Best when it trusts its protagonist's taciturn lyricism, The Fool succumbs to prosaic overkill when it gives way to the hand-wringing confessionals of culpable, corrupt bureaucrats. Still, however on the nose its moralizing and simple-minded its storytelling, I sat pretty well-riveted throughout.
if only this were Dosto' or whoever & not the actual state of affairs. unwillingly flew home. makes me more honestly assess where i am now. every Romanian oughtta see it & cease their stultifying jeremiad on how desperately lame & subpar is each darn thing here: not sweeping champs-élysées granted but far from sordid crumbling kommunalkas all over the place. might sober'em up from unctuous, amnesiac pro-putin wanking
"Don't you understand? We live like animals and die like animals because we are nobodies to each other." I'll never get tired of contemporary Russian horrors when they are this reasonable and humanely approached, like MY JOY and, on a somewhat smaller scale, LEVIATHAN. Truly gripping Dostoevskyan lecture, almost ruined by the light use of dramatic piano.
Bitter, indignant, ironic... And quite depressing. Bykov seems to lack faith in his audience, and at times goes a little overboard with his tendency to use his characters to lecture in this film. All the same, it's a lovely film, in part because of Bykov's moral proselytizing, but also due to excellent acting, a passionate (if awfully bleak) narrative, and perfect pacing.
An obsequious hommage to Dostoevskij and the humanist Russian literature. The Makaninian obshaga, tinted in a Generation “П” treacherous manner, tests the candid Dima, a traditional holy fool, denigrated in the immolating act of redeeming an entire generation (Eltsin’s epigones). The script indulges very often on the ‘corrupted system’ subject, the disheartened air breathed in the nevermore-idealistic Federation.