Nikita Mikhalkov: Friend Or Foe

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Nikita Mikhalkov: Friend Or Foe
Nikita Mikhalkov: Friend Or Foe

Video: Nikita Mikhalkov: Friend Or Foe

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Video: Friend or Foe? (2002) 2023, January

Nikita Mikhalkov: Friend or foe

Since the release of Nikita Mikhalkov's dilogy "Confrontation" and "Citadel" ("Burnt by the Sun 2"), the stream of mud that is poured onto the director and his picture has not diminished. Attempts to find at least some arguments and explanations for why the film is not liked have not been successful. The film is scolded. For what?

Since the release of Nikita Mikhalkov's dilogy "Confrontation" and "Citadel" ("Burnt by the Sun 2"), the stream of dirt, which continues to pour on the director and his picture, has not diminished. Attempts to find at least some arguments and explanations for why the film is not liked have not been successful. The film is scolded. For what? It is impossible to understand, because no one is able to give an intelligible answer. You can't shoot like that! So how should it be? An example is the film "The Cranes Are Flying". You can't argue with the classics, only "Cranes" appeared at the box office 56 years ago, eleven years after the Victory. Playwright Viktor Rozov and filmmaker Mikhail Kalatozov had their own vision of war, realized within the narrow framework of socialist realism.


Why should modern cinema, in the person of, for example, Nikita Mikhalkov, follow the same trodden path? Why should creative people, for the sake of spiteful critics and mediocrity, get stuck in the spatial holes of the past, as do most homegrown critics or those who call themselves professional film critics, but are unable to see the differences between the genres of "fairy tale" and "allegory"?

“My war is on the screen,” Mikhalkov said in an interview. Doesn't the artist have the right to his vision in the disclosure of the topic? Is he obliged to think about how to please everyone? Full movie theaters? This is not his task. His task is to realize his idea by methods known to him alone. And the one who did not understand his allegorical picture, let him engage in self-education at a more worthy level than reading and writing nasty comments on the Internet. It is never too late to learn, as the older generation said.


“War depersonalizes a person”, - the director came to the conclusion, filming “Citadel”. When people in the trenches every day look death in the face, with a minimum of emotion, habitually noting to themselves those who “yesterday did not return from the battle”, there is an alignment of relations in which there is no place for conflicts and hysteria.

In "Citadel" Nikita Mikhalkov very systematically showed a number of properties of the Soviet people, for whom urethral values ​​are a priority.

War always lifts the ban on murder, the ban on violence, and this can be seen throughout the film. A woman in labor in a car bombarded and an old soldier taking birth from her become two links in the chain of a symbolic series, which, perhaps unconsciously, the director builds in his film.

Libido and mortido are like the will to live, pushing the baby out of the mother's womb and constant death, circling "Messers" or "Junkers" (what's the difference) in the sky, like two in one. And between them - the old peasant participating in the sacrament of childbirth - the one who is usually called "the salt of the earth." It is he, a muscular warrior and a plowman, the quintessence of two states - "war" (rage) and "peace" (monotony). He bears responsibility for demography, that is, the addition of his own people, and for the destruction of the other, the enemy.


In the car that evacuated the wounded from the hospital, there is not even an accidental paramedic or doctor, but only a muscular peasant, experienced in midwifery, because he himself took five of his children "from under the hem". And for an instant, during which the birth of a new life occurs, the war-excited fury of a tiny part of a muscle army, placed in the proposed circumstances of the space limited by the car body, goes into a state of "peaceful monotony".

Here it turns out that the newborn is a German bastard and the son of an enemy of THEIR people. And the flock, following the main urethral law - "There are no other children, all our children", accepts this child and, without hesitation, gives him the name and patronymic of the LEADER of a huge flock country - Joseph Vissarionovich.

The next episode is the action of a soldier, who, without leaving the car, directed a jet. In urethral urine, he marks his territory, creating conditional boundaries. In animal language, this means - inside, strangers, outside. Edging urines with pheromones that smell for their own protection and for their enemies - a danger, he marks a small island of scorched earth among the smoking craters on which a truck barely survived during the bombing is held.

And then, having scorched his throat with medical alcohol, he starts dancing in the back of the car to the chastushche bust. And here you will not understand whether this is a commemoration for the dead, or a "christening" of a newborn. Actually, everything is like in real Russian life, when at weddings they cry from happiness, at funerals they sing from grief.

The dance and the ditty, in this case taken from the skin-visual female in her absence, again return the muscles to a state of "rage". There is evidence of the "secret weapon" of the Russians, of ditties attacks and of soldiers going to death with a song to the accompaniment of an accordion, like on a party.

People with a urethral-muscular mentality have their own sense of being: If you die, so with music, if you bury, so with songs!

The Germans also committed "multiple acts of psychological aggression" at the beginning of the war. This is what the director found while working in the archives: “The Germans … dropped empty barrels with holes on our positions … they made such a sound when they flew that people in the trenches went crazy with fear. And leaky aluminum spoons with the inscription: "Ivan, go home, I will come soon" … nobody was killed, but this is humiliation, this is enslavement, an attempt to break the spirit of a person … "In the film" Burnt by the Sun. Anticipation”is an episode with holes falling from the sky.

Leaky spoons are prison paraphernalia. A lowered convict receives a leaky spoon and a punched bowl. This is a sign that he is deprived of the right to bite. The omitted is an outcast of the untouchable caste who is used sexually by inmates.


Nikita Sergeevich said that a stack relied on the German uniform from Hugo Boss. That's right, because those who are lowered, which in the eyes of the Nazis were the Russians, cannot be touched with your hands. The "brown (and what else?) Plague of the 20th century", as fascism is commonly called with its anal-sound Nazi ideology of purity and superiority of the Aryan race over subhumans, was to a certain extent supported by homophobes with undifferentiated sexual libido.

In the entire big episode of the picture with the birth of a baby, a manifestation of the influence of urethral animal altruism is seen. This influence of the urethral superstructure is present in the character of every person throughout the post-Soviet space to this day, because at birth it is absorbed with mother's milk. Give everything - the last shirt, the last crust and even life. And what in return? And there, how will it turn out …

What do we care about the conquered half of Europe, dressed in uniforms from Hugo Boss, the German Wehrmacht. “In Russia everything is done with heavy, bestial zeal. We drink with such zeal, and then with the same zeal we fight alcoholism, cutting down the vine … "- Nikita Mikhalkov often repeats in interviews. Before the Red Army soldier, and even more so before the soldier of the penal battalion, the task was to get a weapon in battle, to snatch it from the enemy with his teeth, and if he was lucky, then boots, from the same Hugo, but no, well, to hell with him.

“Russian can only be someone who doesn’t have something, but not so that it must be. But no, well, to hell with him "- formulated the basis of the Russian worldview Nikita Mikhalkov.

Where, when and what army fought with bare hands, on bare enthusiasm, defeating any external enemy and losing to its internal one, called - hostility to the neighbor in the pack?

Since ancient times, it has been noticed that only those people survive that consolidate from the inside, suppressing the internal enmity of the members of the pack. The growth of hostility leads to self-destruction. Nature is in balance, everything is balanced in it. Man, despite the fact that he is a part of nature, in the process of his development and definition of additional desire goes beyond its framework. With an increase in this desire for additional desire, hostility grows, which forms the risks of self-destruction.


Man is imperfect, he is caught in a vice between danger from within and without. From the outside, it is associated with the constant expectation of an enemy attack from the outside. The inner enemy is the members of their own pack with their own hostility, envy and cruelty, leading to the destruction of society.

Since the time of primitive people, the flock has always been a support - through the general priorities "the life of one is nothing, the life of the flock is everything." Outside of the collective, a single person was unable to survive, especially on the Russian harsh landscape, in its harsh climatic conditions. For centuries, Russians have developed a collectivist mindset. The collective perception of the world, which could arise only on the basis of the urethral-muscular steppe mentality, has survived in our mental state to this day. (We even declare bullying collectively, fearing that we will be overtaken alone). Internal consolidation, sealed by Orthodoxy and later by the communist idea, has always helped Russians to survive and win wars.

In the Soviet Union, internal hostility was contained at the expense of an external threat, when the young Soviet state, which was constantly under the constant sight of the imperialists, was forced to hold its borders by all means.

Actually, there was no time for inner hostility. It was necessary to teach literacy to the population of backward Russia, build their own economy, train their own engineering corps, create their own army, their own military personnel, their own creative intelligentsia. All those who interfered with this construction and defense, trying to make a hole in the ideology from the inside and undermine the state, were sent in a well-known north-eastern direction. The old-school intelligentsia, if it did not meet the conditions proposed by the Bolshevik Party, was ruthlessly destroyed, and a new one came to take its place, nurtured and brought up on communist ideals and socialist realism.


Spit on gossips, girls!

We'll settle scores with them later.

Let them talk that you have nothing to believe in, That you are going to war at random …

B. Okudzhava

This is said about skin-visual women, who shared all the hardships of war with men. Nurses, signalmen, doctors and nurses - their compassion, which extended to the males of the pack, regardless of ranks and titles, is boundless. They not only carried the wounded out of the battlefield, nursed and cured their bodies, they saved their immortal souls.


Kotov's skin-visual daughter becomes a nurse. An episode with Nadia and a mortally wounded tanker in Burnt by the Sun. Anticipation”is unique and carries a deep semantic load. Addressing Nadia, who is bandaging him, he asks: “Show me your boobs. I have never seen or even kissed, really. Just before death, take one look …"

Having cognized a woman physically, the boy turns into a man. Passing and completing his earthly life in this body, he leaves an imprint in the single psychic of all mankind. Help him in the war in this, out of compassion, skin-visual women.


“The ability of a society to survive is directly related to the passionarity of this society, that is, to the setting of priorities,” explains Yuri Burlan at his lectures on System-Vector Psychology. The priority of the general over the particular determines the tendency towards its survival - the Second World War powerfully demonstrated this tendency. An example of unity on the urethral-muscular basis in Mikhalkov's film "Citadel" was the scene of an attack by a civilian population armed with sticks.

It is not by chance that the olfactory Stalin returns Kotov and, restoring his rights and titles, sets before him the task of taking the citadel. The future generalissimo does not hide from the rehabilitated general the purpose of the attack, which, in fact, is not so important a strategic object. The repressed Kotov is well known to Stalin, he is his former friend. The urethral general of tank forces Kotov is invited to storm the citadel not just as an infantryman, but also with unarmed people, half of whom are criminals. The unmistakable nose of the olfactory Stalin tells him the exact candidacy of Kotov - this one will cope.

Mikhalkov in his film, surprisingly constructing a series of episodes in which smells play an important role, shows the behavior of people at the animal level. Kotov, by the pheromones of his daughter, smelling the ribbon and comb found in the sanitary bag, guesses it alive.

Sensing Kotov's pheromones, Stalin senses in him his superiority as an urethral leader, after whom a flock is always ready to run headlong. Where? For pleasure, which is at the same time a safety, spread through the smell of the urethral.


The urethral leader is the top of the hierarchy, through his pheromones, the processes of ranking and expansion take place. Covering the space with his smells, he expands it, unconsciously guaranteeing the whole flock full protection. The Kotov family, in the first part of the film "Burnt by the Sun", is, in fact, the same flock, but rather passive, unable to do anything for their own survival. She easily, skin-like, adapts to any power and situation, becoming hangers-on, dependents and parasites. There is a certain amount of victimization in Marus. She is a sacrifice that relatives make every time to the one who guarantees them food and protection.

This is how the intelligentsia turns out to be in the film, ready to betray, like Dmitry, in order to save their own skin or sell for ration, like aunts and mother, speculating on Marusya's body.

People with a visual vector are culture bearers, not some kind of murderers, but kind, as a rule, at someone else's expense, differing even in a well-developed state by intellectual snobbery; they define muscles as nothing other than a cattle, a herd, and cannon fodder that has no opinion. At the same time, the spectators do not at all shy away from being fed, washed, groomed by muscular servants, and, in case of war, to be protected by this "cattle".

Gathered under the roof of the old house, intelligent, delicate, almost aristocratic people, it does not cost anything to slap the servant Mokhov, tasty, anal-like, on the backside and no Roman law is a hindrance to this. Who is she, this Mokhova, is she a person? So, a beast of burden, on which you can entrust all the chores and worries. And even with all the visual contempt, to call her a stupid fat-ass who brought out the baby hidden from Kotov at an inopportune hour.

They sense a strong personality in Kotov, they fear and hate him at the same time. So the urethral flock hates the urethral, ​​but he is a stranger for them, and will never become one of his own.

The suicide attempt of Marusya because of the failed youthful love for Dmitry Arsenyev does not change the attitude of those around him. He continues to be his own, he is readily accepted in the house.

It is easier for Kotov to manage the army and the penal battalion than a handful of worthless, unadapted intellectuals living in the past, so he asks Marusya to move to a state-owned dacha. The impact of the smells is transferred to the penalty box and the Kremlin cadets in a trench on the outskirts of Moscow, and during a second visit to the dacha, his ex-wife blows off his head with pheromones so much that she, forgetting about everything and everyone, finds herself in the attic with him.


In the film, Kotov twice raises a flock to attack the assault on the citadel. The first time he does it unconsciously. The animal instinct of the wolf, who sensed the smell of the approaching NKVD colonel Arsenyev, pushes Kotov out of the trench "behind the flags", under fire, and the whole flock, arranged by his pheromones 23 minutes before the start of the assault, rushes after him.

Muscles are living matter that fills the form, they are absolutely guided and complementary to their commander. If the urethral is leading into battle, they take the form of the urethral. If an undeveloped leatherman "shapes" the muscle into its archetype, a gangster group appears, destroying kiosks and setting fire to cars parked at the side of the road. If an anal foreman or a collective farm chairman is at the head, he develops strong business executives, merging into his form. As and who teaches, so they do. Muscles have visual-active thinking, and this fact is reflected by Mikhalkov in the episodes of both attacks, when an army rises after the urethral Kotov. For muscular soldiers, the main thing is that the headless horseman does not lead the squadron.

The main episode in the film is when Kotov, taking a stick, leaves the trench and walks towards the citadel. Behind him, drawn by the same pheromones of a strong personality - the urethral leader, ranking according to the charter, skin commanders, and then all the others, rise in a stick attack one after another.

There are many criminals among those driven to slaughter. The prison is still the place where the flock is arranged in the most precise way, according to the primitive principle. Where there is always a godfather, in fact the same urethral leader, and archetypal skins, who, due to certain life circumstances, found themselves in a gangster environment.

"Serega" is tattooed on Kotov's forearm, undoubtedly, a mark about his criminal youth. Some of the urethralists were forced out by the revolution and the civil one into the criminal world, like Mishka Yaponchik, while others, on the contrary, were given the opportunity to rise to the rank of general and marshal.


The revolution and the further political reorganization of Russia made it possible for the anal-skin-sound-visual Russian intelligentsia to test themselves for the consistency and love for Russia, which it had lost.

The flexibility and unprincipledness of the properties of the skin vector allowed her to survive at the expense of others, betraying those with whom she had Christ only yesterday after the all-night vigil in the Temple of the Three Saints in Paris in front of the imperishable Iveron Icon of the Most Holy Theotokos, for the purchase of which from a junk dealer they visually donated their modest francs and called this is a noble cause. The sultry Parisian evenings sat with emotion, bowing low over empty tea poured into a miraculously survived cracked cup from the collection of the Vinogradov manufactory, recalled the matinee and soirée of Nicholas II, at which Russian folk songs were sung, bursting with Kursk nightingale.


And then all the same skin passion for "benefit-benefit" and the notorious "even a flood after us" pushed the same Russian intelligentsia to well-paid jobs as agents of the NKVD of some Paris, Berlin or Vienna branch. Did Dmitry Arseniev feel pangs of conscience? Hardly. Skin jealousy - yes, fear for your own skin - no doubt.

As is the case with dermatologists, he tried to take the place of the urethral Kotov, but failed. The pheromones are not the same, they do not smell like a leader, there is no natural altruism, and you cannot buy it for any money and you won’t win any titles. To be like a urethral is an eternal skin dream, which is never destined to come true, because the desire for life is different, aimed at separation and limitation.

Any urethral person always binds the flock with his smells, preventing it from disintegrating, preventing rupture and destruction, all according to the same principle, "the life of the flock is everything, mine is nothing," and the skin man divides it into his own and someone else's.

The death, the rupture of the flock state from the inside began after the death of Stalin, it was especially clearly manifested with the beginning of Perestroika and in the last twenty years, when the prematurely emerged new formation, the former USSR, collapsed. Having landed in the skin phase of development, Russia and the rest of the republics suffered irreparable damage, which can only be equated with many years of destructive wars.

Today Russia is slowly beginning to get out of this crisis, and the country's leadership, realizing all the hostility of the West towards it, is first of all trying to regulate external relations.

The government does not have enough strength for internal ordering and stabilization, especially since the mental destruction deliberately cultivated and encouraged for more than two decades has led to catastrophic hostility and hatred towards those "who are not with us or are better than us."

Of course, today it is impossible and impossible to use the methods of the 30s. Then they punished for any inaccurately spoken or printed word, for a spikelet brought home from a collective farm field, and order was established in the country. Modern corruption in bureaucratic structures and nepotism are leading Russia to collapse at the economic level, but it is still possible to patch this skin hole in the bottom of the state ship.


It is more difficult to cope with the mental cannibalism and acts of virtual eating that resulted in the disappearance of Soviet culture. An information genie has been released to freedom, causing devastation in the heads, leading the peoples of Russia to self-disintegration, which means to the destruction of a multinational state and its population. The stream of slop on the country, its history, state and public figures, which began in the late 80s, and then deepened in its mainstream and continues to pour to this day, erodes the remnants of behavioral culture and ethics from people. Permissiveness, as it has now turned out, is correct to call democracy, swearing, abuse and deliberate insult of the individual - freedom of speech, and outright mockery of traditions and faith, which were the last stronghold for a large part of the population - a struggle for their rights.

The same Nikita Mikhalkov, who is under constant fire from shit-throwers, back in the 90s, seeing and understanding what was going on, when meeting with Yeltsin, explained to the ex-president that culture is a mother and if a country like Russia is deprived of it, then it will remain an orphan. What is happening now.

There is a civil war on the Internet and in the media, in which one half of the country's population is participating against the other. The hatred for each other is so great and destructive, and the short-term satisfaction from the implementation of the thesis "did nasty, got joy" is so sweet that no one even thinks about who is provoking it and for what purpose.

The goal is obvious here. To fragment the country, to emasculate it at the mental level, which will give a permanent impetus to its territorial division. And then one day to awaken the population of "independent" provinces after a protracted xenophobic hangover on the streets of provincial cities with the "ringing of spurs" of patrolmen in "blue berets".

In Russia, and not only in it, there is an erosion of values, precisely defined by Mikhalkov as “Time of substitutions”. The bullshit is passed off as genius, and fraud as entrepreneurship. Any “near-cultural” person puts on the “Creative Personality” hat and, having rolled something into his blog, already becomes a writer, although in fact he has never been and cannot be either by his abilities, or by education, or by temperament character. Any stall trader calls himself a businessman. Some rogue, an archetypal leatherman with marginal inclinations and a foreign passport, escaping from the legal structures of his second homeland, America or Europe, settles somewhere in Zhmerinka, declaring himself a new guru, broadcasting to the entire Runet, teaches potential losers the thinking of a millionaire.

Against the background of all this spiritual impoverishment, general degradation and lack of education, the Mikhalkov clan, of course, cannot but attract the muddies, envious people and simply offended sofa-sitters. It is known who writes nasty things on the Internet and trolls one of the most educated, talented, professional people in Russia and, as Vladimir Menshov said, "the most famous Russian director in the West."

Unrealized losers who have found themselves on the sidelines of life, only fit to engage in criticism, not knowing how to argue their own dislike for the world unattainable by them, they plunge any famous person into the abomination they have created - Mikhalkova for not knowing how to make films, To Pugachev for not being able to sing, the president, for not being able to govern the country.

Even if, as Internet rumors claim, all attacks on Mikhalkov were organized and paid for, then all these "writers" who agreed to such work should be terribly offended and excruciatingly painful for their mediocrity, because a creative person, all the more talented and busy with his own realization, he will never stoop to writing libel.

By the way, Nikita Mikhalkov, with all the attacks on him, does not support these provocations, does not participate in showdowns leading to a rupture and split of the pack from within, to which he is encouraged and pushed. And even on the contrary, he tries to glue relationships in society, inviting opponents and spiteful critics to dialogue. So who is Nikita Mikhalkov in this case - his own or a stranger? The answer is obvious. And this is especially clearly understood with the help of systems thinking. If you are interested in understanding the answers to this and other questions systematically, you can register for free online lectures on systemic vector psychology at the link:

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