Exploring the Series 'Plevako': A New Take on History
The television series "Plevako", which premiered in 2024 under the direction of Anna Matisson, has swiftly risen to become one of the most talked-about projects of the year. Starring prominent actors such as Sergey Bezrukov, Nikolai Shraiber, Olga Lerman, and Maria Smolnikova, this series has found itself at the center of critique while simultaneously stirring viewer interest. Let’s embark on a deeper exploration to uncover what this project truly embodies.
Plot: A Picture Book Rather than a Historical Drama
Marketed as a narrative inspired by real events, it quickly becomes apparent that accuracy in history is far from the creators' main ambition. The saga of the illustrious lawyer Fyodor Nikiforovich Plevako morphs into what feels like a cinema comic infused with action, mystique, and a hefty dose of absurd romance. The protagonist, renamed Nikolai Fyodorovich (presumably to appease an audience struggling with the original name), emerges as a contemporary superhero who possesses a repertoire of skills including parkour, kung fu, and even super-sight.
The narrative kicks off with a ludicrous scene where Plevako, having buried his mother in a pagan manner, showcases his prowess in underground no-holds-barred fights. Following this odd introduction, he returns to Moscow to take on a sensational murder case of an aristocrat. Each episode delves into a different courtroom drama, depicting our hero utilizing deduction, encyclopedic knowledge, and the remarkable ability to recreate 3D projections of the past. This is consistently interwoven with acrobatic stunts and flashbacks that steep the audience into a ridiculous blend of historical farce and "The Matrix."
Historical Accuracy: A Victim of Postmodernism
One of the series' major critiques lies in its blatant manipulation of historical facts. Take, for instance, the character of the antagonist, Chief Prosecutor of the Holy Synod Konstantin Petrovich Pobedonostsev, who, in a perplexing twist, dives headfirst into a mundane criminal case. This narrative decision appears absurd when considering that the Holy Synod was primarily focused on spiritual matters and censorship. Moreover, the frequent intersections of characters within Moscow raise eyebrows, as Pobedonostsev's post was rooted in Saint Petersburg. The creators clearly didn’t trouble themselves with the realities of history; perhaps they envisioned a rapid transit system akin to a prototype of the high-speed train "Sapsan" in the 19th century.
Additionally, the industrialist Demidov is portrayed as a caricature of a retrograde villain, indulging in destruction and psychological torment against his wife. This depiction lacks depth, rendering him a mere stereotype villain, crafted solely to juxtapose the protagonist's moral virtue.
Challenges in Adaptation: Western Tropes on Russian Soil
Inevitably, comparisons to Western films and series arise. Unlike successful adaptations such as "Lincoln" or "Gangs of New York," which meticulously handle historical narratives, "Plevako" often resembles a poorly translated comic book. The desire to mimic contemporary trends leads to the introduction of almost ludicrous elements: Plevako's assistant zealously interjects English phrases into conversations, while the hero pompously emphasizes his Kalmyk identity, showcasing a level of bravado worthy of any Marvel superhero.
The influences of feminism and cultural Marxism are particularly pronounced, revealing themselves through the depiction of strong, independent female characters whose dialogues occasionally resonate with Twitter-like slogans. Rather than crafting deeply nuanced characters, the creators seem to fall back on clichés that cater to a modern audience.
Casting and Acting
Within the context of a lackluster script, the actors still manage to shine. Sergey Bezrukov blends seamlessly into the role of the charismatic lawyer, despite occasionally overacting in moments of "spiritual enlightenment." Olga Lerman, portraying Maria Demidova, injects an essential dose of drama but seems to lack the charisma necessary to make her character memorable. Contrarily, Nikolai Shraiber compensates for his partner's shortcomings, skillfully channeling the energy of a deranged husband with striking expressiveness.
Igor Gordin, who plays Pobedonostsev, draws on his theatrical experience to give his character a sense of depth. However, the absurdities in the script hinder the effectiveness of his portrayal. Overall, the casting aligns with the quality of the production: competent, yet devoid of any exceptional finesse.
Visuals and Technical Execution
Amid the narrative shortcomings, the visual elements of the series deserve accolades. The costumes, set designs, and cinematography conjure an atmosphere that, while failing to immerse the viewer in the actual 19th century, still projects a visually appealing aesthetic. The numerous flashbacks, while stylishly filmed, occasionally come across as excessively mannered. A significant drawback, however, is the sluggish pacing of certain scenes that often feel reminiscent of theatrical performances, lacking the necessary cinematic vitality.
End and Reflections
Ultimately, "Plevako" embodies a quintessential product of modern Russian television, teetering on the edge of parody while attempting to create something grand. The creators aim to please a diverse audience: historical drama enthusiasts, action seekers, and those who revel in light absurdity. The result is an eclectic piece that elicits laughter, irritation, and curiosity in equal measure.
Is this series worth watching? If you’re willing to overlook script inconsistencies and historical blunders, then "Plevako" may offer a reasonable form of entertainment. However, don’t anticipate depth or historical accuracy. Rather, expect a thrill ride—a spectacle rather than a serious work, and perhaps therein lies its true merit.