried to break the pattern of such thoughts about young people as an amorphous mass moving like a slaughter to a two-headed eagle. And in “Fischer” they returned to the canon, but neglected the chastity familiar to Russian cinema. The scene in the morgue, where the mother lies next to the decapitated body of her son, no longer looks like a metaphor for the prevailing moods, but precisely as material evidence. In a country in which neither human dignity, nor even human life, is worth anything, sooner or later everyone will be attached to the cause as an inanimate object.
The faces in Fisher are masks, behind every grimace of despair. And even the caricature accent of Yankovsky, diligently depicting the salt of the Rostov land, or Bortich’s absolutely pretentious feminism are not able to overshadow the main thing, said, however, in passing, in line for scarce bananas, the hero of Yatsenko: a person is the most perishable product. And in Russia, only suffering has no expiration date.
Look: more.tv
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