Cinema about the village: the notorious scope of the Russian soul

First of all, the village is an inexhaustible source of traditions that are firmly entrenched in the lives of its inhabitants. Until now, much is happening there as it has been for centuries, and these actions have the strongest sensory and emotional background. Perhaps, therefore, the cinema about the village does not lose its relevance in our muddled modernity.

Associations close to each

For many townspeople, the Motherland is still a Russian village, not spoiled by prosperity, hardworking. This is nature, sometimes severe, but unusually beautiful. Usually the whole village lies, as if on the palm of your hand. The distant barking of courtyard dogs merges with the bleating of goats and mooing of cows grazing on the green meadow strewn with flowers away from the streets. The dusty country road leaves in fields and is lost behind a wood. The air is pure, life is measured - grace! This movie about the village is shown to the audience by the directors Boris Barnet in the comedy "Alenka" (1961), Sergei Gerasimov in the drama "The Rural Doctor" (1951), Stanislav Rostotsky in the melodrama "It was in Penkovo" (1957).

From horror to drama

Somewhat different are the pictures of foreign creators, their works have little bright colors. It turns out that movies about the village are filmed in a wide variety of genres. The most famous film projects with the same and self-titled names - "Village" - are: the Indian adventure drama (1995), the drama co-produced by Great Britain and Switzerland (1953), the American drama of Richard Pierce in 1984, exciting German horror film (2009) and Two seasons of the drama series produced in Great Britain.

Shelter of tranquility and inspiration

It seems that only in the countryside you can really feel and feel the sung by the many notorious creators of the notorious scope of the Russian soul, the peculiarities of the mentality. For creative people, life in the countryside is sweet and attractive in its own way. The vastness, majestic tranquility, the beauty of Russian nature are the strongest sources of inspiration, which gifted people sometimes need so much. No wonder many of the masterpieces of culture were created far from the city bustle, when the creator could retire with his thoughts and ideas.

Some filmmakers, filming a movie about the village, depict it as spiritually pure and beautiful, while others convey to the viewer an absolutely opposite image - a beggar living according to the principle "only to survive, not to die of hunger, not to freeze in a fierce winter".

The Great Fracture

In the Soviet times, the village theme became practically leading, and the problem of the "great break" is still relevant today. It should be noted that it was collectivization that prompted many filmmakers to take up the coverage of such topical issues.

Soviet cinema about the village, it would seem, should have told everything about the fate of the Soviet peasantry, to show the true state of affairs. But nevertheless this period remains by and large a riddle, in fact about it it is accepted to be silent. Back in the early 30-ies in the USSR it was forbidden to mention hunger, natural disasters and even bad weather. Therefore, Soviet cinema about the village does not reflect reality and is full of propaganda cliches. For example, such films as The Tractorists (1939), the iconic film Kuban Cossacks (1949), The Generous Summer (1950), The Wedding with a Dowry (1953), The Destiny of Marina (1953), The Alien Relationship (1955), The Father's House (1959), the film adaptation of Virgin Soil Upturned (1959), Simple History (1960), Evdokia (1961), Strypuha (1965), The Indian Kingdom (1967) ), The sparkling musical comedy "The Wedding in Malinovka" (1967), "Two on the Road" (1973), "For Matches" (1979), "Vasily and Vasilisa" (1981), "Gypsy Happiness" (1981), "Three times (1981), Odnolyuby (1982), The White Dew (1983), The Girl from the City (1984), Go and See (1985), Not Aboud look "(1988). TV series "Shadows disappear at noon" (1971), "Aniskin and Fantomas" (1 series, 1973) and "Eternal Call" (1973) contributed to the formation of the image of the socialist village.

People's cinema about love

A wonderful movie about love in the village was filmed by Vladimir Menchov ("Love and Doves", 1984) and Vasily Shukshin ("Kalina Krasnaya", 1978).

• "Love and Pigeons" is a film that, after viewing, remains forever in the hearts of the viewer, who loves quality, kind and sincere films. Menchov seems to speak a universal language, which is the "language of the people." In addition to irony, love and pigeons, there are "role models" clearly recognized by every compatriot.
• "Red Kalina" is a folk tale with a tragic end, a rare genre exception in the Soviet film industry, where all the tragedies had to end optimistically. Her melodramatic anguish pays the soul to everyone without exception.

Russian cinema about the village

Obvious is the fact that the 1990s became an unusual era for both Soviet cinema, which emitted its last spirit, reborn into an uneven and defocused observation of the reality with the help of a camera lens. The events of those times on the perception of Soviet filmmakers had an interesting impact. Naturally, Russian cinema about the village turned out to be diverse - from hilarious and light comedies to deep tragedies and dramas: "Do not play the fool" (1997), "Do not send us ... a messenger?" (1998), mini-series "Plot" (2003), The Old Woman (2003), The Enchanted Land (2006), the series "Matchmakers 3" (2008), "Vanka the Terrible" (2008), "Do not be sad" (2010), "Petrovich" (2012) ). All these pictures to some extent have a sentimental character, since these are films about our reality, about us. Therefore, they perceive their domestic audience not by reason, but by feeling. Western film critics and viewers can not understand them, they have a different mentality. Such a different movie. The old village is the only thing that is common to them.