“Salyut-7”: second 11.10.2017

Seriously fly in 2017 space, domestic blockbusteronline found it for myself yet unprofitable, and probably short-lived, but the shelter, and were even able to breathe freely — Soviet space, coupled with the caption “based on actual events” give us the material and tension, and entertainment without having to draw in the beginning is funny fantasy special effects, and a sense of self-importance without the need to remove something once about the war. In other words, we need to actively try to openly fall face in the dirt. The “Salyut-7“, in contrast to last through harsh industrial metamorphosis “first Time” was originally conceived in such unpretentious uplifting blockbuster, which the authors did not hesitate openly to change the names and events for the sake of greater effect on the audience, and in this smooth, he made it to the theaters.

Again, checked the templates there, and it is possible to design: closing risks from all sides, the film borrows all of its visual language and means of influence on the audience in “Apollo 13”, “Gravity”, “the Martian” and, in detail, other Hollywood heroic action-drama. Fedorov-Janibekov — not just professional, committed unprecedented manual docking with a rotating station, but risking daredevil, acting without orders or even knowledge of MCC; Alekhine-Savinykh, accordingly, relegated to the role of his more correct and more prone to anxiety partner, speaking on the second half of the resulting cosmic buddy movie.

And so on. The head of operations and dozens of extras from the MCC exist in the frame in order to hard to look at the monitors and to sweat profusely, his wife to cry, be nervous and be pregnant; the camera does not very motivated and spans, the editors placed the desired scenes (like the passage of astronauts tests, which will end it is still clear what) in vigorous cutting, four composers seem to write music for many films, there is a sentimental tsunami, and rhythmic elecro style. “Grass near the house” — to perform the same function that is reserved to the “Starman” Bowie in “the Martian”, which plays on the closing credits Vysotsky — as a domestic analogue of Gloria Gaynor.

The writers, for their part, depending on the moment quietly, simplify, bypass and induce pathos, so already at the beginning of the station they goes down without any involvement of the duty shift of control center, but that’s nothing compared to completely fictional fire, borrowed already from “Gravity,” and the climactic smashing a hammer on the disc as a save the reputation of the Soviet space program. The problem here, as almost always in such cases, not so much the disparity between reality as such, but a lack of banal confidence to the viewer that the authors, in General, do not even hide; if a person “knows the intricacies of the space themes”, then the next step is to try to find an interesting approach to these subtleties, and to pretend that they simply do not.

On the other hand, because the creators are very well aware of what they want to do, the movie moves forward without further interruption, here helps quite a nice duet Vdovichenkov and Derevyanko, and a shared focus on inherent such amusing thing, as a production process (a problem arises, the problem is vital to solve — error-free structure for this film, as has been repeatedly proven), and relatively balanced patriotism; the first thing that appears on the screen — embroidered suit, the hammer and sickle, but along the way the authors fully side with specific people and their actions instead of institutions, and emerging from the shadows bureaucrats, at some point going to blow up the station along with the heroes are no better than exploiting the situation to foreign journalists, though, in truth, the film would cost well without the other.

Really running out of patience in the end, when the authors of the time throw all remnants of restraint and begin to manipulate it so that Ron Howard would become uncomfortable; stools fly into the glass, little girls need from dad to return home, the proverbial sledgehammer brings people together on Earth and in space, the Americans are casual fly past and salute. After this it remains only to rejoice that there, in orbit, the film just ends, without epilogues with the flight home. Deeper for our cinema in General, the problem is that neither the originality, nor even some of its own thoughtful look at the show things not here to find, and even such a well made movie comes to us from the deep creative impasse, in which to live, but then it does not move.

“Salyut-7”: second 11.10.2017

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