Leviathan: the dream of culture gives birth to monsters
The year 2014, declared the Year of Culture in Russia, has borne unexpected fruits, which even the most optimistic citizens did not dare to dream of. While the president was distributing titles and regalia to honored people of culture, unknown heavenly forces were doing their secret work, with incredible speed changing signs in the minds of Russians from "minus" to "plus" …
"Of all the arts, cinema is the most important for us"
In the realities of modern times, the famous phrase of V. I. Lenin on the influence of cinema on the masses. However, it has not lost its relevance before. Cinema is the most important component of culture, the main purpose of which is to contain hostility.
The event that took the lives of the artists of the editorial office of the Parisian magazine Charlie Hebdo on January 7, 2015, by the way, also people of culture, was provoked by them. So where is the culture originally designed to reduce aggression going?
Western "multicults" are trying to equalize everyone both socially and religiously, and in return they receive terror, violence, death and fear that swept the whole of Europe.
What is the point here? Yes, in the fact that culture has ceased to cope with its direct responsibilities. Olfactory politics turned culture and its sister humanity, in the manifesto of which the main biblical commandment "Thou shalt not kill," was derived by Christ into a weapon of revenge and provocation.
Who needs other people's values
But what about Russian culture, the heir to the elite Soviet one? Stuffed and filthy with the mud of the previous decades, it just started to climb out of the pit, where it was poured along with the slops, which for 25 years had been doused over the entire great past of a strong state. Fragile and unstable, provoked no less Western, Russian culture is undergoing serious strength tests.
The instigators of provocations should be looked for on the wrong side of the border, but here in the neighborhood, in central editorial offices, on well-known websites, on TV channels and radio waves. These are not terrorists in masks and with bombs on their belts. They walk with us along the same streets, wear white collars, smile politely, speak beautifully and competently, and are absolutely open to communication. But at the same time, each of them hates not only us, the government and the authorities, but also the country in which they live, propagandizing dangerous and hostile myths at the official expense of a foreign state and instilling morality alien to Russians.
Through them, spreading out their tentacles of leviathanes, Russia is being imposed on altered ideals, worldview, views and traditions. They are concealed by those who are trying to instill them with methods rehearsed in color revolutions, where in the first act there are always extras from the disgruntled “cultural” intelligentsia. And then, as necessary! There is always someone who masquerades as supporting roles, but in fact directs the entire opposition Theater of the Absurd.
Last year's attempts to play a street drama in Russia, thank God, failed, and the Russian people themselves showed that vaudeville divorces no longer work with them. Everything has broken off - opposition conspirators, consultants approaching Russia with "good" overseas olfactory intentions and a standardized skin yardstick.
The beginning of the revival
The year 2014, declared the Year of Culture in Russia, has borne unexpected fruits, which even the most optimistic citizens did not dare to dream of. While the president was handing out titles and regalia to honored people of culture, unknown heavenly forces were doing their secret work, with incredible speed changing the signs in the minds of Russians from "minus" to "plus".
What, until the beginning of last 2014, was understood as a self-destructive fragmentation and destruction of the state due to the internal hostility of its citizens to each other, within a few weeks grew into the beginning of future consolidation.
The XXII Winter Olympic Games in Sochi became a prelude to it. Then the entire Russian world, for the first time in recent decades, feeling itself a part of the whole, followed the ups and downs in Ukraine, like a cloud covered with a sound dope of fascist ideology.
The tragic events taking place in the neighboring state, the sniper shooting of the Kievites, who were lured to the Maidan with rolls and sweet speeches about European integration, the death of people, the humiliation and helplessness of the "Berkut", "the word is not a sparrow" that fluttered out of the mouth of Andrei Makarevich with the vulgar "Omonovsky Valsky all this aroused fierce indignation and at the same time solidarity among Russians.
While the most important geopolitical issues were being resolved, some representatives from culture, having got the hang of a weathervane "catching the current Western trend," tried to raise their voice to the president, teaching him how to govern the state. With their untimely speeches and, to put it mildly, incorrect behavior, anal-visual advisers, who had never held anything heavier than a guitar in their hands in their entire life, excommunicated a good half of their fans from themselves, or rather, from their work. Thus, depriving themselves not only of the long-term "audience sympathy prize", but also of the filled concert halls.
Russian liberals from culture decided that everything was allowed for them, therefore, shamelessly sticking their nose into politics and government, they presented themselves as clowns in the wide internal political arena of the country.
Those who sang along, played along, danced and danced for money from overseas, missed the mark. The "cultural elite" with an oppositional odor, hiding their faces under dark glasses and hats, cursing their last strength before the owners, sent their discordant fifth column to the "Peace March" against the "occupation" of Crimea.
Meanwhile, the returned peninsula as a green triangle blended into the new map of Russia, receiving from it the long-awaited feeling of security and safety, organically merged with its multinational cultural and patriotic traditions into the geographical body of the country.
The Trollin War on the Internet suddenly turned into a mouse fuss, to which even the most inveterate anal frustrants stopped responding. Runet began to be noticeably cleared of dirt. This did not even require any repressive measures and the introduction of censorship, the culture did its job.
Bitter Leviathan Pill
However, everything is not so cloudless. The nihilist touch of the Russian intelligentsia has repeatedly pushed it to correct society, in fact to harm, since some Western horizontal model has always been taken as a model, completely alien to the Russian urethral-muscular mentality with its vertically structured hierarchy.
They tried to impose the curve of the western pattern on Russia, and if necessary, to implant it without anesthesia in any known way. First of all, people from culture were mobilized as assistants - literate, talented and, most importantly, with a flexible skin psyche. You don't have to persuade such people for a long time, it is enough just to hint at some preferences, grants, international prizes and awards.
As soon as the Palm Branch of the Cannes Film Festival flutters on the horizon, the wing of the Lion of Venice flares up, or the Golden Globe flares up in the spotlight, the artist is ready for them not only to play jazz, but even to sell his homeland.
Being talented is hard, and genius is even harder, especially if only you yourself know about it. Film director Andrei Zvyagintsev, who has shot the films "The Return", "Elena", "Leviathan", awarded with international prizes, is undoubtedly a professional person who is capable of creatively transforming the information accumulated by the visual periphery into a film plot and film images.
Professional instinct suggests the ancient specifics of the natural vertical, but then everything rests on the stubborn and viscous repetition of someone else's destructive thought about "a barbaric and Asian country." What is it? Intellectual negligence or the ingrained habit of scolding everything that is one's own and praising others?
A director is to the same degree an engineer of human souls as a writer, and there is no less demand from him. In his hands is a screenplay, during the filming of which he refracts the idea of the original author's intention, subordinating it to his own vision of the situation. Such changes occur due to the transfer of the proposed circumstances, the influence of the external environment and the internal disagreement of the author of the tape.
In Leviathan, unlike other works by Zvyagintsev, you no longer want to unwind the web of meanings and there is no desire to justify the director who shot the film long before the key events of 2014. But how can one explain the fact that in this picture, moving away from the principles of disclosing the characteristics of the human psyche, habitual for himself, he leaves the chamber framework of family relations, enters the society of the whole city, and then seems to fall into a temporary gap.
Immersion in one's own sound egocentrism, visual snobbery and persistent childhood grievances do not lead to good. This is known from the lectures on System-Vector Psychology by Yuri Burlan. The result, as they say, on … the screen: "Leviathan" turned out to be one-day, outdated, not having time to "get off the stocks." And this is a bitter pill for the filmmakers and those who pushed it to international festivals.
The conflict between the protagonist and the authorities in such a disclosure, as shown in Leviathan, against the background of everything that is happening in today's Russia, is uninteresting, irrelevant and more reminiscent of a historical rollback in the 90s or the beginning of the 2000s.
It seems that the many times nominated film artist has gotten stuck in the past decade, and as such, his memory monitor continues to capture and release gloomy footage of a ravaged, aggressive, barbaric Russia with a population capable of only promiscuous copulation and alcoholism.
Neglect your personal for the sake of general
Director Andrei Zvyagintsev has repeatedly stated in numerous interviews that he does NOT make films for the audience, but removes them exclusively for himself. What a typical statement for a lone sound engineer and what apostasy from the public profession! Only who needs such a movie "on the table".
For a talented person, the need for creative realization is as necessary as air. Through her, she fills her own voids, creating a work of art "for all time" or one-day. But this is all in yourself, your emptiness, your lacks, your pains, but where is that for bestowal?
The film is not a set of stamped symbols copied from ancient books or biblical plots from the great masters of painting, about whom the director loves to talk. Any work is subordinated to a specific super task. The main question, without which there is no creative process, especially such a collective one as making a film or working on a performance, and which the director is obliged to answer, sounds simple: "If I do this, then for what, and what will I tell my audience?"
There is no cinema without a spectator, no matter how much the author declares that, to put it mildly, he does not care about the viewer. Voluntary split off and isolation from the pack is meaningless, especially in a country like Russia. The main thing is to choose your flock!
In division and separatism, where the creator of "Leviathan", pushed by the opposition, found itself, nothing worthwhile can be created. To shoot a picture similar to the plot, you need to lose the sense of time, space and completely isolate yourself from reality in the musty closets of sound superiority. Where has the director's sensitivity gone, allowing the creator to stay ahead of the curve? The people for whom the film was NOT filmed, as it turns out, looked at the picture and did NOT accept, expressing almost unanimous indignation at what they saw on the screen.
Who is Leviathan?
Andrei Zvyagintsev protects himself from attacks on his films, not seeing constructive remarks in them, does not want to "… feel like a lamppost, and critics - like a dog …" A director who makes a movie for himself is interested in feedback and evaluation of his masterpieces only if when they go to international film festivals.
The times of socialist realism have sunk into oblivion, the bearer of elite culture is free and proud of himself, because he refuses the Russian order. At the same time, he honestly and morally removes a film defaming his country, in the credits of which he does not forget to thank the representatives of the Russian fifth column for the informational and friendly support in the work on the script. “Cultural” people, with whom the script was agreed, from whom money was received, vouchers for international film festivals were issued for a filthy film could not but understand that they were becoming an accomplice in a crime against Russia.
So this is where Leviathan is hidden! He is not in the corrupt power shown in the movie of the same name. Its habitat is in an ocean of opposition to the resurgent state.
“I am worried that representatives of the Russian intelligentsia (not all, but many), with pleasure or without, are talking about their country and their people absolutely terrifying things that you will not find in anyone else - neither the British nor the French, neither the Germans, nor the Spaniards, nor the Portuguese. They will never say that about theirs. V. Pozner, (from a TV interview with A. Zvyagintsev 2012)
The question arises, does the director realize that the artist has a responsibility for the work he has created, especially if he was provided with state support in the form of budget money in his work?
The famous screenwriter and prose writer Eduard Volodarsky wrote about this: “The Russian art house is the flesh of our liberalism. Both those and others are ready to sell their own mother for Western grants and festival prizes. Our art house shows Russia as a bunch of freaks and cattle, as a useless land, cold and gloomy, unsuitable for the life of free people. And the state allocates taxpayers' money for this”.
The press has already reported that the Deputy of the St. Petersburg Legislative Assembly Vitaly Milonov, calling the film "Leviathan" an evil caricature in the style of "Charlie Hebdo", "appealed to the Prime Minister of the Russian Federation Dmitry Medvedev with a proposal to withdraw budget funds allocated for the shooting of this film ".
In the context of the intensified confrontation, in which the West has been in relation to Russia since 2014, with undeserved sanctions imposed on it, open persecution with insulting attacks on the leaders of the state, lies and distortion of the true facts, all nominations and prizes at international festivals of the film "Leviathan ", Denigrating the Russian reality, in relation to the Russian people and the state, look like open collaboration.
Those who contributed to the nomination of Andrei Zvyagintsev's film on the "golden globes" and "palm branches" had a very definite intention - to help the West inflict another painful blow on Russia. Despite the "good" impulse, the players for the team of overseas attackers, who set themselves the goal of weakening the country and throwing it into chaos, were again out of luck.
They, together with their masters from across the hill, again turned out to be a pitiful laughing stock in the eyes of the Russian people, which, with each next attack, only consolidates more closely in support of the state power, so hypocritically and improbably depicted in Andrei Zvyagintsev's film Leviathan. And the processes of consolidation taking place in the Russian world in recent years can no longer be stopped either by the vicious attacks of the pseudo-intelligentsia from the fifth column, or by another "masterpiece" like the film "Leviathan". This becomes especially noticeable if we consider the situation from the standpoint of System-Vector Psychology of Yuri Burlan. Register for free online lectures at the link:
