Kalina krasnaya (1974) User Reviews

All is well that ends well

[eabakkum · 7/10 · 17 December 2013]

If you browse through my reviews (recommended!), you will notice my fascination for left-wing solutions of social problems. This explains my interest in the film "Kalina Krassnaja", which describes the social re-integration of a former criminal, called Jegor. Actually the film is also a love affair, and obviously reminds of "Stanley and Iris", this other romance that I have seen. In the Leninist perspective (= the morals taught in the schools of the Soviet states - seriously!) the nature of people is intrinsically good and altruistic. If people engage in criminal and anti-social activities, then this stems from unsound social constructions (like capitalism). This is not propaganda, but simply the Soviet view, just like you for instance might believe that two atomic bombs are the obvious way to convince Japan to surrender. In the Soviet state the alienating structures are eliminated, but there are still unfortunate remnants of the old capitalist ideas. Re-education and formation can suppress the old ideas and guide the criminals back to their good human (social) nature. Deliberately or not, the film describes just such a process. Thanks to the faith of Ljuba and her farmers community, Jegor is transformed back into the honest peasant, that he once was. You know the type - they are a primitive copy of the former American small farmers (= The grapes of wrath). Self confident but not very sophisticated. Ljubas advances are to some avail (= expedient for ugly women), and Jegors soul is saved. In the granary (= house for senior females) love blossoms. All is well, that ends well - even though Ljuba is still married with a drunkard. Does that make her a bigamist (= an Italian fog)? In addition I enjoyed the script, the dialogs, and the music (folk and Zhivago-like balalaika play). The whole is more lively than most Soviet films. So why does the film have such a sad conclusion? May I guess? Perhaps the producers try to discourage the viewers from engaging in criminal activities. Prevention is better than the cure. And indeed Jegor is pursued and hunted by his former gang. They are barbarians (= people who cut your hair). For them the only thing that counts is money. In their perspective, a peasant is not a human being. Evidently their appearance symbolizes the morals of the capitalist system. It is not a coincidence, that in the final scene the gang is crushed by a single peasant with some help of his motor truck. My version of the film has been dubbed in the former German Democratic Republic. Although I prefer subtitles (in the Netherlands we hate to disturb our neighbors), I can live with this. After all they were all Leninist comrades - Russian or not. Oh, and don't forget to check off the "useful: yes" ballot. I love comments.

A powerful film that embodies Shukshin's legacy

[PaulR-3 · 23 August 2002]

This film is just a knockout punch. The lead is played by Shukshin himself. His character is a wiry ex-con Egor trying hard to keep himself in line. The setting is Shukshin's milieu of choice - faraway Russian (Altay) villages. Basically, the kind of places where you could get beat up for using the word "milieu." The story relates the attempts by Egor to stay clear of trouble and to make a new life for himself. But there's no new life to be had, of course. It's a tragedy but you know early on where it's headed. In the meantime, though, Shukshin is absolutely electrifying. His language, his mannerisms transcend mere acting. Here's a Man, an original. He doesn't need The Method. And I can't even reduce this story to some simple indictment of Soviet life. Politics do not create lasting art. This film is about being on the outside, about being an honest animal. That's a tragic path in any society.

Kalina Krasnaya...

[underwaterhate · 10/10 · 6 July 2008]

This is half-comical half-tragic, half-serious half-playful story of a long ago deteriorated to criminal life simple country lad, which after long years of wild living and countless jail sentences decides he can no longer bear this kind of life. He has poetic, high, even philosophical, truth-seeking soul, unique perspective on life, his own picturesque language, colorful, exhibitionist behavior. He doesn't feel comfortable in the surrounding world, he feels like a stranger both in the criminal and the normative cultures, and he feels his life is ruined. He is filled with bitterness and desire to lead a totally different sort of existence, but at first - at least make some big, beautiful gesture, succeed in having one real "day of celebration" in his sorrowful, mangled life. He also senses some underlying impropriety, pettiness, artificiality in the life of his society. The underside, or maybe the essence of the soviet living is painted in the film with a few skillful brush strokes. But he is also the one to blame in graphic confrontations with anyone he meets, because he is sure everyone is patronizing, underestimating him, and so he is trying to defend his honor. He is not strange to provocation. But he also tries to build bridges in his own awkward way, he tries to find understanding, and time after time faced with a cold response he is getting more and more angry. The point here has to do with more than the soviet society, it has to do with human nature and human life in general.

During his time in prison he leads correspondence with a divorced woman, and short after his release heads to her village. This is very simple, innocent, gentle-hearted country girl which feels compassion and even love for Egor, the main character, intuitively sensing what lies deep down in the soul of this strange man. He comes to her house and starts living with her. The panicking reaction to his arrival of her family, friends and the whole village, and his attempt to deal with it are source of countless comical episodes, which characterize interesting truly Russian and truly Soviet types. His attempt to find a job there, what follows it, and the depiction of the soviet countryside in general are also comical and present it in a critical light. But this critique is not malicious, totally non-ideological, very unique, both totally non-venomous and full of anguish and depth.

Egor tries to break his ties to the criminal world, but it doesn't let him go, his old acquaintances follow him. He tries to hide that from Luba, his new girlfriend. He generally doesn't like to disclose too much information about himself, doesn't like to talk about his past, he doesn't like when people try to peek at his soul. Parallelly he tries to repair the damage he has done over the years... He has many skeletons in his closet. Nearby lives his elderly mother, which has not heard from him for 20 years and thinks he had died. He meets his sister in the nearby city, but can't find enough strength in him to start talking to her.

Egor feels strange kinship with one thing only - his little birch trees. For some reason this gentle and genuinely Russian tree draws from him feelings which no human being can. But even when he talks to his beloved birch trees he does not abandon his typical strange tone - simultaneously artistic, deliberate, and straightforward, sincere. He is a character and a half... He really doesn't know will he eventually be able to salvage his life, succeed in getting along with people, will he be able to open his heart to someone... But he isn't even given that slim chance. His old buddies hunt him down and shoot him.

This movie is not at all a moral parable about a honest man not getting along in a crooked society, nor a story of a fallen man asking for one last chance and not getting it, nor a story about one unique individual who can not find understanding of the ordinary folks. This is a rich, paradoxical, deep, honest story about the difficult life path of a complicated and troublesome human being that frantically searches for a glimpse of inner truth in himself and in others and has to deal with everything life has to throw at him.

Shukshin's acting is a whole other issue. It is simply out of this world, completely unique and immensely powerful, and can not be compared to anything else I've seen.

This movie is very hard to categorize, it is very peculiar and unique, and it will be very hard for a non-Russian audience to understand it fully. This is a masterpiece however - a film unlike any other. Maybe it is only possible to sum it up by saying it is a creation of Shukshin - one of the most interesting Russian authors, and it is like himself - one of a kind.

A very refreshing first rate drama

[ciaron_ohalloran3 · 10/10 · 14 May 2003]

First of all i thought the first guy who reviewed this movie was spot on. I was also glad to see someone else who has actually seen this film. I was suprised it was on this site. If for some reason you get to this review i would recommend this film highly especially for lovers of a good drama.

The films central character Vasili Shukshin (also the director) is a very intriguing, facinating character. The story is also very well constructed with interesting idea's. This film seems to come straight from the heart without all the cheap twists and turns that often seem to be used just to sell a film to the distributor's. Watch it and you will be rewarded. (A mature mind may be required to enjoy this film). One of my favorite films!

The Red Snowball Tree-A Vasily Shukshin film which shows that some people do not want to see other people happy.

[FilmCriticLalitRao · 10/10 · 23 January 2014]

The most unique thing about "Kalina Krasnaya" is that it is absolutely true to itself. Everything about it whether it is costume, decor or pastoral setting is truly authentic. The people shown in this film are simple but they do not hesitate in showing their maliciousness towards a person who had a shady past. This proves the point that human society is cruel with wicked people. While watching Egor's suffering one wonders whether there is any such thing as a reformed criminal as society does not give any second chance to criminals. In the 1980s and 1990s,Russian cinema was largely known due to films made during 'Glasnost' and 'Perestroika' times, Kalina Krasnaya was much ahead of its times as it spoke about holidays and brothels which were alien concepts for Russian cinema in 1970s. The Red Snowball Tree/Kalina Krasnaya is an important film in the history of Russian cinema. It was the last film made by Vasily Shukshin in 1974 both as an actor as well as director. For countless people in the world who are aware of the richness of Russian culture and civilization, the name of Vasily Shukshin is easily recognized as one of Russian cinema's greatest actors. Kalina Krasnaya impresses viewers with excellent acting performances. Apart from his own role as an actor, Vasily Shukshin has managed to extract excellent performances from leading actors such as Lidiya Fedoseyeva-Shukshina and Georgi Burkov.

Great film from russians to everyone

[i-balapanov · 10/10 · 6 July 2019]

Russians for many times has try to make movie with character describing true russian soul with it depth. Shukshin from my point of view not try to do this, but he did. He just want to tell the story of life. Life is not good, not bad, it's just like that, and it's to short, and never been repeat. Unfortunatly most foreign people (not from Russia) never had to try the bitter taste of snowball tree berries. I'm sorry for my english )