Russian militants and their philosophy

Russian militants are quite popular today among domestic viewers, especially among their strong half. In the cinematographic theory, this term is a genre in whose works the most important is the struggle of a noble positive Hero - a former military (who served in a special unit) or a former policeman - with a universal evil or local, lesser, but equally aggressive and insidious. The task of the article is to analyze whether the best Russian fighters match the classical models.

According to the plot, the situation develops so that society is unable to protect its own interests and the main positive character. He, as a rule, possesses those special outstanding abilities and physical abilities, which the representatives of the law so lack. In the film, the central character always has an assistant, who serves as a contrast, the background for revealing the hero's outstanding qualities.

On the opposite side there is always an antipode, which has a personal character with a positive character. Initially, the hero naively hopes to negotiate with the enemy, therefore suffers a minor defeat. But, quickly finding the right weapon, strategy and tactics of struggle, the main positive character of the militant arrests (rarely) or kills (more often than not) all those who threaten the life of the Hero himself or his loved ones. These are usually bandits who are usually members of the mafia, who are terrorists, corrupt officials, kidnappers and other representatives of the criminal world.

As soon as the Hero corrects the situation, the authorities return and the former unshakable order of things and the rule of the Law reign, and the murders committed by the character are recognized as forced protection.

The author considers subjectively the cult Soviet film of 1970 "The White Sun of the Desert" as the best example that raises Russian militants to an unattainable height. In the place of action it is, of course, "eastern", or "red western", that is, an adventure film, whose action takes place in the East (East English).

According to the genre, this is undoubtedly a thriller. Well, judge for yourself, Fyodor Sukhov, the main character, is a former Red Army man. He returns from the Turkestan front across the desert to Russia to his kind Katerina Matveyevna. According to the story, Fyodor Sukhov and his companions (Petruha, Said and Vereshchagin) defend another harem (nine unfamiliar liberated women of the East) from the gang and its leader, ex-husband and ruler - Abdullah, who, according to the old cruel custom, had to kill them all. At that time, the representative of the legitimate authorities, commander Rakhimov, headed a whole detachment galloped into the desert to seek Abdullah and this same gang.

Fedor has a friend-a young Petrukh soldier from Rakhimov's detachment, whose inexperience emphasizes and shades the actions of the advanced in military science Sukhov (he extracted ammunition, found dynamite and mined the longboat). Antipode (Abdullah) was killed, women are saved. Just at this time Rakhimov returns with his detachment, and Sukhov can transfer almost all his charges (Gyulchatai, Petruha and Vereshchagin died) and move on along the planned route.

As you can see, Vladimir Motyl's film is a thriller. Russian, or rather, Soviet, completely corresponding to the philosophy of the film-action classic of the Cartesian type. The public has long since disassembled it into quotes. In 9 years, Russian fighters were replenished with yet another classic, in terms of theory, tape "Pirates of the Twentieth Century."

It would be desirable that the militants of 2013, Russian or foreign, managed to win the same sympathy of the audience as the old good Soviet classics.