"The Priest"/Поп joins several recent Russian entries (including "Punishment Batallion"/Штрафбат and two or three of the set-pieces within Sergei Mikhalkov's ponderous "Burnt by the Sun- 2"/ Утомленные солцем- 2) as part of a de facto common effort to rescue post-Soviet cinema from the stereotypes, fables and large-scale falsification that the Soviet movie industry was largely confined to for most of the period covering 1942-91-- and managed to pass along, if only as a mindset, to many in the succeeding Russian industry and general public after the Soviet Union finally went out of business (not a moment too soon).
For every rare kernel of truth-- and there were indeed a few in "Ballada of a Soldier"/ Баллада о солдате and "Come and See"/ Иди и смотри, for example-- there were 20 (or 200 or 2000) Big Lie whoppers planted within the waves of propaganda films masquerading as cinema (and not very well) that Soviet audiences were subjected to for half a century. Setting all this aside has not, of course, been easy-- particularly when you have figures like the mayor of Moscow adamantly insisting that Stalin should be honored as part of the nation's celebration of the 65th anniversary of victory in the war. Yikes.
"The Priest" profits enormously from Sergei Makovetsky in the lead, an actor whose range is among the broadest in the profession (Evgenii Mironov is his principal competition). The film is less plot-driven than episodic-- which is as it should be, since its premise is a plot unto itself: a Russian Orthodox priest functions under German occupation on territory that has changed hands multiple times over a single generation. Whom to serve and how are all the "plot" necessary; and the answers on offer are not pat.
Russian viewers have taken home much that is new to them from this film, and non-Russian audiences, even those unfamiliar with the contested history of the region, will likewise find considerable food for thought here. Briefly put, "The Priest" will reward different audiences on many levels, and deserves wide distribution outside (current) Russian borders. Highly recommended.
For every rare kernel of truth-- and there were indeed a few in "Ballada of a Soldier"/ Баллада о солдате and "Come and See"/ Иди и смотри, for example-- there were 20 (or 200 or 2000) Big Lie whoppers planted within the waves of propaganda films masquerading as cinema (and not very well) that Soviet audiences were subjected to for half a century. Setting all this aside has not, of course, been easy-- particularly when you have figures like the mayor of Moscow adamantly insisting that Stalin should be honored as part of the nation's celebration of the 65th anniversary of victory in the war. Yikes.
"The Priest" profits enormously from Sergei Makovetsky in the lead, an actor whose range is among the broadest in the profession (Evgenii Mironov is his principal competition). The film is less plot-driven than episodic-- which is as it should be, since its premise is a plot unto itself: a Russian Orthodox priest functions under German occupation on territory that has changed hands multiple times over a single generation. Whom to serve and how are all the "plot" necessary; and the answers on offer are not pat.
Russian viewers have taken home much that is new to them from this film, and non-Russian audiences, even those unfamiliar with the contested history of the region, will likewise find considerable food for thought here. Briefly put, "The Priest" will reward different audiences on many levels, and deserves wide distribution outside (current) Russian borders. Highly recommended.
