By all rights, Lucky Trouble ought to be a fiasco. The plot is very nearly being nauseatingly trite, the exchange practically as terrible, the quantity of classifications and bland traditions stuck into one film practically incomprehensible, the acting about what one would expect given the above… but then the film by one means or another blends into something genuinely watchable, albeit maybe just on the off chance that one is as of now slanted toward type silver screen.
vykrutasyThis is Levan Gabriadze's first full-length film, and his cinematography owes much both to his advertizing foundation and to his maker, Timur Bekmambetov. Truth be told, for various reasons Lucky Trouble peruses as a Bekmambetov film: a quick paced plot, snappy cuts, broad utilization of moderate movement and embellishments (especially Bekmambetov's trademark utilization of moderate movement catch of activity that quickly speeds move down to typical speed just before the cut), clear coding of good and insidiousness characters, and overwhelming dependence on destiny and chance gatherings. What's more, in spite of Gabriadze being simply the chief of record, Lucky Trouble pitches itself as a Bekmambetov film, his name showing up on the second intertitle (quickly after the credit for financing from the Cinema Foundation [Fond kino]) in white on dark before the introduction of any diverting visuals, while Gabriadze is not credited until the finish of the film. As a developing name in the element film industry, Gabriadze is brilliant to profit by Bekmametov's hotshot executive status to get his name out and convey gatherings of people to theaters, however it is less certain on the off chance that he can set up his own particular unmistakable directorial style, or whether this is a "workshop" film—one that Bekmambetov has portrayed in detail and at exactly that point left Gabriadze to finish.
vykrutasyThe film takes after the (mis)- undertakings of the for all time tousled miserable sack Slava Kolotilov (Konstantin Khabenskii, of Bekmambetov's Night Watch [Nochnoi dozor, 2004]). Kolotilov's fortunes is by all accounts changing when he meets the lovely Nadia (Milla Jovovich) when she hits him with her auto as she runs a red light, and one tornado Moscow sentiment later, she consents to wed him. Nonetheless, Kolotilov is not a lasting inhabitant of the captivating Moscow, and his excursion from his podunk Pal'chiki back to Moscow and the wedding is loaded with obstructions—in particular, that he never takes off. For a situation of mixed up personality, Kolotilov is reserved into training the Pal'chiki soccer group in the title competition, don't bother that he doesn't know anything about soccer and has no group. Another mentor, Khlybustin (Sergei Garmash), acts the hero by prompting that Kolotilov get himself the most exceedingly bad group conceivable—one misfortune implies end and flexibility. With the assistance of the courageous youthful pickpocket Sasha (Savva Gusev), Kolotilov rapidly assembles a group of youthful hoodlums he feels beyond any doubt will have him while in transit to Moscow right away. Be that as it may, not surprisingly, nothing works out as expected and none of Kolotilov's endeavors to disrupt his group pay off. In the interim, Nadia carries on an apparently endless wedding gathering while at the same time attempting to battle off her plotting mother (Galina Loginova) and ex Dania (Ivan Urgant).
vykrutasyThe film curtails and forward between Kolotilov in Pal'chiki and Nadia in Moscow, frequently through the gadget of the instant message. While this demonstrates an effective and sparing gadget for transporting between plot lines, the waiting shots of the obviously costly cell phones show that the gadget is maybe less vital than item situation. Despite the fact that the logo on the iPhone is not unmistakable, the screenshots are adequately natural to make the logo insignificant, especially since the MacBook Pro is conspicuously included in another scene. Different items are shot in comparative ways: the drain Kolotilov uses to draw the non domesticated child out of his sanctuary to play soccer, and the purgative "Slablin" are shot similarly, the camera returning over and over to the item name—likely a marker of Gabriadze's opportunity shooting TV advertisements.
vykrutasyThere remain a couple of disjointed minutes in the film. The underlying change amongst Moscow and Pal'chiki is proficient by an energized SMS envelope that flies over a toon guide of Russia, from Nadia in Moscow to Kolotilov in Pal'chiki. Given that there is no other activity in whatever is left of the film, except for some content in the opening credits, the decision of movement appears an inquisitive one since the change could without much of a stretch have been expert by voiceover or onscreen content. Regardless of whether a gesture to Gabriadze's movement foundation at UCLA, where he contemplated plan and liveliness in the mid 1990s, or part of the cutesy tasteful of the wedding storyline, the activity fills little need. The other ambiguity concerns the two wander off in fantasy land successions from Kolotilov and Nadia. Given that Gabriadze uses these dream successions, it appears to be odd that he would not utilize them in different places in the film; especially for the telephone calls amongst Nadia and Kolotilov where he lies regarding why he is deferred, which would have loaned themselves well to visual delineation. Maybe these were left on the cutting room floor, yet it appears a somewhat clear missed chance to benefit as much as possible from portraying inside and interchange reality that Gabriadze does as such well in different spots.
vykrutasyThe title of the film ends up being especially well-suited, signifying "multifaceted developments" or "twists." While this could apply essentially to the different reshapings one needs to make in a relationship, it applies similarly well to the way the youngsters proceed onward the soccer field, and particularly the way that Gabriadze carries between classes. While the film starts as a lighthearted comedy of the "will-he-make-it-to-the-wedding?" assortment, it rapidly transforms into something unique, as the wedding storyline is subsumed by the games storyline. The last half-hour of the film seeps into something unique once more, pulling in components from wrongdoing and activity movies, finish with procured hooligans and a stirring pursue scene, which incorporates a harpooning. Russian sites include "acting" and "drama" to the blend.
vykrutasySuch a mélange makes one wonder: Who is the intended interest group for this film? While the number and kind of sorts Gabriadze draws upon appear a genuinely unholy mix, he may in truth have hit upon the ideal equation for the family film: the wedding story for mother, sports and a touch of activity for father, and a storyline about children for, well, kids. The steady intercutting between storylines guarantees that all strands of the story are always present, and additionally keeping up a fast pace. Counting a bit of something for everybody is an incredible draw for families, especially those with enough extra cash to go to the films. These have a tendency to be the ones with the yearnings to the MacBooks and iPhones that Gabriadze energetically features—the developing working class. Indeed, even the opening voiceover plays into working class yearnings: carrying on with the great life, being some person, and being some individual in Moscow. The capital is the place one goes to make oneself and one's life—this does not occur in the areas. However regardless of this depiction, the film is not about either the capital, the territories, or even some place in the middle of—subjects too substantial for a fun, family-accommodating film.
Gabriadze's utilization of kinds works basically as a sort of shorthand as opposed to any profound engagement with them. He indecently utilizes many clichés, but since of their thickness, the great hearted spoof is self-evident; the way that the film does not consider itself excessively important is invigorating. Likewise, the activity style Gabriadze gets from Bekmambetov of backing off activity groupings just to accelerate again just before the cut is utilized especially viably as a contrast to the saccharine of the lighthearted comedy line, and works shockingly well in some sudden spots. The shocking and fruitful imaginative blend of kinds and filmic systems makes for an introduction film that Gabriadze may discover hard to top.