Exploring the Unique Tropes in 'Plevako' Series
The Series "Plevako": A Modern Deconstruction of Classic Tropes or a Cargo-Cult without Boundaries?
The series "Plevako", helmed by Anna Matisson and premiered in 2024, quickly emerged as one of the most talked-about productions of the year. Featuring standout performances from acclaimed actors such as Sergey Bezrukov, Nikolai Shrayber, Olga Lerman, and Maria Smolnikova, the show presents itself as a flash of brilliance. Yet, beyond its dazzling exterior lies an intricate work that has stirred up not only waves of criticism but also sparked the interest of many viewers. Let’s dive deeper into what this project really represents.
Plot: A Glossy Layer over Historical Drama
Heralded as a story rooted in real events, the series soon reveals that historical accuracy isn't its main agenda. The narrative follows the life of the notable lawyer Fyodor Nikiforovich Plevako, morphing him into a hybrid—part movie comic, part action-hero, and sprinkled with elements of mysticism and bizarre romance. The protagonist’s name undergoes a shift to Nikolai Fyodorovich, seemingly to accommodate audiences struggling with the original name thus transforming him into a modern-day superhero boasting an array of astonishing abilities, including parkour, kung fu, and enhanced vision.
The tale kicks off with an absurd sequence where Plevako, having just buried his mother using a pagan ritual, showcases his skills in underground no-holds-barred brawls. He soon returns to Moscow to tackle a high-profile murder case involving an aristocrat. Each episode is dedicated to a courtroom dramatization where the hero relies on deduction, a vast wealth of knowledge, and the seemingly supernatural ability to conjure 3D renderings of the past. Interspersed throughout are acrobatic feats and flashbacks that catapult viewers into a ridiculous conflation of historical farce and a cinematic homage to "The Matrix."
Historical Accuracy: A Casualty of Postmodernism
One of the most significant sources of critique regarding the series is its brazenly loose interpretation of historical facts. For instance, an antagonist is represented by none other than Konstantin Petrovich Pobedonostsev, the procurator of the Holy Synod, who unexpectedly meddles in a mundane criminal case. This plot point feels far-fetched considering that the Holy Synod's focus was primarily spiritual and censorial. Furthermore, the frequent interactions among characters in Moscow raises eyebrows since Pobedonostsev's official duties resided in Saint Petersburg. It appears the creators did not bother to investigate the historical context adequately—perhaps in their imagination, a proto-HS Express connected the two cities in the 19th century.
Another villain, the industrialist Demidov, is crafted as a cartoonish retrograde villain, engaging in domestic violence and demeaning his wife. This portrayal lacks depth and reduces him to a mere caricature of a "bad guy," serving solely as a foil to highlight the protagonist's virtues.
Challenges of Adaptation: Western Tropes on Russian Soil
The inevitable comparisons with Western films and shows emerge, especially when juxtaposed with successful adaptations like "Lincoln" or "Gangs of New York," which meticulously handle historical narratives. In contrast, "Plevako" feels like a poorly translated comic. The effort to mimic modern trends results in awkward elements: Plevako's assistant frequently interjects English words in conversations, while the protagonist emphasizes his Kalmyk heritage with a pomp that any Marvel superhero would envy.
The influence of feminism and cultural Marxism is palpable, manifesting in strong, independent female characters whose dialogues at times resonate like slogans plucked straight from Twitter. Rather than crafting deeply nuanced personalities, the creators lean into clichés that appeal to contemporary audiences.
Casting and Performance
Despite a lackluster script, the actors shine through in their respective roles. Sergey Bezrukov meshes well with the character of the charming lawyer, though he occasionally tends to overact during moments of "spiritual enlightenment." On the other hand, Olga Lerman's portrayal of Maria Demidova adds much-needed drama, yet she seems to lack the charisma necessary to leave a lasting impression. Conversely, Nikolai Shrayber compensates for her shortcomings by vividly delivering the role of the deranged husband with remarkable expressiveness.
Igor Gordin, cast as Pobedonostsev, utilizes his theatrical background to lend nuance to the character. However, his portrayal is hindered by the absurdities present within the script. Overall, the casting aligns with the project's general caliber: serviceable, yet lacking in intricacies.
Visuals and Technical Execution
In spite of the narrative's shortcomings, the series' visual components merit commendation. The costumes, settings, and cinematography conjure an atmosphere that, though it may not accurately reflect the realities of the 19th century, is nevertheless visually appealing. Flashbacks are stylishly shot, albeit at times excessively contrived. The major drawback, however, lies in the scene dynamics, which occasionally evoke theatrical productions devoid of cinematic vigor.
Closures and Final Thoughts
"Plevako" represents a quintessential product of contemporary Russian television, poised precariously on the line between parody and an earnest attempt at grandeur. The creators seem to strive for a balancing act appealing to fans of historical dramas, action flicks, and those with an appreciation for light-hearted absurdity. The result is an eclectic concoction that elicits laughter, irritation, and general curiosity all at once.
Should one invest time in watching this series? If you find it easy to overlook script inconsistencies and historical inaccuracies, then "Plevako" might provide some entertaining escapism. However, do not expect it to deliver profound insights or historical fidelity. Instead, view it as more of an amusement park ride than a serious work of art, and perhaps therein lies its most significant value.