“Hostage” tells the real story of 83 year about the seizure of the Soviet aircraft flying from Tbilisi to Leningrad. A small group of people, mostly made up of Georgian students, decided to escape from the Soviet Union to Turkey, which was a 15 minute flight. But the plan was full of holes, the circumstances have failed at all levels, and as a result all has ended with a spontaneous bloody shootout and the death penalty, almost all the survivors of the invaders. The Soviet press called them traitors, terrorists and drug addicts, and even now their so-called Russian “Wikipedia”, in the familiar categorical manner.
Among the many advantages of the film — it is technically firmly and beautifully made. Picture, sound, editing, all good. It almost pinteresque attention to detail and an incredibly long, risky injection, which, oddly enough, works successfully. And it’s very authentic of the time (although a strange decision at the domestic box office to duplicate much of its Georgian spoils).
But the most important achievement of the “Hostages” is not a romantic tragedy in the spirit of Bonnie and Clyde as it might seem before the premiere, and not propaganda. Here even there is some strong hatred towards the Union, despite vivid scenes. It looks wider. Tries to speak about universal things. Not only about us and for us. It is not romanticized heroes, but also exposes them not a bunch of garbage, drug addicts and parasites. It looks deeper. Does not divide the world into black and white, and tries to show the living, naive people from their conflicting desires at the same time wondering why these young people who by Soviet standards “had everything”, so wanted to escape from the country that decided to hijack a plane, armed with pistols and grenades. Why? Yes, the artist’s vision, and Yes, visible to his position — especially in the finale, when the “Hostages” become a story about the proportionality of the act and punishment, as well as the lack of any humanity in power (which, incidentally, terribly important for Russia and not only).
But rhetorical questions and so many answers in plain text is so small that the picture remains controversial to the end. Moreover, it not only asks questions of what freedom is, and what it’s worth, but, first of all, why even begin to think.
Put the film a rating!