From March 29 to April 1, within the framework of the Youth / 80s cycle, Cinematheque Cinema Arts and Karo.art will show three important generational films of the late 80's: ACCA, Courier and Little Vera.
A coeval of the ACCA movie Alisa Tayozhnaya is trying to look at the perestroika classics from March 2018 and explain why ACCA by Sergei Solovyov is the most important movie about the present, despite the fact that it was shot more than 30 years ago.
"ACCA", filmed in 1987, formally - a film about 1980 and the very end of stagnation. Corrupt officials, cunning like a coronet, steal millions for bribes and live in a hotel on the first coastline. Counter-cultivators are sitting in the department next to real murderers in a police drive for inappropriate appearance. A guy with a casual job, in strange clothes from someone else's shoulder and a dim room that looks like a barn, sleeps in Yalta and watches dreams. The dreams of Bananan - the most alien video footage in Soviet mass cinema, not that it was stolen, but rather accidentally copied from Stan Brekgezh - drove the audience of the late 80's crazy no less than the lyrics of Grebenshchikov and Tsoi.
What is it like to look different - it was understandable (show off, ironically, in a foreign way, "self-made"), but what it is to think like another is unimaginable. To varying degrees, "not like everyone else" could be found on the Soviet streets of the late USSR. Climbing the bedroom to them, and then into their heads and finding there an acoustic guitar, abstract pictures, bright spots and the song "We stood on the plane" is almost a divine revelation. At least, that’s exactly how Bananan’s dreams were taken by my parents, who, like most young people in the USSR, grew up on Soviet television and cinema: not believing their eyes, they went to movie theaters several times to hear their favorite underground songs on the big screen, beat the rhythm of "I'm coming to you!" and look at Tsoi in the Green Theater. ACCA visualized a small but organically different generation of Soviet people, designated them as many, and conveyed their doubts, infantilism and boundless irony - all of these they chose as weapons against a cold head, a warm heart and clean hands of a sleeping, but still awe-inspiring power. "And there is nothing more, everything is in us" - the credits of "ASSA" promised salvation: we will continue to act. When the mafia in a panic destroys fun and imagination, the crime of passion erases the mafia into powder.
The documentary novel ACCA Book of Changes by Boris Barabanov and the memoirs of film director Sergei Solovyov through memoirs of eyewitnesses conveyed a unique clash of worlds that gave ACCE so much misunderstanding, honest drive, sincerity and absurdity. Synthesis, unimaginable and seems impossible in no other Russian-language film — adults and children, underground and officialdom, poets and functionaries agree through one handshake to make some kind of new movie that has never happened before.
It all started with Solovyov’s idea of a massive entertainment musical similar to the Indian, where there is a charismatic villain, a young beauty and a young carefree rival. Soloviev himself, who had good relations with Soviet film functionaries and had international recognition, received carte blanche from the system for shooting anything at all.
Tatyana Drubich, completely devoid of narcissism and ambition, worked as a doctor in a regular clinic before and after filming. The wild pop song about the Banana boy was written by the court authors Alla Pugacheva and Sofia Rotaru. The St. Petersburg underground, who went to the KGB for questioning as a job, came up with the objective world of alternative culture - not a production one, but a real one, surviving in spite of it. Boris Grebenshchikov in the zenith of glory and the image of a prophet sang about heaven on earth. The young screenwriter took the alien name "Alik" from a real girl with whom he was in love. Viktor Tsoi hit the screens almost straight from the stoker. Bugaev "Africa", struggling without work and money, was saved from an article for parasitism thanks to an invitation to a leading role. The director of folk hits "Vertical" and "The meeting place cannot be changed" played a villain who had not even been formulated in culture - either the aged Gatsby, or Koreiko. The history of his controversial biography includes a difference in the institute, impeccable behavior in prison, poems in the journal Yunost, and love for Eugene Onegin and historical fiction. Witnesses like to talk about the fact that everything coincided on the set: winter Yalta, and Tsoi in a black coat, and Alexander Bashirov, and Silva Imre Kalman. ACCA is an extremum point of several dozens of careers where not a single participant has given up identity: from favorite songs and political views to cues and useful acquaintances.
You can speculate a lot on what happened and became with all the people who made ACSU - too many broadcasts and interviews were devoted to this. “It was - it has become” is an inoperative format precisely in the case of this film: each “ACCA” participant made not one, but several dozen small elections that scattered them not even across several camps, but along an immense coordinate system - from California to the State Duma. Solovyov made a dozen films, including the missed and completely underestimated sequel of ACCA 2-ACCA-2, both a monstrous and piercing kitsch about the collapse of perestroika illusions and the game of fat zero. Tatyana Drubich, who continued to work as a doctor, joined the Board of Trustees of the Vera Foundation. Lured Soviet composers moved to live in Los Angeles. Sergei Kurekhin, around whom the avant-garde scene grew up, died young, and dozens of independent musicians abandoned or continued to make bold music not for everyone in small communities. Choi crashed to death too early. BG released two dozen albums and continues to give sly Zen interviews. Screenwriter Sergei Livnev, author of the wild Kiksa and Hammer and Sickle, has produced "Office Romance. Our Time" and "Hitler Kaput!" In recent years. Stanislav Govorukhin chairs the State Duma Committee on Culture and is considering laws to limit movie distribution. Bugaev “Africa” was registered as a confidant of Putin, and several years ago he became a defendant in the scandal about the illegal possession of paintings by his once associates, Leningrad's “New Artists”. Yalta, which in ACCE looks like flight and nobody’s land, over the years has been the USSR, Ukraine, and Russia, and now it is still a ghostly place between past and future, freezing in winter. With Chekhov’s dacha and that same cable car.
Developing a classic story about the conflict of youth that does not know and old age that cannot, ACCA brings out a recognizable escapist world where you want to live when the clouds gather: there are splashing reefs in the amber wave, there are cool music and good friends, fashionable things and secret knowledge, silly antics and sweeping gestures
Almost every conversation about “ACCE” contains the expected thesis about how the generation of perestroika did not defend the protest, and the year 2017, according to the sensations in the air, did not differ from 1987. Was there a banana boy at all? Sergey Soloviev answered all these questions in the continuation of the film, where Alika, who is in prison, becomes Anna Karenina of our days. There, the banana is reborn into a modern one, either Frankenstein or Sharikov, with the head of one and the body of the other (the very ironic role of Sergei Bugaev): after 30 years, the subcultural legend trades seeds on an oligarchic scale with a running point on the market, and at the time of sadness plays the flute like the melancholy hero of Leonid Filatov. Sergei Shnurov, who had long gone beyond the age of disagreement, was responsible for the couch revolution with grunting percussions in 2-ACCA-2. There is no unifying song, but Nadezhda Kadysheva with a flat voice is ready to give “Change” a digestible wrapper for the audience of the channel “Russia” - and it is expected to collect comments from the collective repentance: “Victor, I'm sorry, we all lost ***!” Choi became not only a folk artist, but also a convenient currency, and Soviet aesthetics is reproduced and returned in simulacra from a lying TV and nostalgic melancholy. It seems that all the heroes and illusions died, but we stayed - and what to do with it further?
The miracle of "ASSA" is that it works in the context of these conclusions and comparisons, but continues to bewitched. Of course, this is a film about an open window in which you can’t get out, but you can take a breath first and then completely break the window. Of course, this is a film about corruption and violence, which exterminate everything extravagant, cool and impractical. Developing a classic story about the conflict of youth that does not know and old age that cannot, ACCA brings out a recognizable escapist world where you want to live when the clouds gather: there are splashing reefs in the amber wave, there are cool music and good friends, fashionable things and secret knowledge, silly antics and sweeping gestures. In a narrowing space of opportunities from which one cannot go abroad (let alone talk to someone virtually, find truthful information, or even gather more than three), young people meet, try to be savages and have fun completely perpendicular to the regime. Living in Stockholm Syndrome from birth, they find loopholes and invent games so as not to go crazy. They make a “communication tube” out of the garbage, and from a vulgar pop song they make a performance with ordinary people. Music is generally their universal language: they "measure time by sound," because there is time (and there is a lot of it), but there is no money. They joke over the iron curtain, turning a thunderstorm of news into a comedic art object. The opponent’s trolls in impudent songs about Kozlodoev and they call the sea by name.
“They are ready to answer a good question with a moo” - because there are no forces to be clever, there is a desire only to fool around. Their unsteady freedom under the supervision of cops and KGB agents - on the streets of surveillance, any person in uniform can demand to take off his earring, you can speak only according to ten parameters - it is woven from a fundamentally different consciousness, the feeling that there is nothing to lose.
Modern bananas are also generously strewn with English, take over the Internet, conduct personal information channels with alternative points of view, write music ... And there is nothing wrong with the fact that they are still ready to answer with a moo
Living without tension, not in direct conflict, but cheating and deceiving, with unfamiliar to most self-esteem - a fabulous phenomenon, like palm trees in the snow. A golden city with paradise and a fire-lion - this, of course, is not a dilapidated house with broken windows over which a cable car hangs, but a fabulous place where you can be transported by the power of thought. Those same Bananan dreams that are included only from this relaxation. After 30 years with us, the bust of the delayed leader - Putin, after breaking up with us, broke the Brezhnev record - and tens of thousands of growing cultural tribes and people's volunteers: from volunteers and activists to underground musicians and independent entrepreneurs. They, like Bananana, are easily blamed for living in a bubble, are idealistic and too keen on the theory of small affairs. But the Internet generation and their horizontal communities can no longer be overlooked: almost everything encouraging is based on their stubbornness, partiality and taste - from non-governmental cultural policy to conscious small business and charity. Modern bananas are also generously strewn with Englishism, take over the Internet, keep personal information channels with alternative points of view, write music and perform, act together or fight one by one, keep their nose in the wind and continue to be themselves in a hostile environment. And there’s nothing wrong with the fact that they are still ready to answer a good question with a low.
The Banana Boy can be dipped in ice water, he can be promised money - but he certainly will not leave voluntarily. “Here, where there is winter for half a year and a lot of other circumstantial circumstances, one must be able to contrast them with something very serious in order to be happy,” Tatyana Drubich says about the world 30 years after ASSA. Bananan was long left to die on a provincial road, but its dreams continued to be dreamed on by other music lovers, artists, lifeguards, tricksters, enthusiasts, idealists and community founders. Just because freedom is contagious.