The movie "The man who killed Don Quixote", or a two-way baton

The "Manifesto of the Man of Don Quixote" presented more ovations than at the Cannes Film Festival, which she closed. And I agree with Odessa

Is it because the people of the Ukrainian pearl near the Black Sea have a particular humor in their various manifestations, or because the people of the Coast of ?? Azur are already too agile, rather snobs? not known One can only sympathize with the creator, thrown by the fate of the conflagration of altruism and the inexorable passion of the idea – and this can not be otherwise called conjunction at once of love of classics, love of interpretation and creative passion. those critics and viewers who did not perceive the film – they lost the glittering pleasure of taking part in the fantasy of a great fantasy, able to go beyond their own in their directorial illusions , and even if he's lost, all his interesting unique. And a good movie that he offers – a voyeuristic act that scolds some of the visualized imagination of others, the desire to get lost in the "me" of "your" ideas about the world and his mirror involuntarily twisted, the cinema. its probable interpretations. In "The Man Who Killed Don Quixote", there may be a lot of interpretations – because of his cinematic turnout … however, as for me, the conclusions are unequivocal. And it says in Gilliam about the cornerstones of creativity, that is, about the work and the creator.

Your idea that at first has a look, in the end it will be terribly different (for you), sometimes to a disgust and a misunderstanding such a transformation ?! In fact, the creator himself kills his own idea because when the creation has already begun, the creative process until the end can not be controlled as a chain reaction. It's the zizifa destiny of every great director, writer, composer – no matter what artist. And on the other hand, the artist, admiring the idea, can get into such a hubbub of mental activity, of which there is no return, just crazy . "The man who killed Don Quixote" is per aspera ad astra Gilliam, where thorns were real, but from the star – like a ghost, at least for Cannes, and whoever sees them n & # 39; Is not acceptable to the cautious public.

Passing from the novel by Miguel de Cervantes Saavedra "The Sage Hidalgo Don Quixote of La Mancha", Gilliam created a kind of Mobius band: he twisted the plot track – made a film about the film on Don Quixote – but continued to turn to the novel from the novel to the movie about the novel so often that Mobius ribbons become more and more pain e.

Some alter ego in the film is directed by Adam's hero of the pilot. While he plays the director, he tries to shoot a movie about Don Quixote, which he has already taken 10 years of work on but (as a character with "8 1/2" Fellini) he doubts what " 39 He makes it to delay the shoot until Something good falls on him. And it comes. He sees a picture of his old movie, and yet the actor in the form of Don Quixote 10 years ago, it looks perfect and now, only to find it. And he rushes in his quest and discovers, but he feels that the man still considers himself a living literary character, and the director for him is Sancho Panza.

The whole background of the movie is very recognizable: the same fuss everywhere on the filming sites – the same is crazy when you have to shoot a scene, but it's not ready, or when the scene is ready, and the director does not know how to shoot, and when everyone is talking simultaneously, questions about actors, sets, costumes, money, and producers lie on their heads with their absurd proposals …

Autobiography Gilliam is not late. What is he doing? He embarks on a very insidious game between realism and phantasmagoria. When the director finds his actor, he accepts, to accompany him, to be called Sancho and plays according to the rules of the novel Cervantes, revolting periodically, fleeing and already meeting his adventures as strange as the characters of the novel. But like Don Quixote, he can not get away from it.

As the producer of his film, which tries to solve the problems of the company in parallel, plays with the owner of the famous brand of vodka, the rich Russian man called "Russian assassin". then "Russian pig", then another suitable situation with words. The paths of all heroes intersect at point "X", which already includes the novel Dulcinea, and the wife of the producer. The theatrical performance, held by the wealthy in the old castle, is a stand and a deboch, which is similar to the great wedding ceremonies and celebrations of Russian oligarchs, where blasphemy goes hand in hand. goes under the knife to kitsch. He is too bright, too striped, but even very timely and in the place, showing the world of stacked money bags, and the scope of the director's fantasy, half with courage. For such extravagance, few would have dared to portray the screen, do not look like expensive Hollywood projects, and they are just as far away from the art films

In fact, the first movie title is clear – "finally, after 25 years of waiting." Hard to imagine that it is Terry Gilliam, the famous director, guru of non-conformist and non-cinematographic cinema (Monty Python and the Holy Grail, Fear and Hatred in Las Vegas) and at the same time a former Hollywood worker ("12 monkeys", "The King – that he will have neither studios nor private investors support, and when he finally finds support, until 2016, he will lose his movie by a court order that will require him to give "Man …" to the producer who had The courage to slip into the director's contract of servitude.What a nasty irony! in the film, it is about all the creators victims of the lack of justice in the world, who must always raise the stone and raise it again …

Don Quixote is still condemned to die, says Gilliam Phoenix, he always saw himself, or in the filmmakers who make a film about him, or in the filmmakers who shoot a film about directors who make films about Don Quixote. Here the question is only in the duration of creation and therefore. Fortunately, stellar actors suddenly helped one of the Paetoni, an invaluable resource in our time. Adam Driver as a director is a true manifestation of the film: a representative of the updated Star Wars, an attractive medium for investors and a wide audience, and a multi-faceted actor discovered in full force by Jim Jarmusch in the subtle and responsive "Pateron" Jonathan Price, who can not be forgotten after the "Game of Thrones", suits him perfectly, and now he plays the pope of Rome Francis: Don Quixote, played by him, is exactly as he l? imagine, in the smallest part of his mustache and with the smile of blessed Skarsgard, as an antithesis, but not a hero Driver, namely Don Quixote, with his double background in the films of Lars von Trier, Horror of David Fincher's Dragon Tent, and the unfortunate way of the Hollywood Tories and Mesniks.And, of course, our Olya Kurylenko, who has no talent, is like an artist vintage, but she has behind her the role of "collage" and l & # 3 9, ability to show passion. And if you add to this Jordi Molla ("Maha nude", "Colombiana", "Riddik") the bouquet is actually really fragrant and spicy at the same time …

Yaroslav Pidhora-Gvyazdovsky . Odessa