Visiting a punk – Weekend – Kommersant
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Kinopoisk is launching the series “Korol i Shut”, dedicated to the history of the punk band of the same name, which rose from the non-existence of the club scene in St. Petersburg in the 1990s to the stadium level and radio charts. The traditional biopic is diluted with a fantasy storyline, which is based on fairy tales from the songs that brought the band the love of fans – about cannibals, werewolves, evil sorcerers.
1999, slush, lightning drown in the Petersburg night gloom. At the giant banner stretched over the Yubileiny sports palace, Mikhail Gorshenyov, aka Gorshok (Konstantin Plotnikov), a legendary figure who has just sung a repertoire of scary tales to several thousand fans, sways in a painted leather coat and with a bottle in his hand. Either he wants to take a piss from the top, or he is going to dive down with a bottle. A raven hovered over the Pot, and behind the banner swarms the alter ego of a young punk – a burry Jester in an absurd fairy-tale costume and bright makeup, behind which Yevgeny Tkachuk is hardly recognizable.
Despite the Jester’s instigation, the Pot is in no hurry to go to eternity, the second vocalist of “KiSh”, Andrey Knyazev, aka the Prince (Vlad Konoplev), is about to approach him – they have something to remember together. Acquaintance at a vocational school, where both entered in order to unlearn to be a restorer (the same, as the teacher performed by Alexander Adabashyan reminds the audience, Viktor Tsoi also studied), an exercise on the horizontal bar that cost Pot of his front teeth, fights with conservatories, the first concerts, parishes and the inevitable otkhodnyaki, the first squabble and victory. Everything, like everyone else – do not expect any terrible tragedies or any scandalous revelations from this story, even taking into account the punk recklessness; at least not in the first two episodes. The pot with the Prince in the Hermitage is not yet visible during restoration work. Ordinary reality, with one, perhaps, a significant amendment: from time to time, viewers will be brought into a fantasy world, where the main characters play the role of two silly minstrels who, for the sake of a reward, decide to save the royal daughter, kidnapped by an evil sorcerer, but who met a variety of things on the way to fame and money. the evil spirits described in the songs of the King and the Jester. So, dear viewers, take out your microphones – you can sing your favorite punk fairy tales in the sing along mode, that is, in chorus, Kinopoisk seems to promise appropriate titles.
The authors of The King and the Jester, and the screenwriter Dmitry Lemeshev and director Rustam Mosafir share the artistic responsibility for the series, found a spectacular entry point, deciding to bring the audience together with the heroes at the peak of fame – from here everything is as if in the palm of your hand. But this approach also has a problem: it is almost impossible to see the details from a height. All somehow gallop and out of place. The stages of the long journey traversed by the boys from Rzhevka and Kupchino (who lived in Leningrad can imagine in colors) towards the big stage are given in naive large strokes. Basically, the memory is flooded with caramel of the sun and beer to the pop-rock chords of the composer of the series Alexei Gorshenyov (younger brother of Gorshka, known from the Kukryniksy group). You look, you are touched and involuntarily ask yourself the question: is there, in general, something to remember about the time, which in the media of the last ten years is usually called “dashing”? Of course have. In the end, for St. Petersburg, the nineties, despite the stuck epithet “gangster”, became the era of the heyday of alternative music and the club scene, of which the group “Korol i Shut” was also a part. What’s on the screen? Crumbs. A brawl in a dark basement, vaguely reminiscent of the famous St. Petersburg Tamtam (where the no less famous Chimera plays in the background), where skins caricaturely beat up punks after exchanging stereotyped remarks on the topic of patriotism. Or morning discussions about anarchy and Kropotkin’s writings while waiting for a concert tour at the Sexton biker club in Moscow. It will not be enough, but the authors have no time to explain. There is no time, their fabulous episodes are stolen footage.
Perhaps we should wait for something more intelligible in future episodes, but so far the well-known nostalgia for the nineties in The King and the Jester seems almost forced out. And after all, people who survived the events described in their own skin had a hand in the series – Andrey Knyazev and Igor Gudkov (Panker from the Kukryniksy) became the producers. Why did the musicians, who turned into wise men over the years, decide that it was necessary in this way, without unnecessary roughness and excesses, to portray what they had experienced for young fans of the legacy of the King and the Jester? What dictated the decision to cut sharp corners, turning a punk biopic into a Tyuz matinee? One can only wonder why they wanted to reduce their own past to such a touchingly careless retro. To appreciate the extent of the defeat, just watch on YouTube the archive recording of the St. Petersburg television program White Stripe, dedicated to the King and the Jester (it was for her that the first few video clips of the group were shot). By God, it’s sad that the obvious chance to describe the nineties was missed in a way that no one has described them before – not dashing and banditry, but breakthrough and innovative, rich in people, ideas and events. In “The King and the Jester” I would like to see not only a touching story about the friendship of two boys from the outskirts (the casting, it should be noted, is excellent) or a set of high-quality clips made in the style of fabulous performances of Leningrad television, but also something beyond that – the opportunity to dive into an era where we will never be again. After all, she, too, was fabulous in her own way.
Look: “Kinopoisk”
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