About the film "Noisy Day"

Viewers often meet and talk with screenwriters, directors, and actors, and learn from them about their plans and many details that you won't see on the screen. However, not only the filmmakers have their own voice, but also its characters, if they are endowed with vivid character traits. It's interesting to continue the conversation with such a character after you see the picture. After all, we almost always want to know what happens next, and it seems as if the word "End" that flashed on the screen only temporarily suspended the development of the action, and did not end it.



Anyone who has seen the film "Noisy Day" based on V. Rozov's play "In Search of Joy" will probably not forget Claudia Vasilyevna, a wonderful woman, a mother who raised four children. In the film, we leave Claudia Vasilyevna at the moment when her maternal heart is bursting with pain and resentment. The eldest son, Fyodor, leaves the house, and not just leaves, but obediently follows the woman who will make him an avaricious and convinced philistine.



It's hard to lose children, but it's even harder when a son dies as a coward and a deserter.



Maybe the author of the play and the script will disagree with us, but for some reason it seems that Claudia Vasilyevna, if she really existed, would not have come to terms with the ending that is shown in the film; her burning heart would have prompted something more than a submissive expectation of what would happen next with Fedor.



May the author forgive us for treating his characters somewhat loosely, but we see this middle-aged woman in person, gazing into her intelligent, deep eyes: at night, when the children are asleep and reliving the events of an anxious day in their dreams, she writes a letter, putting into it all her anguish, all the nobility of an offended soul.



The crew of "Noisy Day" deserves appreciation. Using the best that was in the performances of two Moscow theaters — the Central Children's Theater and Sovremennik, the directors G. Natanson and A. Efros managed to create a cinematic work — the actors we know here are not at all "theatrical". On the screen, we found in the game of V. Sperantova, L. Tolmacheva, L. Krugly and others many subtle psychological details that would have been lost on the stage, requiring a sharper, more distinct drawing of the role.



Oleg Tabakov is especially good in the role of his fifteen-year-old namesake. His smile warms and reassures us during the most dramatic moments of action.



The wide screen, expertly used by cameraman V. Dombrovsky, opens up its new possibilities. Until now, it is still generally accepted that a wide screen is useful only for large-scale location filming, all kinds of battles and box office scenes. Here, the device does not leave the apartment, barely making its way between the props and the characters. But the frame is rich, the compositions are multifaceted, and there is no stiffness in the editing.



The film is likely to cause a backlash. This would be natural, because it was set with the idea that someone should like it, and someone should make someone angry. Only there will be no indifferent people among the audience. The film is disturbing, makes you think, compare something, re-evaluate it. But, despite the fact that it will evoke complex and even contradictory feelings in the viewer, the author's position is quite obvious. The pros and cons are clearly revealed.



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