Released in Russia, a film by Thomas Winterberg based on a script by Robert Rodat about the death of the Russian submarine "Kursk" on the very first day made a considerable number of viewers shed tears. Maybe he was created precisely for this - to squeeze out tears at the same time as money? Or is the point of creating this artistically very mediocre painting much more insidious and sinister?
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This film was created as if on purpose to squeeze out a tear. Actually, the film about a catastrophe in which no one was saved seems to have no other goals. This is not the case that is described in the famous "Ballad of Nails" by Nikolai Tikhonov: "The dawn hit the admiral's ears:" The order is executed. There are no saved. " The sailors who died on the Kursk died, not heroically carrying out a combat mission, but simply as people trapped in a deadly trap who tried to escape, but could not. Watching their suffering, their desperate, time and again deceived, hopes, the viewer can experience only two kinds of emotions - either the unhealthy interest of the onlooker, or the excruciating feeling of pity. I testify that many women wipe away their tears after the session. But one doesn’t raise a hand to write Kursk into the category of ordinary commercial tear squeezers - because of the propaganda charge, which the filmmakers did not bother to cover up with even a tiny fig leaf.
The authors so passionately, even voluptuously, strove to work out the propaganda super-task that they did not take care of any plausibility either. Take at least the very end of the tragedy. You don't need to be a doctor to understand that people who just lay in layers and now and then begged each other not to shut down and not even die, suddenly jump up from their seats and enthusiastically throw a wild revelry cannot. There is no appetite for people who are mortally exhausted and breathe every other time, albeit regenerated, but stale air, in principle. Moreover, he will not pull them for a drink. And even more so, they will not have the strength after the explosion that flashed in their faces, which at the same time ate all the remaining oxygen, to stretch out into the frunt and bawl - not some, but again a drinking song. All this - and especially thatthat the explosion occurred exclusively in a drunken shop - not just bordering on a mockery of the memory of the dead and the mental abilities of an international audience, it is far beyond the bounds.
From the film "Kursk" you can get, in general, one single simple thought. More precisely, there is one thought, but it has two heads, and both have extremely poisonous teeth. One poisonous mouth is intended for hunting Western spectators, the other for Russian ones. And the thought is this: the Russians are monkeys with a grenade, which in no case can be trusted with anything more complicated than a crowbar and a sledgehammer as tools of labor, and as a weapon - a rubber inflatable hammer. At the same time, they are not only very stupid monkeys, but also possessed by unjustified pride, time after time trying to show the whole world Kuzka's mother, and thereby endangering this very world in great danger. First, they rushed the Chernobyl nuclear power plant, conducting unnecessary experiments, then they managed to lose an entire nuclear-powered ship (at least the training was enough not to pollute international waters with radiation). And they would have sat quietly, would have known their six-point - and nothing would have happened. And why did these Untermenschs cut and sell only two-thirds of their fleet, and not the whole?
While Western man is a being of the highest order. A knight without fear or reproach, noble, highly intelligent, with a sensitive, compassionate heart. Possessing highly developed technique and perfectly able to handle it. In general, almost a deity, always ready to completely disinterestedly come to the rescue. When British Admiral Russell, having learned about the death of the last submariners, comes out on deck with stingy courageous tears in his eyes, snow-white wings seem to unfold behind him. I just want to stand at attention and, holding my hand to my heart, sing, but not a vulgar tavern song, but a sublimely chased: "Rule, Britain, by the seas!"
Promotional video:
The Western viewer, especially from NATO countries, having seen the picture, will be filled with pride for the “free civilized world”, ardent patriotic feeling, disgusting pity for “savages” and a keen desire to protect humanity from them. And what about the domestic audience? He will not be able to feel anything but despondency, shame and disgust for his country as "Upper Volta with missiles". Although no - he can. Anger at their own power, soulless, cruel, deceitful and unreasonable, senselessly destroying wonderful guys and breeding widows and orphans. But she could have long ago surrendered to the mercy of the "noble dons" and not tortured her own people. All the same, it’s in vain, because if you do not stretch your legs according to your clothes and walk too wide, then at best you will only tear your pants and be grossly disgraced. At worst, tragedy will happen. Ultimately, the Russian viewer must experience a heavy, focused and uncompromising hatred of his power, just like the son of a deceased submariner. Because it is she who is the real enemy, which is hinted at by the thoughtful phrase of Admiral Gruzinsky at the beginning of the film.
It is for this and only for this - for the sake of pinning once again "presumptuous" Russia to the global pillory and exposing Russians as subhumans - that an agitation campaign called "Kursk" was created. Precisely agitation, because the film is completely devoid of artistic merit. Equally dazzling with ideological "bookmarks", the series "Chernobyl" is an order of magnitude higher in its quality, in the degree of disclosure of characters, in directorial and cinematography and the reliability of details. "Kursk" consists of stamps beaten half to death a little more than completely. What is the line with the father's clock, wandering from film to film and long ridiculed by Tarantino in "Pulp Fiction"! Everything else is absolutely in the same spirit - from the hero's long glances at the family photograph and the pregnancy of his future widow to the sacramental "rushn wadka". If we add outright absurdities like the aforementioned party of half-dead people or a very strange Russian TV channel broadcasting foreign news in real time and in Russian, it becomes clear that the film, despite the spectacular and probably expensive shooting, is literally riveted in content on the knee. The fact that Luc Besson undertook to produce such a stilted piece of art speaks only of one thing - a solid political order. One part of this order was "Chernobyl", the other "Kursk". There will certainly be others.that Luc Besson undertook to produce such a stilted piece of art, says only one thing - about a solid political order. One part of this order was "Chernobyl", the other "Kursk". There will certainly be others.that Luc Besson undertook to produce such a stilted piece of art, says only one thing - a solid political order. One part of this order was "Chernobyl", the other "Kursk". There will certainly be others.
But, gentlemen, not good, what you are doing is called very simply and unambiguously - racism. Well, or fascism, as you like. When humanity is shamelessly divided into natural-born masters and slaves born to look into the mouths of masters, obey them in everything, completely disarm in front of them, diligently study from picture books that kind gentlemen have written specially for them in simple language - and not lean out. Stick out - it will hurt. Shock films-disasters are designed to develop in the Russian viewer just such a conditioned reflex and again turn Russians into “good” slaves, as under Gorby and Yeltsin. To choke on gadgets, as they once did for hamburgers, and obediently shook their heads to the beating rhythms of new idols who replaced Metallica, content with a pub “chanson” instead of the national anthem. And they did not dream not only of great greatness and a significant geopolitical role, but also of even stunted sovereignty. This is not for you, Russishe Schwein, do not go with your blunt snout where it is not supposed to. And if the government has forgotten about its place, then it should be quickly demolished by the boys, who from their young nails consider it, power, not shaking hands.
So is it worth crying, dear viewer, when you are so shamelessly pulled by the strings? Or is it worth waking up and realizing that those who bake such films one after the other are capable of shedding only crocodile tears for you and me.
Marina Alexandrova
