On Thursday, November 11, on the START video service, the premiere of the first series "Quartet I" "Something is missing in Borenka" took place.
The script was based on the performance of the same name.
Many of the actors who played in the series performed in similar roles in theatrical production.
Among them - the performer of the role of the director Maxim Vitorgan, Rostislav Khait in the image of the director Boris Naumovich, Leonid Barats, who played the scriptwriter Kirill.
Some (for example, "second director" Victoria Tolstoganova and "clapperboard" Anastasia Ukolova) were not involved in the stage version of "Borenka".
The series was directed by Nikita Vlasov ("Le.Gen.Yes", "Blank").
Sergey Petreikov, Barats and Khait worked on the script.
All three have previously written scripts for the comedies "What Men Talk About" and "Radio Day".
In the series, as in theatrical production, it tells about the filmmakers who have completed work on the next project and gathered at the "hat", a banquet to mark the end of filming.
The holiday provokes heroes to memories, loosens tongues and allows them to plunge into reflections - about creativity, work and relationships.
An important driving force of the plot is the introspection and reflection of the director Maxim: he worries that in his entire career he has not made a real movie.
Comparing himself with Oscar winner Vladimir Menshov, the hero thinks about what the media will say about him after his death.
A creative crisis leads to the birth of a new film - the director wakes up with an idea that seems to him to be the very "Toulon", a lucky ticket.
A picture that is not ashamed to show to children.
The film “House with a Mirror” conceived by Maxim is born in front of the viewers of the series, but the directors are in no hurry to show the result of their work and fill most of the screen time with the nuances of creative searches and corrections, the director's constant doubts.
It is against this background that the relationships of the characters develop.
The first person to whom Maxim tells about his idea is the second director Inna.
She supports her colleague and is next to him both in moments of elation and during the next crisis.
From the very first scenes, it is clear that the characters are close, but it is not completely clear whether this is a friendship or a romantic one.
© Video service START
After watching the first episode, as usual, the viewer has more questions than answers.
The narrative is torn apart by flashbacks, members of the film crew appear in the frame alternately with their experiences and dramas - the scriptwriter Grisha suffers from love, the actor Semakin is cheating on his wife, the producer Boris Naumovich solves all sorts of problems and distributes valuable advice to those around him.
The creators of "Borenka" managed to endow this kaleidoscope with intrigue: it is difficult to imagine how the conflicts outlined in the first episode will be resolved.
The audience should prepare for a very rich story.
Despite the general initial data, the series seems to be more complex and detailed than the performance.
The viewer moves between several time intervals, traveling behind the consciousness of the protagonist: the director either remembers how the idea of the film came to him, then pushes a speech before the final run.
Scenes from his memory are interspersed with shots from the lives of other heroes and recursive constructions.
So, at the end of the first episode, the hero of Maxim Vitorgan shows the audience the sign "end", going beyond the main story.
According to screenwriter Leonid Barats, it was the ability to embed a large number of parallel lines and stories into the series that made the transfer of the play "logical and natural."
“Shooting has its advantages, you can pay more attention to nuances, it is possible to convey texture more accurately.
More lines appeared in the series, we made the conditions of the “cap” itself and the conditions of the shooting process more real, in general, more material, dialogues and twists appeared, ”he commented.
The series really does not skimp on the details related to the production of the movie.
The tape immerses the audience in the world of professional humor, terms and traditions.
At the same time, the creators do not forget about the ordinary viewer, elegantly introducing explanations and decryptions into the plot.
Sometimes the characters seem to be distracted from their roles in order to comment on what a “hat” is and why there is “sausage” on it.
The shots are rich and dynamic: in "Borenka" there are no melancholic, static lengthy scenes - on the contrary, it seems that its creators deliberately accelerated all the actions.
At the same time, the series is not devoid of drama: external dynamics is combined with emotions skillfully woven into the plot and subtle psychologism.
The writers managed to write moderately detailed portraits of heroes who want to sympathize and empathize.
You should not expect that Borenka will become the alphabet of the film business: according to Maxim Vitorgan, this tape is, first of all, “about self-awareness, about self-acceptance, about humility, about the fact that you have to pay for everything in life, even when you you don’t suppose ”.
The leading actor believes that he and his colleagues have got a "conversation about a person against the background of the profession of a cinematographer" - and in no case is it the other way around.
This is true.
“Something is missing in Borenka” is a story about people, talents and doubts, made against the background of “Mosfilm” and to the sound of film.