Operetta talks about life with his tongue

Inconsistency in art avenges itself. You can not "pull" the material. You need to fall in love with him. Of course, life, only life for art, is both inspiration and judge. But - life, not lifelike. Operetta - she tells us about life with her tongue. Any attempts to translate it into medium-maine Esperanto will give us a hybrid, incomprehensible and wild - no longer an operetta, but not a film.

To understand the second tough requirement that this genre imposes on those who contact it, let us return to the sources.

In terms of film studio recorded a new version of the operetta. Everything goes as usual: the script is written, the actors are selected. They found a very nice girl for the main role, it is this director who sees the heroine. A girl can't sing? The girl does not dance? The girl is not an actress operetta? As for these considerations, the all-powerful cinema!

And films are being screened, where the performers are painfully trying to bring the most conventional situations into line with the more familiar canons of dramatic action, “domestic” existence in the frame. They are unaware of the secrets of that particular half-game, the half-certification, which masters of the genre master. Sparkling dialogues, read "directly", seriously, become stupid and boring.

Having conceived the film-ballet "Romeo and Juliet", its authors invited G. Ulanova and Y. Zhdanov to the main parts. This was consistent, because they were no longer interested in Shakespeare's dramaturgy itself, but revealed by means of choreography, the art of ballet stars. In the performing phenomenon of G. Vishnevskaya, the authors of the film Katerina Izmaylova saw their main support.

What operetta? After all, the "lightness" of the genre is deceptive, and dilettantism here is no more likely to succeed than in Giselle or Troubadour. It would be long overdue to forget the diligent film version of The Circus Princess, if not for the duet of G. Bogdanova-Chesnokova and G. Yaron. The mastery of N. Slichenko and B. Tashkentsky made the television film “My Island Blue” a noticeable event, staged according to the operetta D. Modugno.

Such is the genre. Respect for him implies respect for the special role of the performer. The film can sometimes be started for the sake of it: the talent is worth the Mass. How many have complained that we are not making pictures based on Ranevskaya, Yanshin, Gribov, Lebedev ... Add to this list the names of Shmyga, Water, Martinson, Slichenko, Magomayev, many actors who can bring their truly invaluable to the musical film this genre of quality.

What, the reader will ask, remains to the share of cinema itself?

It remains to begin work on the film-operetta, throwing scissors away. Start over. With a plan - his own, not turned. With drama - new, not patched. So, as the authors of the film “Tobacco Captain” did - they came up with themselves and the convention and design, based on only the plot of the old comedy. The film turned out, probably precisely because there are no underpictures in it, but there is a whole and mischievous idea.

In the art of harmful recipes. I don’t know what kind of motion pictures are needed, what musicals. And no one, I dare to think, does not know. No one, besides the cheerful and talented man who, perhaps, is already plotting his musical discovery. He already sees future performers, he already hears melodies that everyone will sing tomorrow. Or maybe he will rediscover Strauss or Lehar for us. Dunaevsky or Milutin - I do not know, I do not know.

I know what kind of movie kennels are not needed. Do not need joyless "adaptation." Do not need a cancan with a simple "social load". No need for mannequins, shyly wrapped in neorealistic clothes.

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