Critique of 'Plevalko': History or Entertainment?
The show "Plevalko," released in 2024 under the direction of Anna Matison, has rapidly become one of the most talked-about projects of the year. With a star-studded cast featuring Sergey Bezrukov, Nikolai Shraiber, Olga Lerman, and Maria Smolnikova, the series certainly boasts a dazzling exterior. However, beneath this glitzy production lies a complicated work that has elicited a torrent of criticism while simultaneously igniting the interest of viewers. Let’s delve deeper into what this innovative, yet controversial, series truly represents.
Plot: A Simpleton's Tale Instead of a Historical Epic
The series claims to be grounded in real events; however, it becomes abundantly clear from the get-go that historical accuracy is far from the authors’ primary aim. The narrative of the illustrious lawyer Fyodor Nikiforovich Plevalko morphs into a cinema comic book infused with elements of action, mysticism, and absurd romance. The main character is rebranded as Nikolai Fyodorovich (possibly to cater to an audience challenged by the pronunciation of the original name) and is depicted as a contemporary superhero, proficient in parkour, kung-fu, super-vision, and other equally astonishing abilities.
The story kicks off with a ludicrous scene where Plevalko, after conducting a pagan burial for his mother, showcases his prowess in underground no-holds-barred fights. Shortly after, he returns to Moscow to tackle a sensational murder case involving an aristocrat. Each new episode pivots around another courtroom drama where our hero employs deductive reasoning, encyclopedic knowledge, and the unique ability to recreate 3D projections of the past. This all unfolds amidst acrobatic feats and flashbacks that plunge the viewer into a baffling mix of historical farce and elements reminiscent of The Matrix.
Historical Accuracy: A Casualty of Postmodernism
One of the principal sources of criticism stems from the show's blatant disregard for historical facts. For instance, the antagonist is portrayed as the Chief Prosecutor of the Holy Synod, Konstantin Petrovich Pobiedonoscev, who unexpectedly meddles in a petty criminal case. This plot twist feels absurd, considering that the Holy Synod was primarily focused on spiritual matters and censorship. The regular interactions of the characters in Moscow raise eyebrows when considering that Pobiedonoscev was stationed in St. Petersburg. Evidently, the creators didn’t bother to research the historical realities; perhaps in their view, a sort of proto "Sapsan" train zipped between the two capitals in the 19th century.
Furthermore, the industrialist Demidov is depicted as a caricatured villain, indulging in plate-smashing and psychological torment of his wife, transforming him into a mere archetype of evil devoid of any complexity. This representation reduces the character to a simplistic “bad guy”, serving solely to accentuate the hero's virtue.
Adaptation Challenges: Western Clichés on Russian Soil
Inevitably, comparisons with Western films and TV series arise. Unlike successful projects such as "Lincoln" or "Gangs of New York," which masterfully adapt historical narratives, "Plevalko" feels more akin to a poorly translated comic book. The series’ attempts to mirror contemporary trends results in ridiculous details: Plevalko’s aide frequently interjects English phrases into his dialogue, while the protagonist emphasizes his Kalmyk identity with the kind of pomp that any Marvel superhero would envy.
The influence of feminism and cultural Marxism is particularly evident, with portrayals of strong, independent female characters whose dialogues sometimes resemble slogans pulled straight from Twitter. Instead of providing depth through well-rounded characters, the creators lean heavily on clichés that appease today’s audiences.
Casting and Performer Dynamics
Amidst a lackluster script, the cast manages to shine. Sergey Bezrukov fits the role of the charismatic lawyer with ease, although there are moments when he verges on overacting during scenes of spiritual epiphany. Olga Lerman plays Maria Demidova, infusing necessary dramatic tension, yet she seems to lack the charisma needed to make the character memorable. On the flip side, Nikolai Shraiber successfully compensates for his co-star's deficiencies, delivering a portrayal of a mad husband with vibrant expressions.
Igor Gordyn, as Pobiedonoscev, utilizes his theatrical background to add layers to the character. However, due to the silliness of the script, his character still suffers from a lack of depth. Overall, the casting aligns with the project’s general standard: competent yet unremarkable.
Aesthetic Appeal and Technical Execution
Despite its narrative shortcomings, the visual aspect of the series is praiseworthy. The costumes, settings, and cinematography create an atmosphere that, while not entirely immersive in the realities of the 19th century, retains aesthetic appeal. The flashbacks, though abundant, are stylishly crafted, albeit occasionally bordering on the overly theatrical. A significant drawback, however, lies in the pacing of the scenes, which can sometimes resemble stage plays stripped of cinematic dynamism.
Epilogues and Takeaways
"Plevalko" stands as a quintessential offering from contemporary Russian television, teetering on the edge of parody while attempting to carve out something significant. The creators endeavor to cater to a broad spectrum of viewers: those who love historical dramas, action film enthusiasts, and fans of light-hearted absurdity. The outcome is an eclectic production that simultaneously elicits laughter, irritation, and intrigue.
Should you watch this series? If you can overlook unrealistic plot developments and historical inaccuracies, "Plevalko" might prove to be a decent source of entertainment. However, expecting depth and historical precision would be misguided. Ultimately, it serves more as a sideshow than a serious dramatic endeavor, which perhaps is its singular redeeming quality.