Next. Gangster film-Wikipedia. In spite of its unripe style, the film vividly illustrates the fate of a young man trying to survive in a world with no rules, making it a major success in the domestic box-office. Brother 2 [Брат-2] (2000) Russia Directed by Aleksei Balabanov. Aleksei Balabanov's Brat 2 Andrew James Horton. He was a director and writer, known for Brother (1997), Cargo 200 (2007) and Of Freaks and Men (1998). Soviet cinema, in particular, was torn between the desire to make films at the most advanced technical and artistic level – indeed, to “catch up to and overtake” the US in this regard – and the reality of … There his new life starts. Aleksei Balabanov, Sergei Sel’ianov and their production company CTB played an important role in the cultivation and propagation of the bandit film cycle in Russian cinema. Written by There is a very Slavic quality in this film that I am VERY happy to see preserved and NOT Westernized. An ex-soldier with a personal honor code enters the family crime business in St. Petersburg, Russia. Much of my information on the film comes from http://vozduh.afisha.ru/cinema/aleksey-balabanov-kak-delalsya-brat/; this work was also published in a major scholarly book on Balabanov in 2013. Film. Following a retelling of a semi-mythological story, the pair decide to make a pilgrimage to a "bell-tower of happiness". Aleksey Balabanov was born on February 25, 1959 in Sverdlovsk, Sverdlovskaya oblast, RSFSR, USSR as Aleksey Oktyabrinovich Balabanov. PDF | “Interview with Lisa Jeffrey (from Aleksei Balabanov’s Brother 2),” Kinokultura, issue 46 (October 2014):... | Find, read and cite all the research you need on ResearchGate ), Out of necessity as much as any desire to escape dependence on the state, Brother, Balabanov’s third feature, was made rigorously in accord with these rules.2 The film was shot in the apartments of Balabanov and his acquaintances, and amid the glorious decrepitude of mid-1990s St. Petersburg; almost everyone, including the famous singer Vyacheslav Butusov (an old friend of Balabanov’s, luckily enough), worked for free or for peanuts; actors provided most of their own costumes; costume designer Nadezhda Vasilieva (Balabanov’s wife) found Danila Bagrov’s famous sweater in a flea market; cinematographer Sergei Astakhov was recruited to play the trucker in the final scene (a country boy from the Mordovian ASSR, he was the only one on the crew licensed to drive a big rig); and the whole film was captured on Kodak stock left behind from the shoot of Bernard Rose’s big-budget (and mediocre) Anna Karenina adaptation (1997; starring Sophie Marceau). Roles for both audiences and artists are proposed and endorsed clearly enough in a couple of the film’s musical scenes, starting with the video production – destined to be a glamorous advertisement for the tune, of course. Indeed, in the film’s central scene, we see Danila attempting to educate the director Styopa, to get him to trust his fearsome audience, without demanding that the audience give up any of its fearsomeness. PERSONAL DATA OF ALEKSEI BALABANOV Age: 62 years old Six Screenwriters Selected For Inaugural Black List New Zealand Project, Critics Choice Association sets 2022 show date, With New Memoir, Andrew McCarthy Is Finally Ready to Own the ‘Complications and Ironies’ of the Brat Pack, The Best 1990s International Feature Film. If Balabanov plunges us into a ruined world wracked by violence, he also shows that this world contains all kinds of unexpected (cinematic) resources that can be salvaged if you’ve got the know-how, and a strong stomach. Two of the hostages are then released to bring the money for the British woman who is forced to wait for the ransom. 1.Dondurej, Daniil (1998): Ne brat ja tebe, gnida…, in: Iskusstvo kino, 1998, Nr. Max Volovik , One thing that some other reviewers failed to comment on is the way that you discover just who Danila is - he covers-up the fact that he saw action in Chechnya and always says he served far from combat. Brother clearly hit the nail on the head when it comes to the atmosphere of Russia in the late 1990s. Brother (Russian: Брат, translit. The older transformative or humanist-reformist ambitions of Soviet cinema are not only gone, but are actively rejected; and the only pedagogy here involves teaching filmmakers (especially Hollywood-oriented filmmakers) a new way of thinking and working. With Sergei Bodrov, Victor Sukhorukov, Sergei Makovetskii, Irina Saltykova, Kirill Pirogov, Aleksandr D'iachenko, Daria Lesnikova, Ray Toler, and Lisa Jeffrey. Aleksey Balabanov (1959–2013) Aleksey Balabanov. He meets new people, including a girl, and becomes a big fan of the rock band "Nautilus Pompillius," but now he is a killer, and realizing killing is easier for him than living makes him understand he is going the wrong way. Only 5 left in stock - order soon. Since Aleksei Balabanov’s films Brother (Brat, 1997) and Brother 2 (Brat 2, 2000) came out, they have achieved cult status in Russia. Aleksei Oktyabrinovich Balabanov (Russian: Алeксeй Oктябpинoвич Балабанoв; 25 February 1959 – 18 May 2013) was a Russian film director, screenwriter, and producer,a member of European Film Academy. With Sergey Bodrov, Viktor Sukhorukov, Svetlana Pismichenko, Mariya Zhukova. Certificate: M18 Brother, the little $50,000 Russian hit man movie that could, is a true piece of junk art, equal parts crude and sophisticated, a faux-naïve crime myth with a protagonist as indelible as Travis Bickle. This haunting sequence is shot with real love – Balabanov’s very first amateur films, never publicly screened to my knowledge, were on-the-fly documentaries of his beloved local bands in Sverdlovsk – and is regrettably unseen by Styopa, the professional director waiting for Danila downstairs…. Painting’s an art; music’s an art. Yet, these characters of Balabanov’s – Danila, his brother Viktor, sex worker Marilyn – manage to survive, as their background and the suffering they went through has prepared them for anything life would throw at them. The character of Danila is considered by many in Russia to be an icon of the early post-Soviet period. Want to share IMDb's rating on your own site? The pricy “barrel” [pistol] that Victor tries to peddle to Danila proves not only superfluous, but the very sign of that easy reliance on technology that the film declares to be (cinematically) ineffective. Note that Victor not only lies in order to get his brother Danila to commit and catch the heat for the murder of the “Chechen”: he also lures Danila into the crime by pushing all the right nationalist buttons, acting on the belief that his recently demobilised younger brother is also a stereotypically bigoted village idiot from deepest Russia (which, on a fundamental level, Danila certainly is). (1997). Directed by Aleksey Balabanov. Might Danila Bagrov, carefully pouring his buckshot and taping up his soda bottle “without any means,” be not a new Robin Hood (as is often said) but rather Balabanov’s exemplary and independent artist-auteur – working in familiar conditions of poverty, but no longer under communism? Aleksei Balabanov/CTB Film Company, 1997 The younger brother is indeed a double threat. Ray Toler has starred in films such as Home Alone (1990) with Macaulay Culkin and U.S. During the bloody war in Chechnya, a British couple and two Russian soldiers are taken hostage by Chechen rebels. 2 2.Großen, auch internationalen Erfolg hatte Balabanow mit seinen kontrovers diskutierten Filmen War (2002), Cargo 200 (2007), Morphin (2008) und The Stroker (2010) 3.Anemone, Anthony (2015): Aleksei Balabanov: Brother (Brat, 1997), in: KinoKultura 50 = Special Feature KiKu-50 Sanja the Bandit after a particularly vicious shootout, stumbles into the musician Oleg at the local banya. If you are an Australian resident, any donations over $2 are tax deductible. Danila finds help not among professionals (be they gangsters or filmmakers), but among the most down and out, who nonetheless bring along a certain wisdom and a certain culture (“you’re a smart guy, German”): their habitat, after all, is the Smolensky Lutheran Cemetery, burial site of such luminaries as the mathematician Euler, the chemist Hess, the diplomat Nesselrode and (since 2013) the film director Aleksei Balabanov. Written by Aleksei Balabanov. DVD Review: Aleksei Balabanov’s Brother on Kino on Video. View production, box office, & company info. A young innocent-looking ex-soldier (Sergei Bodrov), who has been through the Chechen war, arrives to emulate his hitman older brother by becoming … Was this review helpful to you? We acknowledge the sovereignty of the Wurundjeri and Boon Wurrung people of the Kulin nation and support all Aboriginal people on their paths to self-determination. Close. We might link this celebration of the artisanal to one of Balabanov’s most explicit denunciations of his own profession, which contains a secret desideratum: Cinema’s in no way an art! Brother was the biggest box office hit of 1997 and the biggest grossing film since the end of the Soviet Union (Beumers 2003). A drama that chronicles the civil war that raged after the 1917 Bolshevik revolution. Newly discharged from the army, Danila goes to his older brother - a gangster and a killer - to start a new life in St. Petersburg where he's soon situated in the criminal world and asked to kill someone. Although it did receive some amount of state help, as evidenced by the acknowledgement at the beginning of the credits. This movie is about the stern gangster customs of one of the Russian provincial cities in the mid-90s . Fassbinder, Coen brothers, and Takeshi Kitano.Aleksei Oktyabrinovich Balabanov was born on 25 February 1959, in Sverdlovsk (now Yekaterinburg).In 1981 Balabanov graduated from Translation Department of the Gorky Pedagogical University of Foreign Languages [ru]. Oh Brother! The very idea of Russian director Aleksei Balabanov—whose oeuvre up to now has been characterised by a series of deft leaps between contrasting genres, spanning both art house and mainstream styles—doing a sequel is something of a novelty. Brat) is a 1997 Russian crime film directed by Aleksei Balabanov. The Brother [Brat] (1997) Balabanov's low-budget film about the exploits of a young discharged soldier in contemporary St. Petersburg became the blockbuster of the year. Add the first question. Almost 20 years after its release in 1997, Aleksei Balabanov’s Brother remains the greatest Russian movie about life in the first post-Soviet decade. $14.99. Keep track of everything you watch; tell your friends. You must be a registered user to use the IMDb rating plugin. Cinema as Salvage Operation: Brother (Aleksei Balabanov, 1997) One of the “accursed questions” of Russian cinema, at least from the early Soviet period, has been: how to do a lot with a little? Arriving in Moscow, Danila discovers Konstantin dead and he sets out to avenge his death; a journey that leads him to Chicago and a whole new experience. To be sure, the post-Soviet 1990s, during the early phase of which the existing systems of film production and distribution collapsed almost entirely, saw the resurgence of the same problem in new forms. Though he only decided he wanted to be a filmmaker in his late twenties, Alexei Balabanov has made up for lost time by creating a body of work that has made him both Russia’s most interesting auteur and one of its most commercially successful directors. To defend his brother’s interests above ethics, Danila takes up a gun and eventually his brother’s position. Balabanov confirms his claim later, in the remarkably moving central section (very different from indications in the script, incidentally) when together with Danila we simply watch Russian rock artists entertaining one another, “unplugged”. In 2000, Toler played the part of Ben Johnson in Aleksei Balabanov’s Brother 2 (2000). An ex-soldier with a personal honor code enters the family crime business in St. Petersburg, Russia. Our Danila barges in to demonstrate that for an everyday Russian audience, even of the younger generation, the music carries its own charge, its own attraction, independently of any elaborate spectacles constructed to sell it (and which Danila conspicuously ignores). It is in this sense, I think, that the film is at once anti-capitalist, philosophically conservative and (a somewhat different matter) deeply anti-Soviet. I’ve also referred to the interviews at. Balabanov was one of 13 signatories of a 1996 statement proposing a set of rules for filmmakers who were intent on making small-budget films without state assistance (hardly forthcoming in those years in any case): a shooting schedule limited to two or three weeks; filming exclusively on streets, in courtyards and in the apartments of friends and relatives; crews working gratis, with payment contingent upon any profit the film might make. In… 36 of 40 people found this review helpful. And you could expect either a stupid game of blind man's buffets or a truly bloody showdown with the stacks of "bluffers". One of the “accursed questions” of Russian cinema, at least from the early Soviet period, has been: how to do a lot with a little? Neither audiences for the film nor its real-world sources need to be better, or made better, than they are: warts and all, they already have what it takes to create and appreciate strong and compelling cinematic tales. Then there’s the question of Danila’s production crew. Cinematography by Sergei Astakhov. We see a well-equipped and prolifically staffed crew, replete with bodyguards, joylessly filming a commercial music video, only to be interrupted by local boy Danila rising out of the swamp like Turgenev’s Bazarov. 4.0 out of 5 stars 1. Danila Bagrov returns home from a humiliating war and struggles to find his place in society. In this film Jeffrey plays a true-to-life version of herself – … A young woman is taken hostage by a police officer gone mad. Get a sneak peek of the new version of this page. Two young girls, Sveta and Dina, go on the run to avoid being kidnapped by the former associates of Dina's recently released gangster father. Yet it turns out that this native material, unpromising though it might seem, has far more resilience and imagination than the urban professional and profoundly exploitative Victor assumes. The film, set in the mid 1990s outside of St. Petersburg, tells the story of an ethnic Yakut, Major Skryabin, a shell-shocked veteran of the Afghan-Soviet War, who works as a stoker. This article examines Aleksei Balabanov’s unfinished film The American and the various accompanying texts that contribute to our understanding of its place in the filmmaker’s biography. In a less obvious way, the problem became a major subject of Soviet film as well, detectable in works – as varied as Dziga Vertov’s Chelovek s kinoapparatom (Man with a Movie Camera, 1929), the late extravaganzas of Mikhail Kalatozov, and even Andrei Tarkovsky’s Andrei Rublev (1966; think of the bell-forging scene) – that either make the task of innovating-despite-impoverishment a theme of the film, or absorb it on the level of style. Newly discharged from the army, Danila goes to his older brother - a gangster and a killer - to start a new life in St. Petersburg where he's soon situated in the criminal world and asked to kill someone. Soviet cinema, in particular, was torn between the desire to make films at the most advanced technical and artistic level – indeed, to “catch up to and overtake” the US in this regard – and the reality of (relative) poverty. The investment paid off, even financially: after its premieres at Cannes (in the Un certain regard section) and at Kinotavr in Sochi in May and June of 1997, Brother began to do enormous business on VHS – probably the format in which most Russians initially encountered the film.3. All Films ; Fandango US ; Amazon US ; Amazon Video US ; iTunes US ; Upgrade to a Letterboxd Pro account to add your favorite services to this list—including any service and country pair listed on JustWatch—and to enable one-click filtering by all your favorites.. Powered by JustWatch COURTESY DISINFORMATION COMPANY. Hopes of closing the gap found expression not only in famous plans, dating as far back as 1924, to create a “Soviet Hollywood” on the Black Sea, but also in enormous amounts of do-it-yourself innovation within the film studios, whose administrators eventually began, as directed by the state authorities overseeing the film industry, to encourage and exchange the novelties and solutions – lens attachments, mechanisms to move cameras around, filters and much more – that their DIY tinkerers came up with.1 (I suspect that Aleksei Balabanov, whose dad was chief editor of the film studio in Sverdlovsk [today Ekaterinburg], probably imbibed some knowledge of these workarounds early on, by osmosis if not directly.). In both script and film, the director devotes loving, detailed sections to Danila’s low-tech souping-up of borrowed or stolen old weaponry – Balabanov’s only claim to fame in Sverdlovsk, he said, was his ability to make bombs using Soviet chemistry sets – and then proceeds to show how this homemade firepower can be used as the basis for disturbingly intense sequences of gangsterly mayhem. Service. Dariya the maid getting a boy to touch her large breast is just one incident that occurs when Yohan and Victor infiltrate two families, forcing young Liza and blind Ekaterina to appear in porn, but they are not so innocent themselves. He started from creating mostly arthouse pictures but gained significant mainstream popularity in action crime drama movies Brother (1997) and Brother 2 (2000), both of which starred Sergei Bodrov, Jr.. Later, however, Balabanov became better known for his films Cargo 200 (2007), Morphine (2008) and A Stoker(2… Page 1 of 1 Start over Page 1 of 1 . Title: He meets new people, including a girl, and becomes a big fan of the rock band "Nautilus Pompillius," but now he is a killer, and realizing killing is easier for him than living makes him understand he is going the wrong way. Review: The Killing of Two Lovers Is a Haunting Portrait of Wounded Masculinity. Action, Certificate: M18 DVD. This movie will be misunderstood by many Westerners (I am Russian myself) because it does not fit the traditional Hollywood screenplay style - and its characters do not behave themselves like most Hollywood characters would in a crime drama. ALEKSEI POLUYAN IN DIRECTOR ALEXEI BALABANOV’S CARGO 200. Cinema as Salvage Operation: Brother (Aleksei Balabanov, 1997) One of the “accursed questions” of Russian cinema, at least from the early Soviet period, has been: how to do a lot with a little? $29.99. John Mackay is professor of Film & Media Studies and Slavic Literatures & Languages at Yale University. Brother This FAQ is empty. These are the kinds of people, Balabanov seems to say, that you need in order to get a film made (and note Hofmann’s rejection of the money at the end). Dima Nikitin is an ordinary honest plumber who suddenly decides to face the corrupt system of local politics in order to save the lives of 800 inhabitants of an old dormitory, which is about to collapse. On “social subsidy,” see Tony Wood, http://newleftreview.org/II/74/tony-wood-collapse-as-crucible. Memories of Aleksei Balabanov Compiled by Frederick H. White (Utah Valley U) RAY TOLER. The Chechen War was a traumatic experience in e arly post-Soviet Russia, and it’s an important theme for Balabanov. He then served in the Soviet Army as an officer-interpreter. Doctors Jo Wilson, April Kepner, and Andrew DeLuca share the episodes they think are essential to understanding their characters. The Brother 2 / Brat 2 (DVD NTSC) Sergej Bodrov-ml. Established in Melbourne (Australia) in 1999, ‛A Man I Once Knew’: Old Tales and Bad Time in David Lynch’s, Dreams of Italy’s Past: Giuseppe Rotunno’s Cinematography in, George Romero’s Zombie Movies: The Fragmentation of America, Baron Lands: Environmental Upheaval and the Texas Oil Movie, “Cinematic Comrades”: Bong Joon-ho’s Auteurism and Song Kang-ho’s Performance, Notes From the Edge: The 16th Brisbane International Film Festival, Rediscovering the Forgotten Gems of a Decade: Austrian Auteurs of the 1970s at the Viennale, Some Winners and Then Some: Sundance 2021, Forgotten Wars: The AFI FEST/AFM 2020 (Virtual Events), “Memories Are Made of This”: Juliane Lorenz and Lothar Schirmer’s. Aleksei Balabanov makes films the only way possible: like we are living in a healthy country that produces 150 movies yearly. Marshals (1998) with Tommy Lee Jones and Wesley Snipes. 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