The non-linear branch of the narrative unfolds events through the writer's memories in a psychiatric clinic, where memories are mixed with elements of fiction.
Between the biblical passages of another novel about Pontius Pilate, the plot is transferred to Moscow in the 1930s, in the midst of social upheaval and construction excitement. The playwright (Evgeny Tsyganov) wrote a play about Pilate, which was rejected by the Writers' Council for inconsistency with Soviet ideals. Despite his desire to protest, his efforts only lead to trouble. He is blacklisted and excluded from the Council. In his despair, amid the splendor of the May Day holidays, he meets Margarita (Julia Snigir), with whom he instantly falls in love. Their novel inspires him to write The Master and Margarita, which echoes Mikhail Bulgakov's own experience in the Council. There is no point in summarizing the novel further, readers already know the sequel.
The casting of Aguste Diehl for the role of Woland was successful (Although I would not mind looking at Mads Mikkelsen in this role). His image radiated a cold, piercing charisma, diluting the caricature of Azazello-Rosin and Koroviev-Kolokolnikov. The image of the actor Tsyganov fails to convey the nervous and broken behavior of the Master, he seems rather indifferent throughout.
It is impossible to evaluate the work of the entire film crew. Such inconspicuous but important details flash by every now and then in the film. Separately, the authors of the painting refer to Bulgakov himself, for example, morphine that was injected into the Master in the clinic or the change of the Master's voice to Margarita after the writer's suicide. And how many strong scenes there are in the film! I really remember the crucifixion in the Lubyanka courtyard and the frame with the reflection of the letter M in a puddle (M - Moscow, Metro) turns into W (W - Woland), as if showing who really rules this city. Berlioz, falling, scatters coins, a reference to the betrayal of Judas (30 silver pieces).
References can be listed endlessly.
In the film, preference is given to melodrama rather than satire, which is very sad, but does not become a significant disadvantage of the tape at all. The cinematography and computer graphics are outstanding, they convey the play of light and shadow with amazing accuracy. Anna Drubich's memorable musical score enhances the overall atmosphere, immersing the audience in the atmosphere of that era. The color scheme with a predominance of wine red, gold and noble black gives the Hollywood budget of the film.
As a person who has almost given his life to architecture and construction, it was especially pleasant for me to enjoy the majestic buildings of the Stalinist Empire. The film embodies dreams of the future that never materialized. With a touch of cinematic magic, grandiose plans are rethought in it: the Aeroflot House, the building of the People's Commissariat of Heavy Industry and the Palace of Soviets. These architectural fantasies are artfully resurrected, painting a vivid picture of an alternative reality. I want to note that architecture is an active character in the film, an integral element of it. The National Library in St. Petersburg has been transformed into a psychiatric clinic, which is a grandiose, bright and majestic building. All this in a common compartment visually complements the theme of a new country and a new person. Moscow has changed, people have remained the same.
An interesting detail was the director's decision at the end of the tape. He changes the architectural style of Moscow from the Stalinist Empire to another, but I just can't determine what it looks like... I suppose it's something between brutalism, occultism and totalitarianism with a sky shrouded in black smoke from fire. The final shots of the film became one of the strongest, precisely due to the recreation of this atmosphere The costumes of the characters are amazingly selected, with minor changes. Anubis's head on Woland's cane, Margarita's crown, Woland's professorial costume, because he is a professor.
Purely at the level of theories, but I want to point out that the movie was released on (almost) the full moon, on the day of students and knowledge, January 25th. Woland is a fallen angel who descended to people to impart knowledge to them. With the exception of minor flaws, the film is a sensual experience that is best enjoyed in a darkened cinema with powerful sound.
I suspect that a director will be released. Many of the topics are shortened with the feeling that more was filmed. Roman is cramped within the framework of a three-hour film, he needs more. While the first 2 hours immerse the viewer in a richly textured story, the final 40 minutes fly by with such haste that it becomes clear that the work has been cut 9/10. Great.
Between the biblical passages of another novel about Pontius Pilate, the plot is transferred to Moscow in the 1930s, in the midst of social upheaval and construction excitement. The playwright (Evgeny Tsyganov) wrote a play about Pilate, which was rejected by the Writers' Council for inconsistency with Soviet ideals. Despite his desire to protest, his efforts only lead to trouble. He is blacklisted and excluded from the Council. In his despair, amid the splendor of the May Day holidays, he meets Margarita (Julia Snigir), with whom he instantly falls in love. Their novel inspires him to write The Master and Margarita, which echoes Mikhail Bulgakov's own experience in the Council. There is no point in summarizing the novel further, readers already know the sequel.
The casting of Aguste Diehl for the role of Woland was successful (Although I would not mind looking at Mads Mikkelsen in this role). His image radiated a cold, piercing charisma, diluting the caricature of Azazello-Rosin and Koroviev-Kolokolnikov. The image of the actor Tsyganov fails to convey the nervous and broken behavior of the Master, he seems rather indifferent throughout.
It is impossible to evaluate the work of the entire film crew. Such inconspicuous but important details flash by every now and then in the film. Separately, the authors of the painting refer to Bulgakov himself, for example, morphine that was injected into the Master in the clinic or the change of the Master's voice to Margarita after the writer's suicide. And how many strong scenes there are in the film! I really remember the crucifixion in the Lubyanka courtyard and the frame with the reflection of the letter M in a puddle (M - Moscow, Metro) turns into W (W - Woland), as if showing who really rules this city. Berlioz, falling, scatters coins, a reference to the betrayal of Judas (30 silver pieces).
References can be listed endlessly.
In the film, preference is given to melodrama rather than satire, which is very sad, but does not become a significant disadvantage of the tape at all. The cinematography and computer graphics are outstanding, they convey the play of light and shadow with amazing accuracy. Anna Drubich's memorable musical score enhances the overall atmosphere, immersing the audience in the atmosphere of that era. The color scheme with a predominance of wine red, gold and noble black gives the Hollywood budget of the film.
As a person who has almost given his life to architecture and construction, it was especially pleasant for me to enjoy the majestic buildings of the Stalinist Empire. The film embodies dreams of the future that never materialized. With a touch of cinematic magic, grandiose plans are rethought in it: the Aeroflot House, the building of the People's Commissariat of Heavy Industry and the Palace of Soviets. These architectural fantasies are artfully resurrected, painting a vivid picture of an alternative reality. I want to note that architecture is an active character in the film, an integral element of it. The National Library in St. Petersburg has been transformed into a psychiatric clinic, which is a grandiose, bright and majestic building. All this in a common compartment visually complements the theme of a new country and a new person. Moscow has changed, people have remained the same.
An interesting detail was the director's decision at the end of the tape. He changes the architectural style of Moscow from the Stalinist Empire to another, but I just can't determine what it looks like... I suppose it's something between brutalism, occultism and totalitarianism with a sky shrouded in black smoke from fire. The final shots of the film became one of the strongest, precisely due to the recreation of this atmosphere The costumes of the characters are amazingly selected, with minor changes. Anubis's head on Woland's cane, Margarita's crown, Woland's professorial costume, because he is a professor.
Purely at the level of theories, but I want to point out that the movie was released on (almost) the full moon, on the day of students and knowledge, January 25th. Woland is a fallen angel who descended to people to impart knowledge to them. With the exception of minor flaws, the film is a sensual experience that is best enjoyed in a darkened cinema with powerful sound.
I suspect that a director will be released. Many of the topics are shortened with the feeling that more was filmed. Roman is cramped within the framework of a three-hour film, he needs more. While the first 2 hours immerse the viewer in a richly textured story, the final 40 minutes fly by with such haste that it becomes clear that the work has been cut 9/10. Great.