My main reason for choosing to watch this film was after having read up on the trials and tribulations of the Russian stage, film director, and theatre designer Kiril Serebrenikov. Serebrenikov had, until recently been placed under house arrest by the Russian Government, after being convicted of embezzlement and is still now not able to leave Moscow. This all meant that Serebrenikov completed the Leto while still locked away in his apartment.
Leto is based to a greater/lesser extent on the true story of the Underground rock scene in early 1980's St Petersburg. The City's authorities had sought to try to co-opt the new musical trends sweeping into the Soviet Union from the West, such as: Punk, Rock and New Wave, through the introduction of a state sanctioned Rock club, the first of its kind in the Soviet Union. Rock groups would apply to play, having their lyrics vetted for any subversive content in order that they could perform. The club's performance scenes are entertaining, and surprising, with local apparatchiks patrolling the audience to ensure that everyone stays in their seats and remains calm.
At the heart of this film is a 3-sided relationship between Mike, the club pro, He and his band are the stars of the club, playing to adoring (but restrained) fans including his young wife Natalia. So far, so good. It's the arrival of this 3rd side which adds the complexity. Viktor, a young musician, with the talent, lyrics and attitude required to become a star. Natalia quickly falls for Viktor, but Viktor seems rather more focused on the guidance and opinions of Mike. While for Mike, he obviously doesn't want to lose Natalia, but what does he want?
There seems always a carefree sense associated with Mike, one of the reason's perhaps he doesn't push on and above the Club. I think in Viktor he sees someone who has that little bit extra something, be it talent, desire or authenticity required to make him a huge star which he himself doesn't quite have. As a result, he gets behind Viktor, providing the further guidance and motivation that the younger man seeks.
To this effect, Mike gives a memorable speech when questioned by a friend, as to why he is in such a hurry to get Viktor recorded. He reflects that in the Soviet Union, you never know what can happen to a man, but there is/was always the risk that life could be cut short.
As mentioned, the film is loosely based on real events: Viktor (Viktor Tsoi) went onto become a huge star before dying tragically early in 1990 at the age of 28, the result of a car crash. Mike's response in the film reflects the tragic and rapid decline and fall of the real-life figure on which he is based, Mike Naumenko, who became an alcoholic, split from his wife, and as a result of an accident was left physically unable to play his guitar any longer. He died one year after Viktor, in 1991 aged 36.
Perhaps the most memorable thing about Leto is how the film consistently busts through the so called "forth wall" (in other words the invisible, imagined wall that separates actors from the audience). In the form of superb choreographed sequences, where the timeline of the film is frequently paused. The standout of the Choreographed scenes is one set on a commuter train, as Mike and his friends, with their subversive dress and behaviour, draw scorn from other passengers. Plain clothes police soon become involved. It's at this point that one of the Characters completes (impressively in the circumstances) a spirited version of Talking Head's "Psycho Killer".
The second wall breaker is the character, "Skeptik" who appears throughout the film both within and outside of events. Addressing on some occasions other characters and on others, the audience directly. In retrospect I consider Leto to be a very good film. The set piece sequences are unique and magical perhaps unsurprising considering Serebrenikov prior experience in the theatre.
Leto is based to a greater/lesser extent on the true story of the Underground rock scene in early 1980's St Petersburg. The City's authorities had sought to try to co-opt the new musical trends sweeping into the Soviet Union from the West, such as: Punk, Rock and New Wave, through the introduction of a state sanctioned Rock club, the first of its kind in the Soviet Union. Rock groups would apply to play, having their lyrics vetted for any subversive content in order that they could perform. The club's performance scenes are entertaining, and surprising, with local apparatchiks patrolling the audience to ensure that everyone stays in their seats and remains calm.
At the heart of this film is a 3-sided relationship between Mike, the club pro, He and his band are the stars of the club, playing to adoring (but restrained) fans including his young wife Natalia. So far, so good. It's the arrival of this 3rd side which adds the complexity. Viktor, a young musician, with the talent, lyrics and attitude required to become a star. Natalia quickly falls for Viktor, but Viktor seems rather more focused on the guidance and opinions of Mike. While for Mike, he obviously doesn't want to lose Natalia, but what does he want?
There seems always a carefree sense associated with Mike, one of the reason's perhaps he doesn't push on and above the Club. I think in Viktor he sees someone who has that little bit extra something, be it talent, desire or authenticity required to make him a huge star which he himself doesn't quite have. As a result, he gets behind Viktor, providing the further guidance and motivation that the younger man seeks.
To this effect, Mike gives a memorable speech when questioned by a friend, as to why he is in such a hurry to get Viktor recorded. He reflects that in the Soviet Union, you never know what can happen to a man, but there is/was always the risk that life could be cut short.
As mentioned, the film is loosely based on real events: Viktor (Viktor Tsoi) went onto become a huge star before dying tragically early in 1990 at the age of 28, the result of a car crash. Mike's response in the film reflects the tragic and rapid decline and fall of the real-life figure on which he is based, Mike Naumenko, who became an alcoholic, split from his wife, and as a result of an accident was left physically unable to play his guitar any longer. He died one year after Viktor, in 1991 aged 36.
Perhaps the most memorable thing about Leto is how the film consistently busts through the so called "forth wall" (in other words the invisible, imagined wall that separates actors from the audience). In the form of superb choreographed sequences, where the timeline of the film is frequently paused. The standout of the Choreographed scenes is one set on a commuter train, as Mike and his friends, with their subversive dress and behaviour, draw scorn from other passengers. Plain clothes police soon become involved. It's at this point that one of the Characters completes (impressively in the circumstances) a spirited version of Talking Head's "Psycho Killer".
The second wall breaker is the character, "Skeptik" who appears throughout the film both within and outside of events. Addressing on some occasions other characters and on others, the audience directly. In retrospect I consider Leto to be a very good film. The set piece sequences are unique and magical perhaps unsurprising considering Serebrenikov prior experience in the theatre.