Unwavering resolution without connotation:
Fresh Take: "Unlisted" - A New War Drama by Sergei Korotaev
Stepping into the spotlight is Sergei Korotaev's latest cinematic endeavor, the gripping war drama "Unlisted," now gracing movie screens. Joining us for this review is our esteemed journalist, Yulia Shagelman.
First penned in 1974 by Boris Vasilyev for the "Yunost" journal, the story of a valiant defender of the Brest Fortress, who went unrecognized in the official records, has captivated audiences for years. The novella was frequently staged in Soviet theaters, with the Lenkom Theater's production, adapted by Yuri Vizbor and Mark Zakharov, being a notable success. However, bringing "Unlisted" to the big screen has proven elusive, with the first screen adaptation, "I am a Russian Soldier," not debuting until 1995 as a 100-minute TV movie.
The forthcoming film, boasting an impressive billion ruble budget, veers far from the modest TV movie predecessor. Filming took place in Belarus as well as at the Mosfilm studio, where a colossal 42,000 square meter set was constructed. Despite the film's aim to honor individual heroism, the grandeur of the sets and booming soundtrack threaten to erase all trace of personal struggle.
In this production, it's difficult to tell where Sergei Korotaev, who has primarily worked on television series before and after "Unlisted," ends, and Vladimir Mashkov begins. Mashkov, one of the film's eighteen producers, also plays a minor role as Senior Sergeant Stepanych Matveyev and serves as the artistic leader behind the young ensemble from the Moscow Art Theatre, of which he is the head. Mashkov's visage graces an astonishing 90% of the film's poster, while the main characters, Lieutenant Nikolai Plyushnikov (Vladislav Miller) and his beloved Mirra (Alena Morilova), are relegated to the bottom left corner. Ivan Okhlobystin's voiceover narrates the entire film, even in moments where such narration seems superfluous.
The film largely adheres to the original storyline, discarding slightly extraneous details such as lengthy character backgrounds and psychological traits. In contrast to the "lieutenant's prose" of the 1950s and 1960s, typified by Boris Vasilyev, which focused on authentic human experiences against the backdrop of historical events, "Unlisted" presents characters that remain one-dimensional and quickly meet their tragic ends.
The film truly comes to life in its final act, as Lieutenant Plyushnikov and Mirra emerge as rich, complex characters. Unfortunately, it's too little, too late, as their heartbreaking fate lies in wait. The portrayal of Brest on the brink of war is presented in a familiar folksy style reminiscent of "Old Songs About Main Things," with no shortage of refugees at the station or hushed war talk in every corner. Once the action reaches the fortress, the imagery takes on an eerie, neon-painted quality, culminating in a series of brutal, unflinching battles. Death is depicted with unwavering precision, with few escaping the carnage unscathed.
In "Unlisted," war heroism is not the preserve of national pride or battlefield spectacle but is instead a solitary, personal struggle. The film offers a nuanced, humanizing perspective on war – one that underlines resilience over triumph.
- The forthcoming war drama "Unlisted," directed by Sergei Korotaev, is a big-screen adaptation of a Russian novella that has captivated audiences for years.
- "Unlisted" was filmed not only in Belarus but also at the Mosfilm studio, featuring a massive set spanning 42,000 square meters.
- Vladimir Mashkov, one of the film's eighteen producers and an actor, plays a minor role and also serves as the artistic leader for the Moscow Art Theatre ensemble featured in the film.
- Despite its grandeur, "Unlisted" presents war heroism not as a spectacle of national pride, but as a solitary, personal struggle, offering a nuanced and humanizing perspective on war.
