1511, the colors of the sequence of the Sicstinsky Chapel will dry in the Vatican. Dante died, Pushkin was not born. Genius with villainism has not yet been settled in the marble of formula.
Question "A Bonarotti? Or is it a tale of a stupid, meaningless crowd - and was not a murderer creator of the Vatican? " The new film Andrei Konchalovsky is not asked.
It is enough that the genius and Titan of Michelangelo Buonaroti Simone is not washed, will be fatal, scandalite and deftly handles the coin, investing the money of Roman customers in Tuscan real estate, while Florence goes from hand to hand. Allone who is not too lazy to hone it, and for sins, they are stolen to burn in hell. However, blood pressure and so with it are in -ureous. Michelangelo literally holds the mind in hell and seems to be ready to go there entirely only that he was composed by the Great Dante.
Normally - see ghosts, angels and devils where the descendants would have written off on UFOs and stress. As a man of his culture, Michelangelo sees. As a man of his craft, he falls out of the conversation, looking at the shape of the fingers of the interlocutor.
His true optics - Dante Poetry. He visits the plasters of the Opt poet in the castle of Marquis Malaspina, swarked "hell" by heart and hopes to meet. The poet is a legitimate figure of an intermediary between the hero and God, the remaining for the Soviet intellectuals of the twentieth century, which sent the religious cult of art.
The dubious virtue of the master does not hurt the enthusiastic vazari to see in Michelangelo the phenomenon "Rather, heaven, rather than earthly", but the life standards of the XVI century are such that without sin to sigh, neither turn. Care - mortal sin, instructs the hero of Pope Julius. He recognizes Michelangelo "Divine" and self-causing a stick. Sin raise his voice to his father, brother's brother's pious bootharroti with tonon. Sin is entered in front of colleagues, admonitions Pope Lion. Comic indictment Refreighsets Sin in McGaffin. This is an unexpected and fun trick. It translates the focus with imaginary sins on the tragic fee costs of the gift and crosses the expectations. There will be no confessional baiopic, nor Life Lubka, nor the third series of "Andrei Rublev", whose scenario Andrei Tarkovsky and Andrei Konchalovsky wrote together. Kittens and radiant kids who create a blessing miner in the frame, too, would not be better, but they have Konchalovsky in the long set.
There will be recognizable motifs moving from Rublev to "Ace-Chromonozha", from the "Number-Ryaby" to the "House of Fools", from the "White Nights of the Maul Rogitizna" to "Paradise". A chamber in Zenith, like Rerberg, and to get to get a Tuscan space with the Nizhny Novgorod Ophem "Asi ..." in an unfamiliar of the Ginkvice angle.
Or equate the rejoicing joy of being to healthy physical education. In the "noble nest" barn the bar, caught up with each other tireless collective farmers in the "Ace ...", the chicken in "Kniek-Ryaby" was dirty. Mikelangelo will run and sweep.
Or, try the titanium of the revival mask of the scomerous and shake the swing of greatness and weakness from the ground to the sky. The executor of the leading role of Alberto Teston, possessing portrait similarity with Michelangelo, is unpatched reminds Gabitus and a fussy burst plastic of Rolan Bykov in Rublev. There will be a marble rhyme and to the metal "Bells", but without non-free projections. Konchalovsky with Tarkovsky is not similar to anything, and instead of the metaphysical abyss of his hero waiting for everyday shorts and deadlocks, which he, despite the tendency to Dante, bypassing perfectly in the Spirit Boccaccio. Even the key to the betrayal of the German subset - the selected quote from the Decameron. From proven receptions and a new material in a film with a frauded by the pathetic title, the eccentric features of the Plutary comedy are tagged about the ceremony adventures of Buonarrotes among sins, devils and similar benefactors.
"Sin" Konchalovsky is close to the quasi-documentary comedy Abel Ferrara "Tommaso", not because the artist, too, was shot in Rome with the participation of his wife and openly autobiographical, but the tragicomic dance is a row on a frying pan, the tenting theater director and anonymous alcoholic between everyday life and ecstatic visions , disaster and even cross.
The Konchalovsky Cutter "David" and "Pieta" surpasses Pasolini's unpretentiousness in the "Decameron", whose proper laughs: "Teacher, unless, having met you in the rain on the road in such a smoking form, wet and in pathetic hoops, you can imagine that you The artist famous for all Italy? " The truncated, caught sins, that is, the prose of life, Mikelangelo sweeps through the Sistine Capella and Carrarsky Quarazers, walks Tuscany Valley, mutters the curse of the whore of Florence, who betrayed Dante, who has not learned from the polyciano with Fechino. Ridiculous as the moonshine Klyaine from the Russian nineties, as well as the jacket "democracy", "free market" and soberly noticed that the circle of "drunk and thieves", he fogs the Philippiks against the Motherland, and while dirty legs have a dust, the Duma is high . The film is full of similar contrasts and comic inconsistencies. In the central scene, the image of a shallow human figure is climbing a colossal stone block, it seems, from the sonnet of Mikelangelo itself:
I see so many abominations and evil,What is better to see this world more.
And only a gift that you sowed, God,
Became for me support. Like a rock.
The chlipsky man rested into the block of the universe, white, like sugar, impermeable, like marble, nor move or know. Everything is free to extract one form or another form, as the blind to the touch enjoyed the elephant, getting a snake or rope at the exit. Michelangelo looked like a living human flesh, a dermis, tendon, and it was necessary, it seemed to him - God. It is murmed by reprises of small sins, this sensitive contradiction is resolved in the final. Shortly before that Konchalovsky circus reception will show a glimpse of the historically reliable elephant Pope Lion H.
Stanley Kubrick in the "Space Odyssey" drove around black stone of senseless monkeys to awaken self-consciousness in them. In "sin" people are fussing around white stone, still helpless. Anagram of black monolith, who made a man from monkey, this white parallelepiped theoretically makes a man by God, supporting creative fire in it. Only the hustine Plut Michelangelo is not sure in his God's spark. Own work, including Moses, who has already spent a powerful knee from marble, do not convince him. Dante would have confirmed. The hero polishes his knee, appeals to the spirit of Aligiery, shyfully swabs - show, say, where are you? Is that the closet with a candle will not climb. The conversation with eternity does not glue against all the canons of this honorable genre. Instead of Russian cosmism - Balagan, Brad, in reality or nightmare. The genius at Konchalovsky is a funny person and worries on a funny occasion: Will the genius and grace come?
I am rooting the world, I am wounded by Beauty -how to desire them to get early
Blessed Immortality Pledge?
Sonnets Michelangelo and Konchalovsky's Square Poetics - things, as if inconsistencies, but she, perhaps, the only way to walk on the ground, when around a solid divine vertical. To adequately place it in the frame, almost square format 4: 3 is selected instead of the widescreen fresco-like sheet of anamorphous. Otherwise, the film runs the sublime, extremely grounded and deliberately anti-deletegenic. But extremely picturesque.
Static miceanssen, built in depth, reproduce the canonical volume and almost do not comfort the renaissance pattern with an indispensable distance in the window in the third plan, horsepower in the doorway, in full compliance with the prospect of the Arch and to the point of converging spaces. In the interiors, the Operator Alexander Simonov even works for ahead: Move from the late Renaissance to the early Baroque, shedding the sculptural light of Caravaggio on the darkness. In a strange way, instead of the dramatic interaction of several plans in the depth miceanese on the screen, peaceful contemplation. Sensuality is eliminated. The scene, where the apprentice reads the mantotes of obscene poems Pietro Aretino, breathes with a white-stone rest. From the scene, where Michelangelo takes and examines the hand of a woman shuddered in orgasm, sex is seized. The material side of the world as if removing seductive costumes and remains naked, an affordable idea of form, perhaps God. The one that Michelangelo famute, celebrating the beauty of man.
Researcher Painting Renaissance Bernard Bernson noted that all Florentine were susceptible to the material essence of the visible world and knew how to work with her. Michelangelo worked with reality, not offending neither the flesh by the election, nor the spirit of naturalism. Final film - just the birth of a realist of the Spirit of Heavenly Music. "Sile?" - indignantly screaming Michelangelo Ghost Dante, demanding impossible. "Listen," the ghost is awarded the audiovisual divertiment of the Union of Heaven and Earth. Unfigured neoplatonic will open up that the opposition to the matter and spirit - sin, larger than other prejudices. If the acquisition of God in each atom can be called Happi-end, then for the funny genius of Michelangelo it is he who.