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| Quite convincing images are created in the film "105% alibi". First of all, Karel and Irka are not bad guys, in fact, from honest working families, but temporarily lost their way. You can also mention the barmaid Mike — confused in her life, which ends tragically. The coward and scoundrel Baptiste is disgusting in his human worthlessness. But, however, the bright, peculiar details of the characters are often given for their own sake, for the sake of "warming up" the character's schemes and they are organically connected with the development of the plot. There are characters, but there is no clash of characters. And therefore, the culminating events — the capture of the forester in the "King of Shumava", the exposure of Kitsch in the "105% alibi" — do not become clashes of psychology, personalities, worldviews, but are closed by the limits of a professional duel, if you can call sabotage or criminality a profession. The authors' attention is focused on how the criminal is caught, and not on who catches whom. What, for example, is the enemy essence of the forester Palechek, besides the fact that he is formally called a spy? After all, even after learning about his connections with saboteurs, we cannot, looking back, recall any traits in the character of the hero that would allow him to say: "So that's what it meant?" He was just an honest man, then suddenly it turned out that he was an enemy! In the second film, the killer is also very schematic, And as a result, the victory of positive heroes over negative ones did not become a triumph of high moral qualities. It is only a consequence of higher professionalism — and that's all. But it's not so important to catch a criminal in a movie as to morally expose him to the audience. Another drawback common to the "King of Shumava" and "105% alibi" is also striking. Their plots are abstract in time, disconnected from the life of the country. The action of the first film takes place in 1948 — shortly after the tense events of February, when a serious threat from the reaction hung over the conquests of the people's power. While political activity in the country has never increased. A village located in the immediate vicinity of the border could hardly stay away. And we do not see any traces of the intensity of the events that have just passed. Even the border guards didn't seem to have heard about anything: the only thing they care about is an undisclosed path through the swamp. The same can be said about the movie "105% alibi". When does it take effect? Today? Five, ten years ago? In general, the heroes of both films act as if in an airless space. The peasants in the "King of Shumava" do not even indirectly help in catching intruders. All their interaction with the border guards boils down to treats with slivovitsa and beer and invitations to holidays. The situation is even worse with the image of a real, concrete environment in the "105% alibi". In the first film, there are people at least "visually" present on the screen. And there's not even that here. The desolation seems all the more strange because Karel and Irka are young workers. Did the comrades at the factory not interfere in their story, or at least not interested in it? ...And it turns out that the declared characters are interesting, well-thought-out plots work "idly". The characters remain static portraits, and the plots are more or less fascinating technology for solving a crime. The traces of the heroes go into a psychological fog, where they dissolve into vague uselessness... в это время делать ставки на события на выводимые средства mostbet По правилам букмекера, клиента в любой момент могут попросить о верификации аккаунта |
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