棺材200 Gruz 200 (豆瓣)

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导演: Aleksei Balabanov
编剧: Aleksey Balabanov
主演: Aleksei Poluyan

制片国家/地区: Russia
官方网站: http://www.gruz200.ru/
语言: 俄语
上映日期: 2008-03-24 >更多
又名: 末世魔警 / Груз 200 / Cargo 200

imdb链接: tt0847880

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剧情简介 · · · · · ·

　　From Russia, Without Love:
　　New Movie Slams Soviet Union
　　By ANDREW OSBORN
　　June 21, 2007
　　MOSCOW -- For nearly a decade, director Alexei Balabanov and producer Sergei Selyanov have ridden a rising wave of nationalism in Russia to box office success with tales of local heroes triumphing over Chechen separatists, American crime bosses, and underworld hit men.
　　But their latest film, ... (展开全部) 　　From Russia, Without Love:
　　New Movie Slams Soviet Union
　　By ANDREW OSBORN
　　June 21, 2007
　　MOSCOW -- For nearly a decade, director Alexei Balabanov and producer Sergei Selyanov have ridden a rising wave of nationalism in Russia to box office success with tales of local heroes triumphing over Chechen separatists, American crime bosses, and underworld hit men.
　　But their latest film, set in 1984, has left audiences feeling uncomfortable by taking aim at a new target: the Soviet Union. The gritty thriller, set in 1984 in the USSR's twilight years, has triggered controversy with an unremittingly bleak and violent portrayal of the period.
　　The reaction at a special prerelease screening in Moscow early this month was stunned silence. The country's political and cultural elite were invited to the screening but the theater was less than half full.
　　The film is named "Gruz 200" (Cargo 200) after the zinc-lined coffins in which dead Soviet soldiers were shipped home from the 1979-89 war in Afghanistan. Messrs. Balabanov and Selyanov say they made the movie as an antidote to what they describe as rising nostalgia in Russia for the Soviet period.
　　"I show what filth we lived in," said Mr. Balabanov, a director sometimes described as Russia's Quentin Tarantino. "Society was sick from 1917 onwards," he added, referring to the year the Bolsheviks took power.
　　The film -- a graphically violent story of the sexual abuse of a teenage girl at the hands of a sadistic Soviet policeman -- paints a relentlessly negative picture of a time that many Russians recall with warm nostalgia. The filmmakers hope to release the movie overseas but haven't yet signed up a foreign distributor.
　　Russian President Vladimir Putin, who restored Russia's Soviet-era national anthem, has called the 1991 collapse of the Soviet Union "the greatest geopolitical catastrophe of the 20th century," and polls show a majority of Russians regard the period as one of relative prosperity, stability and national pride.
　　Alexei Balabanov, second from left, with crew.
　　In the past few years, fixtures of the Soviet era have made a comeback, including Red Square military parades and the Young Pioneers youth group, a Communist-era outfit modeled on the Boy Scout Movement that encouraged its young members to idolize "Uncle Lenin."
　　Critics say "Gruz 200" is symptomatic of a general unease among Russia's cultural elite about the resurgence of Soviet-era symbols and thinking. While news on state TV is carefully choreographed to crank up patriotic fervor, a major Kremlin priority, movies paint a more nuanced picture. In the past year, TV networks have aired major miniseries depicting the horrors of the Soviet Gulag, based on works by Alexander Solzhenitsyn and other dissidents.
　　But "Gruz 200" is by far the harshest of these works, and is set in an era that's more recent.
　　The tale of betrayal, murder and moral decay unfurls in the smokestack town of Leninsk -- a grimy fictional Soviet anytown filled with crumbling apartment blocks, broken-down Soviet cars and epidemic alcoholism. After leaving a dance, the young daughter of a local Communist Party boss is abducted by a sadistic policeman. He chains her to a bed in his filthy apartment, which gradually fills with corpses from the murderous rampage that follows. At one memorable moment in the film, a coffin containing the dead boyfriend of the kidnapped girl arrives back from Afghanistan only to be intercepted and defiled by her captor.
　　Mr. Balabanov leaves no doubt as to where he lays the blame for the moral emptiness of the period. The demonic police captain has a metal bust of Felix Dzerzhinsky, the founder of the Soviet secret police, in his office. Leninsk is littered with signs glorifying the Communist Party, and the film's antiheroes listen to saccharine Soviet pop music, a deliberately incongruous soundtrack to such a dark plot.
　　Actor Alexei Poluyan as Police Captain Jurov in 'Gruz 200'
　　Mr. Balabanov says "Gruz 200" is based on his own experiences while traveling across the Soviet Union in the 1980s, as well as on stories he heard second-hand.
　　Mr. Selyanov says he believes it is his "duty" to remind people of what the Soviet Union was really like and combat the rising warmth for the period. "We have to fight this nostalgia," the producer says.
　　But the film has been dogged by controversy since even before it opened. Mr. Balabanov says three prominent actors who had played in his previous films refused parts once they read the script. "They were scared," he said. The director was forced to use largely unknown actors.
　　When "Gruz 200" was shown at a major Russian film festival earlier this month, critics were bitterly divided, and the film went home with only a consolation prize. A group of Russian film critics wrote an open letter in protest. "Today in Russian society, the situation has again taken hold in which films are divided not just into the 'good' and 'bad,' but also into 'suitable' and 'unsuitable,' " the critics wrote, in a reference to Soviet-era censorship.
　　The film makers acknowledge its unrelentingly negative portrayal and violence will limit its appeal. Authorities have given it the rough equivalent of an NC-17 rating, barring viewers under 21. Fears of a public backlash mean it is only being shown on a third as many screens as the pair's previous films.
　　Russian TV networks, controlled by the state, have balked at even late-night showings -- critical to financial success for Russian movies.
　　A poster from the film, and a scene from near the end with actress Natalya Akimova as Antonina
　　"We don't have the courage to put something like this on the air," said Vladimir Kulistikov, head of the No. 3 NTV network, in a statement. He said he feared his channel would not be "catering to the taste of viewers" if it aired Gruz 200. It is the not the film's violence that is the issue however; Russian TV regularly shows brutal and sexually explicit foreign movies in late night slots.
　　Such fierce public reaction is something to which the two film makers are unaccustomed. In the past decade, their movies have seemed unerringly in tune with the zeitgeist, garnering them festival prizes, box-office success and young fans.
　　Their biggest hit, "Brat 2" (Brother 2), was the tale of a veteran of Russia's Chechen war cleaning up the streets of Chicago. The film's latent anti-Americanism went down well with a public disillusioned with the West after the chaos of the 1990s, when living standards collapsed and hopes for democracy fizzled. Their most nationalistic film to date, "Voina" (War), portrayed a British actor embracing the brutal tactics of a Russian veteran in an effort to free his fiancée kidnapped in Chechnya.
　　"Every new Balabanov film is not only a cultural event but a social one," critic Vasily Koretsky wrote in Expert magazine, four days after Gruz 200 went on general release in Russia. "They are legends, but legends with a lesson, cutting to the heart of the search for answers to the questions: Who are we? Where are we coming from and where are we going?"　　