December 17, 2024

"Yesenin" (Mikhail Ulyanov) has been a successful writer in years gone by but is now in something of a black fog. It's not that he doesn't think he's a great writer, it's that he thinks he's lost it and that nobody will ever care. To try and kick start his creative juices, he sets off with fellow scribbler "Paschin" (Evgeniy Vesnik) and enthusiastic assistant "Maria" (Yevgeniya Nechayeva) to the snowy town of Vladimir. It's his arrival that symbo… read the rest.

"Yesenin" (Mikhail Ulyanov) has been a successful writer in years gone by but is now in something of a black fog. It's not that he doesn't think he's a great writer, it's that he thinks he's lost it and that nobody will ever care. To try and kick start his creative juices, he sets off with fellow scribbler "Paschin" (Evgeniy Vesnik) and enthusiastic assistant "Maria" (Yevgeniya Nechayeva) to the snowy town of Vladimir. It's his arrival that symbolises his approach to life as he tells his pal to make an illegal turn off the street. This attracts the attentions of a local, impressionable, police officer (Sergey Nikonenko) whom he tries to charm then intimidate into not giving them a ticket. This meeting rather sums up the man's impotence, even though the decent young man is a fan of his works. A visit to the local museum proceeds to make matters even worse for a time as he encounters "Sasha" (Inna Churikova), a curator in the place who has also read his works but has long since consigned them to the bin of inconsequence as she has grown older and wiser. Despite her politely veiled criticism of his works, he is taken by both her and he intellect. It's the latter that might just offer him a solution to his creative constipation...? It starts off quite promisingly this, with a bit of spatting amidst plenty of snow an a little Schubert, but quickly that rather static and distant style of direction and photography starts to effectively freeze us out of their characterisations. There are far too many lingering shots, way too much "insightful" narration and though I did think there was a bit of chemistry between Ulyanov and Vesnik on occasion, there wasn't really between him and Churikova and the rapport with Nechayeva was borderline "Carry On" at times. Perhaps it was supposed to be a test of patience? It does allow us into his mind and that's not the most organised of places to live, but it still needed more focus for the viewer and less angst-ridden diatribe. It was banned in the Soviet Union for a time, but given the plentiful supplies of food and drink available in this wintery wonderland I'd have thought it exactly the symbol of success they'd have wanted to export.

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