Before watching the film we have read the reviews: this is a continuation of the Irony of Fate 1, but a bad one; no, this is a good continuation; still different, this film should not be considered as a continuation. There is an 'objection' that a hero drives a certain car; was he supposed to change cars every 20 minutes to give "equal rights" to different car manufacturers ? There is another 'objection' that the heroes behave as they did in Part 1; should nice people now become nasty and vice versa ? There is a still different 'objection' to lights in the city and fireworks on New Year's Eve. Rarely one sees such a diversity of views, many mutually contradictory and some outlandish.
Now that we have seen Part 2, I can comment on it: on people, devices, locations and situations.
There are actors known before from Part 1: Barbara Brylska as Nadya; Andrei Myagkov as Zhenya; Yuriy Yakovlev as Ippolit; Aleksandr Shirvindt as Pasha (mostly Pavlik in Part 1); Aleksandr Belyavskiy as Sasha; as well as Valentina Talyzina as Valya. It was so good to see them again ! Now we also have Elizaveta Boyarskaya as Nadya Number 2, the daughter of the original Nadya; Konstantin Khabenskiy as Kostya Lukashin son of Zhenya; Sergey Bezrukov as Irakliy (note a carefully chosen name, similar to Ippolit). There are naturally more new faces, including Igor Savochkin as Kolya the Border Guard; he makes his unique contributions – largely because most of the time he is as confused as a hungry baby in a topless bar. While Nadya Number 1 now wears large glasses, her smile is the same as before. While Zhenya now has less hair, his smile is also the same as before.
As for devices, frequent use of cell phones makes this means of communication look nearly ridiculous. An original comic approach, while in more and more locations around the world there are limitations on the use of cell phones, including driving.
Obviously Apartment # 12 in House # 25 on the Third Constructors Street plays its role again, as does the elevator there. We also see again the train station from which trains go to Moscow as well as two airports. This helps the impression of continuity – as does music repeated from the first film (except for the song at the end which is new).
The situations are sometimes similar as before, but with interesting twists. It is not easy now to send Zhenya to St. Petersburg; this becomes a clever two parts operation executed by Sasha and Pasha. Zhenya starts to figure things out when Pasha phones to reserve "another" plane ticket. There are also new situations – well connected to Part 1. Nadya Number 2 is asked by Grandfather Frost to play his Snow Girl. She gets instant advice not to agree. However, in a wonderful twist of action, Nadya says: when I was five years old, I had to do things I hated; when I was 10 years old, it was the same; enough is enough; I agree. When one knows that Ippolit is her father and one knows his character from Part 1, the fact that he has been a despotic father is anything but surprising. Thus, events in Part 2 are admirably rooted in Part 1.
One sympathizes so much with Kostya - who can hardly get a moment alone with younger Nadya. One admires his ingenuity in creating opportunities to talk to Nadya. When Grandfather Frost walks into Nadya's apartment, one wishes that inside the costume covering largely the face should be Kostya. One hears later an explanation of the original Snow Girl: he agreed to take over and complete the Grandfather Frost route but on the condition that he will have his own Snow Girl. Incidentally, I recently learned something about Grandfather Frost: Santa Claus was strictly forbidden for a number of years in the Soviet Union – until Stalin found the tradition too strong and allowed him but renamed Grandfather Frost and wearing blue instead of red. The vote of five children on who should marry the Princess is new and fresh - in spite of centuries of fairy tales.
We have seen recently a US movie called "Fast Five", with virtually nothing left to imagination and much noise most of the time. Here both Part 1 and Part 2 have two levels; the amusing or moving surface level, but also a deeper level where the viewer has much food for thought. This is one more common feature of both films. Timur Bekmambetov as the director, Emil Braginskiy as the story writer – together with Eldar Ryazanov himself – have much to be proud of. One needs to say this: the richness of Part 1 has much helped the creators of Part 2 to make such a good film.
Let me provide at least an example of two levels in this film. Kostya asks: "are we in Moscow or in St. Petersburg ?". Younger Nadya provides a charming – but also a profound – response: Does it matter ?".
Now that we have seen Part 2, I can comment on it: on people, devices, locations and situations.
There are actors known before from Part 1: Barbara Brylska as Nadya; Andrei Myagkov as Zhenya; Yuriy Yakovlev as Ippolit; Aleksandr Shirvindt as Pasha (mostly Pavlik in Part 1); Aleksandr Belyavskiy as Sasha; as well as Valentina Talyzina as Valya. It was so good to see them again ! Now we also have Elizaveta Boyarskaya as Nadya Number 2, the daughter of the original Nadya; Konstantin Khabenskiy as Kostya Lukashin son of Zhenya; Sergey Bezrukov as Irakliy (note a carefully chosen name, similar to Ippolit). There are naturally more new faces, including Igor Savochkin as Kolya the Border Guard; he makes his unique contributions – largely because most of the time he is as confused as a hungry baby in a topless bar. While Nadya Number 1 now wears large glasses, her smile is the same as before. While Zhenya now has less hair, his smile is also the same as before.
As for devices, frequent use of cell phones makes this means of communication look nearly ridiculous. An original comic approach, while in more and more locations around the world there are limitations on the use of cell phones, including driving.
Obviously Apartment # 12 in House # 25 on the Third Constructors Street plays its role again, as does the elevator there. We also see again the train station from which trains go to Moscow as well as two airports. This helps the impression of continuity – as does music repeated from the first film (except for the song at the end which is new).
The situations are sometimes similar as before, but with interesting twists. It is not easy now to send Zhenya to St. Petersburg; this becomes a clever two parts operation executed by Sasha and Pasha. Zhenya starts to figure things out when Pasha phones to reserve "another" plane ticket. There are also new situations – well connected to Part 1. Nadya Number 2 is asked by Grandfather Frost to play his Snow Girl. She gets instant advice not to agree. However, in a wonderful twist of action, Nadya says: when I was five years old, I had to do things I hated; when I was 10 years old, it was the same; enough is enough; I agree. When one knows that Ippolit is her father and one knows his character from Part 1, the fact that he has been a despotic father is anything but surprising. Thus, events in Part 2 are admirably rooted in Part 1.
One sympathizes so much with Kostya - who can hardly get a moment alone with younger Nadya. One admires his ingenuity in creating opportunities to talk to Nadya. When Grandfather Frost walks into Nadya's apartment, one wishes that inside the costume covering largely the face should be Kostya. One hears later an explanation of the original Snow Girl: he agreed to take over and complete the Grandfather Frost route but on the condition that he will have his own Snow Girl. Incidentally, I recently learned something about Grandfather Frost: Santa Claus was strictly forbidden for a number of years in the Soviet Union – until Stalin found the tradition too strong and allowed him but renamed Grandfather Frost and wearing blue instead of red. The vote of five children on who should marry the Princess is new and fresh - in spite of centuries of fairy tales.
We have seen recently a US movie called "Fast Five", with virtually nothing left to imagination and much noise most of the time. Here both Part 1 and Part 2 have two levels; the amusing or moving surface level, but also a deeper level where the viewer has much food for thought. This is one more common feature of both films. Timur Bekmambetov as the director, Emil Braginskiy as the story writer – together with Eldar Ryazanov himself – have much to be proud of. One needs to say this: the richness of Part 1 has much helped the creators of Part 2 to make such a good film.
Let me provide at least an example of two levels in this film. Kostya asks: "are we in Moscow or in St. Petersburg ?". Younger Nadya provides a charming – but also a profound – response: Does it matter ?".