Genre: fighter, drama
Duration: 90 min.
Director: Alexander Atanesyan
In roles: Oleg Taktarov, Scarlett McAlister, Nolan Gould, Alexander Atanesyan, Igor Mirkubanov, Igor Zhizhikin
Scriptwriter: Eduard Topol
Operator: Bruce Alan Green, Mikhail Mukasey
Composer: Arkady Ukupnik
Producer: Alexander Atanesyan, Mikhail Babakanov
The plot Nikolay who wound off term for a robbery arrives from Russia to the USA for commission of custom-made murder. On a place he finds out that "work" as someone is already made, and now him want to kill. Also there is behind it Victor – his child-hood friend who ordered murder. Being let in races, Nikolay decides to achieve at the same time dream of the childhood – to visit the State of Montana. Statement of the movie of Suspicion concerning quality of the show offered us start creeping in from the very beginning: on the screen two boys of a homeless exterior dream of a trip to Montana. Orphan dreams category very specific, fascinatingly to tell about it and without straining very few people it was possible – for example, to Dickens. Alexander Atanesyan, at all respect, not Dickens. And in the movie enough delicate topics, for example, severe love of the tired-out bandit or a notorious ethnic question are a lot more.
Touching upon the subject "at home among strangers" in ethnic measurement, authors touch quite thin matters. The cultural discrepancies arising at collision with others cultural and ethnic environment give ample opportunities for creation of vigorous ironic action. However, all previous experiences of the appeal to this subject in the Russian cinema came to an end is very deplorable: "The American daughter", "Brother-2", etc. – abounded with the stamps impregnated with naphthalene on a national subject which removed on the screen straight from bearded jokes and performances of some domestic humorists. At best it was possible to be satisfied with something like "The Barber of Siberia". Mirsovetov has to notice that "Montana", unfortunately, walks twice into a same water and does not try to bypass them. The movie was shot, apparently, with a view to possibility of hire in the USA. Respectively and the main character turned out the such medvedeobrazny severe Siberian gawk with a furious physiognomy, but dobra, wide and of course unknown Russian soul. From what our film figures took that someone will be interested in the West by such cranberry cranberry – unclear. The Hollywood cinema in the image of "the Russian subject" considerably progressed, and ours, here, still with pleasure laps in this puddle of a lapotno-kvass national peculiarity. Instead of poostroumnichat on such fertile field as collision of cultures at the household and gangster level, authors operate with musty stamps from which starts turning back: here ours rosich beats the Chinese with words "Yes that you know about Russia? Russia is … Russia", and Montana to it already not to liking – it American, and the hell with her – all the same there one mountain. And here still the spoiled American teenagers have sex in the bathroom of the regular bus, and the cunning transatlantic owner of gas station, having used a desperate situation of Nikolay, for nothing redeems from it the motorcycle, and the impudent cop at whom Russia is associated with "Capital" and Gorbachev, climbs with inquiries.
According to Oleg Taktarov much that he had to worry in America when it in 1994 arrived there with naive dream to subdue Hollywood fell to lot of his character Nikolay. What the simple Russian guy with a physiognomy of a pit bull terrier and Doctor Aybolit's heart does here? That usually killers also do is in hiding: gives washing machines, arranges romantic dinners, rescues the sinking children, neutralizes robbers, etc.
And all this against constantly sounding Russian chanson off-screen, the benefit of "Radio "Shanson"" is the media sponsor of the movie.
Here it, appears, what true Russia opposed to the spoiled America: it is Russia living under hoarse chords of criminal lyrics, choke with mute anger Tchaikovsky, Shalyapin and Okudzhava's fans.
Here we have vital cinema in a shansonno-thieves' esthetics.
And after all the movie "Montana" is, among other things, also the criminal fighter. On the unsteady soil the movie is scattered on part: the scenario here is practically absent. All leapfrog with any securities, custom-made murders, setups and so forth has no not uniform chance a harmonous row to keep within in a brain.
In final credits of the movie as the screenwriter somebody appears "E.T. - is indignant". E.T. is a famous Russian writer Eduard Topol, and he is indignant, by his recognition, was how the director managed with his scenario, almost completely it having remade and without having left from an initial plan practically anything. But also it half-troubles – the fighter, in principle, can consult and without qualitative scenario in case it is sated with spectacular action as, for example, "A man's season: Velvet revolution" (2005) in which full nonsense in a plot will bathe the dashing action filled with impressive pursuits and duels. In "Montana" there is neither plot, nor action, tricks: one helplessly removed firefight and couple clumsy zubotychin it will be small for creation of a full-fledged action.
Is here and the love line, but it is better not to remember it at all: at all respect for Oleg Taktarov the hero lover from it, to put it mildly, not the most expressive.
But, in opinion Mirsovetov, not everything is so sad, it is possible to find in the movie and something bright and interesting – Igor Mirkubanov and Alexander Atanesyan's remarkable duet, is thin and vividly playing the relations of Victor and his American partner Savva, externally quiet, but constantly being on the verge of the cruel conflict. Artful, cunning, impudent and ironic – these charming bastards the only rather interesting, drawing attention characters. Unfortunately, their relationship remains on a plot roadside – not they are the main characters of this monotonous-gray narration.
Originally other actor had to play Savva Blum's role, but some days before shootings it got to hospital, and the director Alexander Atanesyan decided to play itself. The similar situation developed on the course of shootings of other movie of Atanesyan – "24 hours", then it replaced on Sergey Shakurov's platform. A cast Oleg Taktarov – the world champion in fights without rules, a figure known and cult. After a success gain on the sports arena it decided to try at cinema. There began Taktarov with bit parts in which, physical standards were generally operated him. The movie "15 minutes of fame" (15 Minutes, 2001) in which he kept the company on a set to Robert De Niro became break for it. Further there were not big, but noticeable roles in known movies and series: "Rollerboll" (Rollerball, 2002), "Bad guys-2" (Bad Boys-2, 2003), "National treasure" (National Treasure, 2004), "Spy" (Alias, 2001-2006), etc.
At a stage of preparation for shootings the option of attraction to participation in Dolph Lundgren's movie was considered. "Montana" – the first movie where Oleg Taktarov plays a leading role. In spite of the fact that it is impossible to recognize this cinema as unambiguous good luck, Mirsovetov considers that for Taktarov's career it is a serious push. "Montana" made a certain success in the Russian film distribution, having collected about 3 million dollars. The Russian genre cinema would not be prevented by a picturesque action hero, like, for example, Arnold Schwarzenegger who also came to cinema from sport. Data for development of success in Taktarov are: invoice, charisma, quite good actor's skills and experience of shootings. Therefore the only thing that it can wish – more qualitative movies.
"Montana" – the cinema which is trying to succeed in many genres, but not achieving success in one. For the romantic melodrama in the movie there is too much gangster subject, for the fighter – there is not enough action. 2 points from 5, perhaps, are the movie only for Oleg Taktarov's fans … and the Russian chanson. fighter, drama, Montana, Russian cinema