Агата Кристи на русском экране
Меня всегда занимал вопрос: смотрят ли на родине Агаты Кристи наши экранизации по её романам и если смотрят, то что о них думают? Особенно меня взволновал этот вопрос после того, как я познакомился, так сказать, с «аутентичными» фильмами - то есть снятыми самими англичанами по тем же произведениям старушки Агаты. Не всегда это соревнование, на мой субъективный взгляд, выигрывали соплеменники королевы детектива. А иные из наших фильмов в чём-то оказались даже первопроходцами и чемпионами. Ниже я предлагаю небольшой отрывок из книги британского исследователя Марка Олдриджа «Агата Кристи на экране», выпущенной в 2016 году, а именно из главы под кратким названием «Россия».
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Агата Кристи на русском экране
Наши экранизации на взгляд англичан
Марк Олдридж (Mark Aldridge) / отрывок из книги «Agatha Christie on Screen» (2016)
Перевод: alek-morse (А.С.)
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У России долгая история производства высококачественных и своеобразных экранизаций литературной классики, - правда, многие из них не имеют официальной лицензии (от правообладателя) и редко получают широкий прокат в других странах мира. Один из самых успешных сериалов - экранизация рассказов о Шерлоке Холмсе с Василием Ливановым в главной роли, которая была снята в 1979-1986 гг. режиссёром Игорем Масленниковым. В определённом смысле этот сериал установил шаблон для экранизаций Агаты Кристи, например, в том, чтобы точно следовать изначальному тексту, воспроизводя типичный британский антураж, - в то же время выбранные для съёмок места несут характерный отпечаток Советского Союза, из-за чего им трудно сойти за аутентичное место действия - архитектурный стиль Риги заметно отличается от лондонского. В результате мы имеем набор экранизаций, которые иногда отвлекают зрителя своим необычным переплетением двух совершенно разных культур, но часто служат верным и интересным взглядом на оригинальные истории.
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Первая из этих русских экранизаций Агаты Кристи вышла в 1983 году и называется «Тайна Чёрных дроздов» (режиссёр Вадим Дербенёв) - адаптация повести «Карман полный ржи» 1953 г. из цикла про мисс Марпл. Здесь мы имеем дело с чем-то похожим на советский замок, который выдаётся за английский загородный дом, хотя с точки зрения повествования, основная часть которого закручена вокруг убитого главы семейства, история достаточно близко следует оригинальному сюжету Кристи. Единственное заметное изменение состоит в том, что действие перенесено в сегодняшний день - в фильм включены специально снятые в Лондоне кадры, правда, похожие на съёмку скрытой камерой, так как большая их часть снята изнутри мчащейся машины, в том числе виды со зданием Парламента. Безусловно, лучший исполнитель в актёрском составе - Ита Эвер в роли мисс Марпл; свою роль она играет сдержанно и выразительно, мисс Марпл в её исполнении очаровывает своей уверенностью и забавным самодовольством. (...)
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полностью читать на Яндекс-Дзене
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Agatha Christie on Russian Screen
Mark Aldridge- from book Agatha Christie on Screen (2016)
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Russia has a long history of producing its own distinctive and high-quality screen adaptation of classic literary text, although many are not officially licensed and are rarely given mainstream distribution elsewhere in the world. One particularly effective series of adaptation was of Sherlock Holmes stories, which were filmed between 1979 and 1986, directed by Igor Maslennikov and starring Vasily Livanov as Holmes. In several respects these productions set the template for the later Christie adaptations, as they faithfully follow the original text, including the (normally) British setting, while using locations distinctive to the Soviet Union that could in no way pass for the location they purport to be - the architectural style of Riga being rather different to that of London. The result is a set of adaptations that may sometimes distract the audience through its unusual meshing of two very different cultures, but often serves as faithful and interesting takes on the original stories.
.
The first of these Russian adaptations of Agatha Christie came in 1983, with ‘Tayna chyornykh drozdov’ (The Blackbirds Mystery, or Secret of the Blackbirds, d. Vadim Derbenyov), an adaptation of the 1953 Miss Marple novel A Pocket Full of Rye. Here we have what looks like Soviet castle standing in for an English country house, but in terms of narrative, for the most part the story of a murdered patriarch sticks reasonably closely to Christie’s original novel. One notable change is that the action is transplanted to the modern day and includes specially shot footage in London - although it appears to have been a surreptitious shoot since most of the action it captured from inside a moving car, including footage of the House of Parliament. Easily the best actor in the variable cast is Ita Ever as Miss Marple; she gives a restrained and effective performance, playing a Marple who is charmingly confident and amusingly self-satisfied. As was common in Christie’s own books, Miss Marple is not the focus of the action but pops up in order to reassure the audience that someone is piecing together the clues. In a moment that emphasizes the 1980s setting ever more that the synthesized soundtrack, at one point Miss Marple even solves a Rubik’s cube while mulling over events. Sometimes the production tries a little too hard cither to convince the audience about the British setting (such as one background character dressed in union flag-emblazoned attire) or to place it in the action-adventure bracket (when a bomb is placed in Miss Marple’s handbag), but it is pleasant and interesting approach to the mystery that puts some home-grown productions to shame.
.
Things took a darker turn the next time Russia produced a screen version of an Agatha Christie mystery, with a new version of ‘And Then There Were None’ (Desyat negrityat, d. Stanislav Govorukhin), a 1987 film that is probably the best known of all of the Russian adaptations because it opts for the book’s downbeat ending rather than Christie’s stage version, which allowed two of the victims to survive. To call it bleak would be something of an under-statement, and it is no surprise that Christie fans have embraced the adaptation so whole-heartedly, as it offers a close retelling of the original novel. For a general audience there is perhaps a little less to enjoy - certainly among those who expect their Christie adaptations to balance lighter moments with the undoubtedly strong central mystery, while the pace in the early portion of the film is slower that it could be. However, for an audience that has been starved of adaptations that preserve the resolution of one of Christie’s best novels (at least until the 2015 BBC miniseries), there is much to enjoy here. The film opens with our group of suspects and victims travelling to an island by boat, a place depicted by matter painting with a decidedly Soviet-style mansion nestling at its peak. The orchestral score immediate sets the downbeat tone, before later becoming a little ostentations and melodramatic at some of the more dramatic moments. Where the film works best is in depicting each character’s unease with their own life (this is a collection of particularly world-weary individuals), as well as with the situation and their fellow suspects. This is especially well dramatised in sections such as a monochrome flashback to Vera’s life prior to the events on the island... (...)
.
In 2002 Russia embarked on its most ambitious adaptation, a five-hour version of The Murder of Roger Ackroyd (d. Sergey Ursulyak). The five-part screen version is barely even an adaptation; instead it is more a simple and systematic transplantation of action from page to screen. Non-Russian speakers do not require subtitles in order to follow the action - instead, one can simply read the book alongside it and see the events that take place on the page play out on the screen. The final result would not work for many of Christie’s stories (nor, indeed, for novels by any author), but the meticulous plotting and well-placed red herrings of this particular story mean that the extended form is extremely suitable. As with the novel, the series is narrated by Dr Sheppard, played by the highly regarded actor Sergei Makovetsky. (...)
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Агата Кристи на русском экране
Наши экранизации на взгляд англичан
Марк Олдридж (Mark Aldridge) / отрывок из книги «Agatha Christie on Screen» (2016)
Перевод: alek-morse (А.С.)
.
У России долгая история производства высококачественных и своеобразных экранизаций литературной классики, - правда, многие из них не имеют официальной лицензии (от правообладателя) и редко получают широкий прокат в других странах мира. Один из самых успешных сериалов - экранизация рассказов о Шерлоке Холмсе с Василием Ливановым в главной роли, которая была снята в 1979-1986 гг. режиссёром Игорем Масленниковым. В определённом смысле этот сериал установил шаблон для экранизаций Агаты Кристи, например, в том, чтобы точно следовать изначальному тексту, воспроизводя типичный британский антураж, - в то же время выбранные для съёмок места несут характерный отпечаток Советского Союза, из-за чего им трудно сойти за аутентичное место действия - архитектурный стиль Риги заметно отличается от лондонского. В результате мы имеем набор экранизаций, которые иногда отвлекают зрителя своим необычным переплетением двух совершенно разных культур, но часто служат верным и интересным взглядом на оригинальные истории.
.
Первая из этих русских экранизаций Агаты Кристи вышла в 1983 году и называется «Тайна Чёрных дроздов» (режиссёр Вадим Дербенёв) - адаптация повести «Карман полный ржи» 1953 г. из цикла про мисс Марпл. Здесь мы имеем дело с чем-то похожим на советский замок, который выдаётся за английский загородный дом, хотя с точки зрения повествования, основная часть которого закручена вокруг убитого главы семейства, история достаточно близко следует оригинальному сюжету Кристи. Единственное заметное изменение состоит в том, что действие перенесено в сегодняшний день - в фильм включены специально снятые в Лондоне кадры, правда, похожие на съёмку скрытой камерой, так как большая их часть снята изнутри мчащейся машины, в том числе виды со зданием Парламента. Безусловно, лучший исполнитель в актёрском составе - Ита Эвер в роли мисс Марпл; свою роль она играет сдержанно и выразительно, мисс Марпл в её исполнении очаровывает своей уверенностью и забавным самодовольством. (...)
.
полностью читать на Яндекс-Дзене
.
---------------------------------------
.
Agatha Christie on Russian Screen
Mark Aldridge- from book Agatha Christie on Screen (2016)
.
Russia has a long history of producing its own distinctive and high-quality screen adaptation of classic literary text, although many are not officially licensed and are rarely given mainstream distribution elsewhere in the world. One particularly effective series of adaptation was of Sherlock Holmes stories, which were filmed between 1979 and 1986, directed by Igor Maslennikov and starring Vasily Livanov as Holmes. In several respects these productions set the template for the later Christie adaptations, as they faithfully follow the original text, including the (normally) British setting, while using locations distinctive to the Soviet Union that could in no way pass for the location they purport to be - the architectural style of Riga being rather different to that of London. The result is a set of adaptations that may sometimes distract the audience through its unusual meshing of two very different cultures, but often serves as faithful and interesting takes on the original stories.
.
The first of these Russian adaptations of Agatha Christie came in 1983, with ‘Tayna chyornykh drozdov’ (The Blackbirds Mystery, or Secret of the Blackbirds, d. Vadim Derbenyov), an adaptation of the 1953 Miss Marple novel A Pocket Full of Rye. Here we have what looks like Soviet castle standing in for an English country house, but in terms of narrative, for the most part the story of a murdered patriarch sticks reasonably closely to Christie’s original novel. One notable change is that the action is transplanted to the modern day and includes specially shot footage in London - although it appears to have been a surreptitious shoot since most of the action it captured from inside a moving car, including footage of the House of Parliament. Easily the best actor in the variable cast is Ita Ever as Miss Marple; she gives a restrained and effective performance, playing a Marple who is charmingly confident and amusingly self-satisfied. As was common in Christie’s own books, Miss Marple is not the focus of the action but pops up in order to reassure the audience that someone is piecing together the clues. In a moment that emphasizes the 1980s setting ever more that the synthesized soundtrack, at one point Miss Marple even solves a Rubik’s cube while mulling over events. Sometimes the production tries a little too hard cither to convince the audience about the British setting (such as one background character dressed in union flag-emblazoned attire) or to place it in the action-adventure bracket (when a bomb is placed in Miss Marple’s handbag), but it is pleasant and interesting approach to the mystery that puts some home-grown productions to shame.
.
Things took a darker turn the next time Russia produced a screen version of an Agatha Christie mystery, with a new version of ‘And Then There Were None’ (Desyat negrityat, d. Stanislav Govorukhin), a 1987 film that is probably the best known of all of the Russian adaptations because it opts for the book’s downbeat ending rather than Christie’s stage version, which allowed two of the victims to survive. To call it bleak would be something of an under-statement, and it is no surprise that Christie fans have embraced the adaptation so whole-heartedly, as it offers a close retelling of the original novel. For a general audience there is perhaps a little less to enjoy - certainly among those who expect their Christie adaptations to balance lighter moments with the undoubtedly strong central mystery, while the pace in the early portion of the film is slower that it could be. However, for an audience that has been starved of adaptations that preserve the resolution of one of Christie’s best novels (at least until the 2015 BBC miniseries), there is much to enjoy here. The film opens with our group of suspects and victims travelling to an island by boat, a place depicted by matter painting with a decidedly Soviet-style mansion nestling at its peak. The orchestral score immediate sets the downbeat tone, before later becoming a little ostentations and melodramatic at some of the more dramatic moments. Where the film works best is in depicting each character’s unease with their own life (this is a collection of particularly world-weary individuals), as well as with the situation and their fellow suspects. This is especially well dramatised in sections such as a monochrome flashback to Vera’s life prior to the events on the island... (...)
.
In 2002 Russia embarked on its most ambitious adaptation, a five-hour version of The Murder of Roger Ackroyd (d. Sergey Ursulyak). The five-part screen version is barely even an adaptation; instead it is more a simple and systematic transplantation of action from page to screen. Non-Russian speakers do not require subtitles in order to follow the action - instead, one can simply read the book alongside it and see the events that take place on the page play out on the screen. The final result would not work for many of Christie’s stories (nor, indeed, for novels by any author), but the meticulous plotting and well-placed red herrings of this particular story mean that the extended form is extremely suitable. As with the novel, the series is narrated by Dr Sheppard, played by the highly regarded actor Sergei Makovetsky. (...)