"Three Poplars at Plyushchikha (1968)" Movie Review Essay & Film Analysis

Like it or not, as the modern myth of Moscow is still kept on the 'three poplars'. Bulgakovschinu from washed War: disappeared cabs, shoes cleaners, cigarette boy, renamed Tverskaya, Cooking, Skatertny, muck and izgnidilis (or, conversely, were subjected to sanitize) Suharevka, Smolenka and Khitrovka - but over the artless black and white pictures Peter Kataeva neither time nor cataclysms, nor outlandish beauty proved to have no control. Worth going through the list of most-commonplaces Moscow images and stereotypes, as it turns out that in the field of urban folklore is nothing qualitatively new since then has not appeared as not sunk into oblivion anything really important. Unchanged neglect capital architects to the historical environment, morphotype development and visual communication - no matter where you turn it everywhere klatsnet dentures dented, unfinished Kalinin. It is still inconsiderate guests of the capital to the imperial borderlands: a shelter, the victim, lame duck, looking - and they're here all the aul. Still chuzhebesyatsya with fat capital leggy ladies yearn to London and Paris, returning home in the morning. For the first acquaintance kolkhoz Nura with great operator Lioznova formula is simple and ingenious (Mandelstam!) Was chosen: 'From Sparrow Hills to little churches friend we drove huge Moscow' - and now Russia in Moscow in a completely kataevski rides and forced standing, not in the rain since in traffic jams. After all, no matter how much Okudzhava led, self-titled Moscow myth-maker, his muse on Arbat courtyards, winding alleys yes, from the scope of the intelligentsia cabal his work has not escaped. The masses (and the masses in Russia are traditionally thinner and more intelligent intellectuals), as well as the mainstream, where as more freely on the carriageway highways. The symbol of this highway has become inconspicuous Plyushchikha. She remained the only address in the front row of the cult movies of the sixties.
Actually, if one word to describe the atmosphere of the movie, the first to come to mind is the same, no one European language did not really translatable tenderness. So it called not only all pop stars of that time at least once, so sing a song Pahmutova, but also, for example, one of the two absolute masterpieces Ishmuhamedova, released just a year before 'Topol'. Tenderness, seemed bound all the hearts of the vast country by invisible threads, and therefore the most intimate, the most private, the most mundane and everyday at this time was rising quickly on the national level, was read at the fourth and fifth dimensions, it blew all the established canons of the great theorists of the past. Soul absurd, ridiculous, in the ordinary sense of the near a woman like a woman, wailing, humming in the car song 'of the French pilots', rendered in tune not only the soul of a casual acquaintance, but also flown away Exupery soul, and the soul of the most beloved of our pilot, who was barely a year left to return to Earth ... that is why it seems to me unforgivable oversimplification to Nura Tatiana Doronina standard symbol of Russia (the Motherland, "a simple Russian woman ', and the like). Doronin if there was this symbol, it is only in respect of Russia to that of the late sixties, the perfect, which it was clearly in its infinite tenderness. Tenderness when all stained and spiritualized: rudeness rural life, and the rigidity of life in Moscow and throughout the difficult life, and the whole set of domestic our leaden abominations (after all, even if behind the scenes, but in the film, and drink, and beaten, and serving time - but drat, light after his heart and that's it!). In this sense, "Three Poplars at Plyushchikha '- this is the best in the film incarnation of Pushkin's' sweet sorrow' - feeling beautiful is not known poets
course, and there are a lot of incredibly popular in those years, Green with its cult of unfulfilled (. No wonder Radzinsky called Nura 'married gonna'), and by now completely forgotten American Danielle Steele (his story 'is beautiful in shoes', it seems, and Borschagovski inspired to write 'Topol'), but it is all in the context of the discussion - idle trifles. Lioznova film - about Moscow, illusory, alluring, promising, able - not disappointing - not to give. About the soul of man, which, according to Rozanov, like the wings of a butterfly, is that last pollen, which dares not, knows not to touch anyone - except God. About Tashkent earthquake. About the lights in the river. About Gagarin. About every Russian.

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