"You can not dream ..." Movie Review Essay & Film Analysis

The Soviet cinema was a clearly defined category giperpopulyarnyh, almost cult films, to which I have remained indifferent. In this category I include a picture of Ilya Freza 'You can not dream. " It would seem that the director is wonderful, in his field cinema for students of high-school students - one of the undisputed classics (think it 'grader' 'cranks out 5' B '', 'Vaska Trubacheva', not to mention the wonderful, fine, kinopovesti poetic 'I loved you ... "), and a genre - one of the most revered by me (after all, this thing is thematically quite logically fits into the line somewhere between' When I become a giant 'and' in my death I ask blame Klava K. 'On the one hand, and' The School waltz 'with' tumult 'on the other, and that all the films, gentle and reverent my favorite), and to perform - that screenwriting that carrier that art, that music - no reproach, because to make a movie upscale, confident, years stuffed master's hand, to hone their professional skills to near perfection. The cast of the ensemble 'You can not dream' and does deserve a special mention, because this constellation and in such harmony composed was routine in those rich years in the acting fireworks.
But. .. did not work out. Do not touch me Romeo and Juliet in a new way in the scenery late stagnation. Do not touch and do not convinced. And it is not a lack of vitality and reliability - with this in the history of Shcherbakova during frezovskoy interpretation, too, everything is in order, and even more so - and in some subtle words, but very clearly perceptible sensual and sensitive emasculated, wingless, emotional earthiness, and even - dare I suggest - the obvious ethical inferiority and undemanding overall atmosphere of the film, paradoxically gives it a completely European sounding (albeit outside the European socio-cultural contexts), n efferent his braces genuine Russian spiritual culture with its passion, nestyazhatelstvo, the pursuit is not for happiness, but for the truth, conscience, holiness, perfect beauty and love, the principles which the Soviet cinema somehow always adhered to, and that would be in such work as well as possible by the way.
Freza simple comparison of the film and made almost twenty years before on a similar plot rayzmanovskogo 'and if it's love?' obviously does not benefit first. Rayzmanovskaya tragedy of two young souls, crippled rudeness of others, who have trampled, pelted with mud hardly originated in these souls sprout bright, clean first feeling, played almost uneventful, one psychology, halftones - degenerated from Freza in strenuous activities with mass melodramatic plot turns and twists in order to tie all the ends together (fatal passion Roman father to Katie mother rock is imposed by circumstances and loving parents separation, almost the death of Roman in the final), but with all of this above elodramy and does not rise. Yes, actually, and sensuality with romance in the flickering, like a sensitive nerve, who had found out only one innocent kiss mutual attraction heroes Reisman much more than all the impulses and embrace Roman and Katya who have known each other well ... In
Unlike Xenia and Boris, no psychological pressure on the Roman and Kate themselves, in fact, do not feel - they are lost, confused parents do not know any other means, in addition to prohibit and do not let go, and those in the softness of his are not really use. In comparison with the classic light becomes especially obvious these spoiled children who are accustomed to getting everything they could want, immediately and without effort, and spoiled, clearly endorsed and supported by the authors. As well as far-fetched their tragedy, their artificiality undergoing sublimation passions, their selfishness encouraged others ... especially insulting that the characters are trying to timidly, as Tatiana, (a crudely and clumsily, as director of the school or the mother Romana) recalled presumptuous kiddies (and the audience at the same time) on the primacy of debt in relation to the feeling of responsibility, self-discipline - according to the author's idea intellectually, but clearly hammered completely different philosophy of life beautiful, successful, life-hungry (and we can assume it is not Mr. borchivyh in the media) - the mother of Kate, her husband Volodya, Misha doctor. And their last victory in a dispute is given without a single argument (or very weak arguments) - they take impudence and charm, the charm of its own success ... Alas, we all know the consequences of this way of thinking, if you continue it logically. It is a pity that this film has contributed to the popularization of its ...

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