Young Mikhalkov was remembered on TV: dressed like a cowboy, with a haughty smile
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Not a week, but some kind of holiday for moviegoers. There is a retrospective of Federico Fellini in the cinema, and the best films of Nikita Mikhalkov on TV. “At home among strangers, a stranger among friends” is a real classic, a legend in its own way, although, in fact, the movie is not for everyone.
The picture was released in 1974, and at that time an incredible breakthrough happened in Soviet cinema. The premieres of “Mirror” by Tarkovsky, “Romance of Lovers” by Konchalovsky, “The woodpecker does not have a headache” by Asanova took place. All of these are films of varying degrees of nationality, but even at the philistine level, interest in cinema that went beyond ideological norms was colossal.
“At home among strangers, a stranger among friends” is not a very Soviet film. Mikhalkov was then clearly inspired by Sergio Leone’s westerns, and the director quite famously adapted this film culture to Soviet realities. But in the end, the film turned out not about reds and whites, but about friendship, reckless courage, adventures and, of course, about mountains, rivers, pistols, machine guns. In general, a western, which, in accordance with geography, they then decided to designate as “western”.
It is still impressive how the context of the last years of the Civil War, a time that was interpreted very unambiguously in Soviet cinema, was suddenly hidden behind the burning energetic performance of Bogatyrev, Shakurov, Porokhovshchikov, Kaidanovsky, Kalyagin, Raikin, behind the picture of the cameraman Pavel Lebeshev, behind the music of Eduard Artemiev . Not a movie, but a Klondike of impressions, and not always pop ones.
Like any significant work of art, “At home among strangers, a stranger among our own” is perceived in a special way against the backdrop of times and customs. In Soviet realities, this was a film by an innovative director, in perestroika, when Hollywood products were brought here, it became clear that back in the seventies, films could be made in the USSR that fit perfectly into the world cinema value system.
Now “At home among strangers, a stranger among our own” is also perceived in a special way. This film is the beginning of the Mikhalkov era. Here he is in the frame, dressed like a real cowboy, smiling haughtily. And he has a big movie adventure ahead of him. Soon there will be “A Slave of Love”, “Five Evenings”, “An Unfinished Piece for a Mechanical Piano”, “A Few Days in the Life of I.I. Oblomov”, “Kin”. In each of these films, Nikita Sergeevich, as now, chased demons. But he did it for the benefit of art and humanism. That’s because there were times.
OH THIS SCIENCE
The host of the Miracle of Technology program, Sergey Malozemov, is testing silicone paws for cleaning animal hair and showing an enviable imagination in this. Among those who are engaged in science pop on TV, Sergey is perhaps the most noticeable, despite the fact that in the frame he is not at all generous with emotions.
Restraint and calm, however, do not prevent Malozemov from juggling with all sorts of excesses. In the same test of paws, a product, as it turned out later, of little use, powerful special effects were used in the form of Askold Zapashny and his wild cats. The latter growled a little louder than is customary in research projects.
In Britain and America, popular science programs are very popular, but the approach to them is more ambitious. There, in the course of research, light madness is welcomed, as well as explosions, shooting and destruction. However, recently on our TV all this is more than enough, especially insanity, so it is logical to take the silence of Mr. Malozemov’s office for a great blessing.
It can be assumed that the presenters of programs that are shown on large channels in the morning and on weekends now feel like people busy with things that are untimely and inappropriate. Well, really, what kind of smart key fobs are there when everyone is much more worried about drones. But precisely at a time when many are frightened and confused, the so-called meditative television is of no small importance.
In these programs, people speak in calm voices, often show a desire to do something useful, and never try to appear more important than they really are. It is possible that sometimes it looks small. Certainly not as significant as attempts to debunk big or small lies on the air. The irony is that in wanting to deal with the tanning lamp, the Miracle Tech team is much closer to journalism than their counterparts on the analytical floor.
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