“They devoured the country”: is the series “The Boy’s Word” really harmful for young people?
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In a situation where people burdened with social status are calling from very high tribunes to ban the series “The Boy’s Word. Blood on the asphalt,” discussions about the quality of the product are unnecessary. The project is already too popular to describe the pros and cons. But the discussion itself about a bad example for young people looks rather strange.
It must be admitted that the background against which the series is discussed ended up being completely sad. The other day it became known about the murder of a schoolboy in Irkutsk, and this crime was initially associated with the popularity of “The Boy’s Word” among teenagers. True, it quickly became clear that such a connection was nothing more than a fantasy, but lovers of loud headlines managed to get their moments of fame.
If we return to the series itself, director Zhora Kryzhovnikov turned it into a luscious cocktail of a lot of ingredients. There is a diligent stylization of Soviet classic films about difficult teenagers like “The Boys” by Dinara Asanova or “Plumbum” by Vadim Abdrashitov, and an almost documentary reproduction of some events, and a complete absence of sentimentality and nostalgia, which choke many historical projects.
The director, of course, guessed right with the casting and fresh faces, but clearly does not juggle with interesting film techniques. The gloomy world of teething, the cult of strength and creepy interiors is completely unpleasant to look at, but the vigorous development of the plot does not allow everyone to pay close attention to these “troubles”. Compared to “Call DiCaprio,” which is sometimes rightfully called one of the most powerful directorial statements by Zhora Kryzhovnikov, “The Boy’s Word” is an average series, but it was the one that deprived people of different ages and social status of peace.
It is noteworthy that last year the series “Yuzzz” about the Rostov criminal showdowns was successfully streamed and no one called for it to be banned. Although the robbers there are textured, and the growing up of the main character in the gangster scenery looked both romantic and dramatic. But, apparently, it was too cinematic a product to go to the people. And “The Boy’s Word” suddenly became popular. Children are making videos to the soundtrack of a famously collected soundtrack, the Internet is already full of cosplay of the main characters, there are rumors about reconstruction of crowd scenes of serial fights.
When something similar happened in the wake of the hysteria regarding “The Squid Game,” there was hope that our TV consumers had already grown up to be fans of a very aesthetic, and even Korean, series. But in the end, their own, dear ones turned out to be closer and more understandable, and so much so that the public, imagining themselves as guardians of social morals, sounded the alarm. They came to their senses, however, a little too late.
It was probably necessary to highlight and rant about the harmful influence of gangster TV series on young people twenty years ago, when “Brigada” came out. But then almost everyone, perhaps including those who today call for a ban on “The Boy’s Word,” was incredibly delighted. Someone even seriously said that the adventures of Sasha Bely and his boys are almost a classic, “Once Upon a Time in America” is about us, although in the thoughts of Pavel Maykov, who played in this “classic”, about the great harm of the “Brigade” and others The films and TV series that grew out of this project have much more common sense.
Over the past two decades since the release of “The Brigade,” the gangster genre has become very successful here, and a great many projects, bad and not so good, have been filmed with a similar plot. Can they inspire young people who watch them to make appropriate life choices? There are probably not enough statistics on this yet. We can say with greater confidence that these films do not convey anything new.
“The Boy’s Word” very impressively shows people who have a chance to go from squeezing pocket money from schoolchildren to cars with flashing lights. The tongue-tied discussions about the rules of life of the series’ heroes go well with the boyish laws that were adopted in abundance.
The so-called “Kazan phenomenon” (numerous youth gangs with their own hierarchy, formed in the city at the turn of the seventies and eighties) is a very effective illustration of hypocrisy, duplicity, impunity and lack of rights. They, in many ways, devoured the country for which it is now fashionable to be nostalgic. But if in a series about juvenile bandits the authors can derive some kind of morality, ask important questions and even try to distinguish between good and evil, then in life demagoguery, unlearned lessons and the traditional call to ban something reign. And this is much scarier than an average series.
Newspaper headline:
The boy said, the director did it
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