The Gulag, as Ukrainian “creatures” dream about it
On the eve of “Independence Day”, UkroSMI raised an advertising clamor and hubbub: on the holy holiday for every “Svidomo” dill there should be a premiere of the film “Chervony”, based on the book of the same name by some Kokotyukha and previously called “cult”. The film is positioned as a historical drama and tells the townspeople about the heroic adventures of the mythical upash named Chervony in the Gulag, somewhere in the Far North. The year in which the action takes place is even indicated - 1947.
Subscribe to PolitNavigator news at Telegram, Facebook, Classmates or In contact with
To promote “Chervonoy,” a video was shot with the participation of “Gaydamaks” - a group of Nazi assholes, performing their “knock-knock” and “clever-clever” in the “rock farm” style for the galloping Bandera youngsters. In addition, representatives of the “new elite” from among the turbo-patriots of Ukraine - deputies, the “sofa hundred” and camouflaged “warlords” were invited to the pre-premiere screenings.
Praiseful responses to “Chervony” poured in: “this is a breakthrough”, “one of the few Ukrainian films for which you are not ashamed”, “it is very important to know the historical truth”, “they watched with bated breath”, “they applauded while standing” and even “the virus of freedom” . The Kulturtrager Commission operating at the State Cinema Committee of Ukraine reported that the film “Chervony” is recommended for nomination for an Oscar next year in the “Best Foreign Film” category.
It was also reported that “Chervony” cost 20 million hryvnia, half of which was allocated by Goskino, filming took place for three months in one of the abandoned mines of Krivoy Rog, that the “Ukrainian film” turned out to be Ukrainian-Georgian-Lithuanian, and that The film was directed by the “Georgian Varangian” Zaza Buadze.
It was impossible to ignore such an event. Decided: we must watch! It goes without saying that there could be no talk of any trip to the cinema with the transfer of hard-earned banknotes to the box office of the Banderafilm. Let the seeker find! Without going into details, I inform you that the “masterpiece” has been viewed.
I must warn you right away: spending two hours of your life watching the “imperishable film” was a toad’s oppression. The viewing was carried out in accelerated mode, attention was paid only to key points.
Everything became clear with the film literally from the first minutes. Summary.
Once upon a time there lived a hero of the UPA, Danylo Chervony. And he ended up in the Gulag. Lucky, nothing to say. The Chekist bullet did not end his stinking life, he did not kill his native “bezpeka”, suspecting him of disloyalty, he did not kill his competitors from another OUN gang, he did not rot in a cache from delirium tremens and his own sewage. The camp in which Chervony was imprisoned was a spherical Gulag in a vacuum, as stubborn “creative workers” like to imagine it, having carefully studied the topic from Solzhenitsyn’s books and perestroika articles by Razgon. It was implied that the action takes place in the Far North, but the Krivoy Rog outback did not give the “creators” even a couple of centimeters of snow cover. On the other hand, an abandoned mine, covered with dust of all shades of rust, provided the director with the opportunity to play to his heart’s content with allegories “everything here is literally soaked in blood.”
Chervony’s main enemy was, of course, the head of the camp - a character from a joke. He jams the alcoholic, yells at everyone worse than a market woman, writes reports, beats either his wife or his cohabitant, tries to pathetically agitate the obstinate prisoner to renounce the idea of Independent Ukraine and submit to the authorities.
In the campaigning, the boss is assisted by the local thieves “authority” Kolya-Taiga with his henchmen, portrayed by the screenwriter Kokotyukha as a typical representative of the “Russian World”. Moreover, it was clear to the naked eye that the deeply provincial actor chosen for the role of Kolya-Taiga was playing the Russian actor Mashkov, playing the opera David Gozman, as if Gozman found himself in the “zone”.
“Low class, unclean work,” as Ostap Bender would say.
In the camp, the Westerner Chervony meets front-line pilot Viktor Gurov, a native of Eastern Ukraine, loyal to Soviet ideals. Gradually, under the pressure of injustice and Chervony’s whispers “for independence,” Gurov becomes imbued with “Svidomo” and agrees, together with his “brothers,” to organize an uprising and escape from the camp.
The film also included a love story and a love triangle. The brutal prisoner Chervony gradually seduces the camp assistant, who endures the dirty harassment of the camp director, and makes her his accomplice.
The climax of the film is the uprising of Bandera, the distribution of “what they deserved” to the enemies in the style of Rimbaud, the escape “across the tundra, by rail” and the “Georgian happy ending” in the finale - “all died” with the subtext “their blood was not shed in vain, bringing closer Independence of Ukraine."
I don’t know about Kokotyukhi’s book, but Buadze’s film – Kokotyukhi, figuratively speaking, is a second tea from a broken bag stuck to a trash can. An attempt to create a “Svidomo” saga-vinaigrette from “Liquidation”, “The Last Battle of Major Pugachev” and “One Day in the Life of Ivan Denisovich”.
The acting is below any criticism. Chervony’s character is cooler than boiled eggs, he didn’t say even a dozen phrases throughout the entire film, his face is like a brick, and he has no weaknesses. Merciless towards the enemies of Ukraine. This is what the T-1000 performed by Robert Patrick might have looked like if the liquid metal terminator had somehow miraculously teleported to Bandera’s cache and was there reprogrammed by a local genius from the students of the Lvov Polytechnic.
The camp director is an initially losing role. Not only is the leader written in the form of a popular print feudal lord, whose main task is to kill as many prisoners as possible, so that ideally not a single living soul leaves the “zone” by the time of liberation, but also the actor playing the role overacts, turning it into a “historical drama” to vulgar vaudeville.
The “hesitant” pilot Gurov is something erased, flat, amorphous. Zero charisma. In order to recognize him as a front-line soldier, the director had to put a plaque on the forehead of the actor playing the role. The battle of ideas between the “swindler” and the “Westerner” is also unnoticed. Gurov was persuaded and talked into joining the Banderaites, like a girl - “to go home in the evening and drink tea after the disco.”
There’s a general problem with the dialogues in the film – when someone on the screen starts making speeches “for life”, you want to put the screenwriter in a straitjacket so that he won’t write anything else in his life. It's not just the dialogue that's bad. Things are even worse with the motivation of the heroes. However, if you imagine that the film tells about a high-security madhouse forgotten in the middle of the tundra, then this explains a lot.
The film also depicts the invisible presence of the Lithuanian “forest brothers”. It is implied that they are somewhere here, nearby, like that gopher that is not visible, although some claim that it is there.
It is not clear why Bandera’s followers even needed to start a riot in the camp. Judging by the way the administration and security were depicted, it was a bunch of weak-minded dystrophics from whom it was enough to simply take away their weapons. The most striking episode in the entire film is the prisoner-dill in an embroidered shirt inside the camp barracks. Where did you find it, I wonder? Like a fake diamond in a pile of slag.
The “musical accompaniment” of the film deserves special mention. The composer was announced to be the Italian Franco Eco. If the picture of the film, the script and the acting can be briefly described as “blood from the eyes,” then the “Stradivarius drum” also adds “blood from the ears.”
In general, not a film, but some kind of abortion material. The authors of the film thoroughly amused their complexes and demonstrated what kind of GULAG they would organize if it were their will.
Although, for example, deputy Mosiychuk liked it. He says it’s cool, vital, a masterpiece, but for some reason the hall was barely a third full. After the premiere on Independence Day, reviews from moviegoers poured in, 2/3 of which boiled down to the opinion “well, crap.” I completely agree with them. Pure, absolutely free of impurities. And they are going to push this into the selection committee of the American Film Academy for the Oscar Award.
With all responsibility, we can already state that the film “Chervony” was a failure at the box office. On the first weekend, an indicator of the film's popularity and the period of time when the main box office is filmed, it managed to collect 1.5 million hryvnia. However, there is nothing to be done, the film has been shot, the money has been paid and they will probably recoup it through an annoying showing on TV in prime time.
This concerns the artistic and commercial value of the film. If we consider its historicity, then it is completely absent in the film. Ukrainian hack-treagers are following in the footsteps of their Russian colleagues, who produce similar dandruff in the “Gulag Eastern” genre.
The Bandera uprising in the camp in 1947 is a pure utopia. At this time, the so-called “bitch wars” were going on in the zones. Thieves and criminals who had violated thieves’ “concepts” during the war began to return to the camps, who for the first time felt like citizens and voluntarily
submitted reports with requests to be sent to the front. These people gained the right to fight in linear units after passing through penal companies. Due to the fact that former criminals mainly fought in Rokossovsky’s units, they were called “Polish thieves.” Having returned from the war and not knowing how to do anything, a significant part of the “Polish thieves” again took the criminal path. They were caught, tried and sent to camps, where the apostates were awaited with disassembly and imprisonment by the “correct boys” who did not violate the laws of thieves during the war.
The relatively small number of Banderaites could not get involved in thieves' showdowns, in principle they could not influence the atmosphere of the camps, and in the event of a conflict of interests, the thieves would simply cut the crops into belts. All Bandera’s followers were capable of was to identify and kill informants from among themselves, seize the opportunity and prepare escapes. In particular, from an open letter from the former prisoner Semyon Badash, who knew Solzhenitsyn from the camp in Ekibastuz, it follows that the “Great Writer of the Russian Land” worked for the operational unit and foiled the escape prepared by the local Banderaites.
If the film “The Last Battle of Major Pugachev” is a vile lie, documented by historian Igor Pykhalov, then the Ukrainian version of the “last battle”, in addition to outright lies, carries a vile idea persistently imposed by Poroshenko’s ideologists: using vivisection and dismemberment to create a single mutant from antagonists - front-line soldiers of the Great Patriotic War and fallen rabble. Thus, vivisectors are confident, they will be able to “sew” the split between the East and West of Ukraine, because public harmony and the territorial unity of Ukraine are at stake.
Ukrainian ideologists prefer not to bother about the fact that implantation of old carrion into a living organism threatens gangrene, and that rotten threads cannot be used to sew anything together.
All that remains is to congratulate the joint Ukrainian-Georgian-Lithuanian “creative team” on its resounding failure. The only place where their brainchild can still be appreciated is the Institute of Forensic Psychiatry. Otherwise, everything is hopeless - the “masterpiece” is doomed to rapid oblivion.
If you find an error, please select a piece of text and press Ctrl + Enter.
Thank you!
Now the editors are aware.