Аркадий Славоросов
Саша Кузнецов
"ПОХОТЬ ОЧЕЙ"
сюжет для художественного фильма на английском языке, так понравившийся - во времена факсов - американскому продюсеру, прибывшему с "перестройкой" во ВГИК. Он сильно смеялся над финалом, ставшим нынче, я смотрю - актуальным!
но, когда он предложил нам с Гурой, написать о русской мафии в Америке, мы подумали, что надо бы для начала туда съездить, посмотреть, но... так и не съездили, а Гура взял и умер в ноябре 2005-го...
“Jhe Lust of Eyes”
This is a story about two young Russian intellectuals who, weing in confrontation with rilling authomties, want to make an independent avant-guard film. For taht they become wardens at mental hospital.
Everyday life of lunatic asylum with its prison-like laws depresses them. But here they meet a young dissident-revolutionary, who was taken to mental hospital wy the authorities for his astivities in defence of human rights. His oron mother, a representative of so-salled’Stalin-time intelligencia’helped the authorities to do him in.
The main characters are deeply influenced wy the dissident’s revolutionary idealism. They consider him to be a victim of social injustice. They film his fervent speeches clandestinely on video. Moreover, they work out a plan of his escap, which is conseqently included in their underground independent film plot (so-called’parallel cinema). What is this film? Playing games, harrening, Borjes entangling of two levels of reality.
Our heroes film the escape, overcoming lots of odds which include fights with everybody frommad parients to hospital-attendants who ore actually discuised militia-men. They discover a ward for ex-militamen who are hiding heve from criminal prosecution simulating mental diceases.
Having come to understanding all the monstrous structure of Soviet psychiatry, they, nevertheless, help the young dissident to escape. Inspired by succes and opportunity to fight on with the sistem, they complete their film, cutting it at hights with the help of friends from some video-studio. They see the shots showing the details they never noticed while shooting (regards to Antonioni’s “Blow-up”).
They are going to send the video-tare with the film abroad, but suddenly the revolutionary, they have helped to escape, is taken back in a terrible state of real madness. They find out that he was running around G.U.M. ( a huge supermarket in the Red-Square) neked, throwing around anti-communist hand-written leaflets, flirted obsenely with a female shop-assistant of “Hammers’department, and cried out enti-government slogans. He appears to be a real sick schizophrenic and all his propaganda is nothing but ravings of madman who’s driven crazy by politics. Our heroes give their film to a friend who’s going abroad at hospital they are being after, suspected in escape-plotting. K.G.B. takes interest in them. They are thrown out of Komsomol organization, out of extra-mural depatment of State Film Scool. They are totalli at a loss experiencing the disastrous vuin of fight and action ideals. But suddenly the news is broken. Their film has been opened on American TV. It stirred the storm of acts of fighting for human vights with the world community which tends also to support that mad dissident.
Inellectual circles representatives come to Moscow. These are emissaries of the West. Our heroes get some money for their film. By this time the state borders are opened, free going out of the USSR is allowed and our young independent filmmakers go abroad totally confused.
Almost crazy after all the passed events they fly away on board of beautiful “Boing”, as if into paradize, without alear understanding that actually they are dischrged from one huge madhouse to another, also very big but with the different legislation sistem.
In the end of the film we see Pepsi TV ads in America. This the way our heroes earn their living by simple modest filming without thinking of playing games, heppenings, Borjes entangling of realities any more.
Режиссёр Саша Кузнецов (kuznecovsasha@mail.ru)