Overall, this film seems to meet the criteria corresponding to full-length feature film, contains the novelty of the performance, has a certain practical, artistic value, consisting in the methods of production script based on literary works, ways to transfer images and control the emotional state of a viewer, as a model for training specialists in the field of cinematography.
For the analysis it is necessary to take the following non standard features that significantly affect the final result. First and foremost is the directing, the script and acting in one. Also, the implementation of the selection of actors of the main and secondary roles, technical staff, with specified qualities. In the main, most characteristic of the episodes you can select all the dialogue of the main character, a scene without words, personnel with communication through social networks and phonebook, as with soft toys and other items near the bar, the episode with the bride, an architectural ensemble of buildings, in the car. The overall storyline is accompanied by almost continuous music that conveys and amplifies the emotions of the actors, however, this is some redundant components, but overall, the music is adequate to the situation, and allows you to further change the situational picture according to the script, the execution corresponds to the modern tendencies in the compositions.
Presented in the film images and their transmission are its strongest and most unique party that can identify significant features, characteristic for the emergence of a new genre in film, and quite possibly, a new direction of the genre as a generalization. Under the modes of transmission we should understand the sequence of speech intonations used in conjunction with the poems compiled in the given order of the literary works of E. Asadov, to construct a sequence of facial expressions, movements of arms, torso, legs, leading to the emergence of a certain choreography, the transmission of information in the eyes, and fine motor skills, gestures, arm posture, strengthening the effect of surprise and charm due to the peculiarities of the figure, in particular, it is possible to identify patterns in the casting that meets the required sketch especially the title role a combination of proportions for the implementation of the image very closely matches the goal set and any arbitrarily small deviation leads to the loss of the picture and does not bring any effect.
As strong features, which was not in any film before, it is possible to allocate the statement of the views of actors on each other relative to the frame, their sequence and pattern of a trajectory according to the author’s innovative development. Generated emotions and feelings can be spread in three main groups the natural love experience between a man and a woman, maternal feelings, feelings of guilt, family experiences, embarrassment, emergency situations, fear. However, there are still unique to this cinematographic emotion or its characteristic features, which was not so far in any work of cinema, or she was covertly and implicitly. It concerns the surprising characteristic of the perception of the “cold shower”, “lightning from a clear sky” and filled with a certain passion, her impulsive nature, resembles a decaying sinusoid and again at specified intervals, at the same time, the average level is taken as a visual stupor, and going half-wave captivate emotional state in one direction or another. At the same time, as “taste” the emotions “steady state” can be observed in some stable state, however, they can be perturbed and changed by the characteristics of the voice, the notes of which additionally get a grip of emotions to the extent that it is necessary repeat it again and again, thus the perception of sound is enhanced by the visual pattern and Vice versa leading to some interference with a deep positive feedback leading to saturation. Thus, this effect is completely specified forms of the control loop mind of the viewer that is an extreme rarity, and, most likely, such a system as this film is completely unique and is a subject for further research, as it opens up a whole direction of development of the film. Should be distinguished from the very similar to the power of the emotion of fear, have a negative reaction, while under consideration has a positive response, and keeps the tension and constant “surveillance” for the person who expressed it. Casting is symmetrical to this emotion and the main acting roles expressed in one way or another, however, the basis is the main performer as its generator.
The reading of the verse is a unique feature of the film. The verse reads as if behind the scenes and expresses his first thoughts than actual dialogue, and thought process of the viewer in this case is controlled in such a way that it is, indeed, looking at the screen perceives the picture as it drifted from the dialogue, the dialogue takes place mentally, in this case, there is a scene of real dialogues, where read poetry taken literally. This palette transition dialogs from the real to the virtual is quite interesting and new. As the satirical scenes and transitions, you can identify the beginning of the film with a scene with a key with a Teddy bear in bed, and change the name in the address book of the phone, as scenes with the paradox it is possible to note the double phone call “Catherine”, as if the first time it was a work call, and the second proposing a meeting. In the scene with the car happen the arguments that were kind of melt in poetry and it is clear simple communication, and its character is expressed to a greater extent individuals, as well as in the stage of “morals” in the office of “MK”.
Dynamic, playful nature of the frame and its constant motion increases the sense of presence. Feature frame, which consists in the practically continuous monitoring of the actors than of the situation allows her to withdraw from the perception and would like to transfer into the background. Thus, there is a game with objects teapots, wine glasses and space, the correct angle at which the sight is fixed in a predetermined sequence, for example, the gesture of the figure and even voice, the picture, as it lies behind the thoughts, which at this point forms the viewer as large fragments, colors, illumination produce their acceleration or, conversely, slowing, strengthening and weakening of the emotions that accompany them.
Small symbolic logical sequence is presented in full, for example, look at the nametag of the employee, the text in the phone, the inscriptions on the objects bring their component in a large palette of sensory perceptions. With all the obvious advantages of the picture should, however, reveal some experience back in the office, “MK”, should be used in an arbitrary game, it would be possible to use, for example, the element of dialogue in the third person, panoramic scenes of the main routes of Moscow it is possible to reduce slightly the duration, however, these shortcomings did not reduce the artistic value of the film, and the film “I LOVE YOU d, CAN I?” deserves only a positive assessment. Personal contribution of the author consists in the execution of the main roles, the script and directing of the film and can be estimated perfectly, and the results are used for scientific work in the field of cinema.