Exploring the Intricacies of 'Plevako': History Meets Absurdity
The series "Plevako", released in 2024 under the direction of Anna Matison, has quickly 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 show dazzles with prominent names and a veneer of glitz. However, beneath the flashy exterior lies a complex piece of work that has ignited a storm of critique while simultaneously sparking the curiosity of viewers. Let's delve deeper into what this project is really about.
Plot: A Comic Strip Rather Than a Historical Drama
The series claims to be based on true events, but from the very first moments, it’s clear that historical accuracy isn't the primary goal of its creators. The tale of the great lawyer Fyodor Nikiforovich Plevako is transformed into a cinematic comic, complete with action, mysticism, and a touch of absurd romance. The protagonist, renamed Nikolai Fyodorovich (presumably to cater to an audience that struggles with the original name), emerges as a modern-day superhero armed with parkour skills, kung fu expertise, extraordinary vision, and other equally astonishing abilities.
The narrative kicks off with a ludicrous scene where Plevako, having buried his mother through a pagan rite, showcases his underground fighting prowess. He quickly returns to Moscow to take on a sensational murder case involving an aristocrat. Each episode centers around a courtroom drama, showcasing the hero's reliance on deduction, encyclopedic knowledge, and the ability to conjure 3D projections of the past. This is interspersed with acrobatic stunts and flashbacks, luring the audience into a bizarre concoction of historical farce and a "Matrix"-like experience.
Historical Accuracy: A Victim of Postmodernism
A significant source of the series' criticism arises from its blatant disregard for historical facts. The antagonist, the Chief Prosecutor of the Holy Synod, Konstantin Petrovich Pobedonostsev, bizarrely intrudes into a mundane criminal case despite the fact that the Holy Synod was primarily involved in spiritual matters and censorship. This plot development seems ludicrous, especially knowing that Pobedonostsev operated out of St. Petersburg rather than Moscow. Clearly, the creators had little interest in delving into historical realities—perhaps they imagined that in the 19th century, some precursor to the "Sapsan" train shuttled between the two capitals.
Another antagonist, the industrialist Demidov, is caricatured as a retrograde villain prone to breaking dishes and inflicting psychological torment on his wife. This portrayal lacks depth, reducing the character to a mere stock “bad guy,” designed solely to highlight the protagonist's virtuousness.
Challenges of Adaptation: Western Clichés on Russian Soil
It is hard to avoid comparisons with Western films and series. Unlike successful projects like "Lincoln" or "Gangs of New York", which delicately adapt their historical narratives, "Plevako" often resembles a poorly translated comic book. Its attempt to mimic contemporary trends results in ridiculous details; for instance, Plevako's assistant persistently peppering their speech with English words, while the protagonist self-importantly asserts his Kalmyk identity, a display of hubris that would make any Marvel superhero green with envy.
The influences of feminism and cultural Marxism are all too evident, manifested in the portrayal of strong, independent heroines whose lines sometimes sound like slogans straight from Twitter. Instead of crafting multidimensional characters, the creators rely on clichés that appeal to the modern audience.
Casting and Acting Performances
Amidst a weak script, the cast delivers commendable performances. Sergey Bezrukov fits seamlessly into the role of the charismatic lawyer, even if he occasionally overacts during scenes of "spiritual enlightenment". Olga Lerman as Maria Demidova injects essential drama into the series but lacks the charisma to make her character particularly memorable. Nikolai Shraiber, on the other hand, manages to compensate for her shortcomings, crafting a vividly mad husband full of expressive energy.
Igor Gordian’s portrayal of Pobedonostsev cues from his theatrical background, lending the character depth despite the absurdities in the script. Overall, the casting reflects the project's overall quality—solid but uninspired.
Visuals and Technical Execution
Despite narrative shortcomings, the visual elements of the series deserve accolades. The costumes, sets, and cinematography conjure an atmosphere that, while not wholly immersing the viewer in the actual 19th century, remains aesthetically pleasing. The flashbacks are stylishly shot, even if they veer into the overly theatrical at times. One significant drawback is the lack of scene dynamics, occasionally resembling theatrical productions bereft of cinematic energy.
Culminations and Takeaways
Should you watch this series? If you are willing to overlook script inconsistencies and historical inaccuracies, "Plevako" can offer decent entertainment. However, expecting it to deliver depth and historical fidelity would be a fool’s errand. This series performs more as an amusement ride than as a serious work of art, and perhaps therein lies its primary value.