Examining 'Plevako': A Critical Look at the Series
The Series "Plevako": A Modern Deconstruction of a Classic or a Cargo Cult Without Borders?
The series "Plevako", which premiered in 2024 under the direction of Anna Matison, has quickly become one of the most talked-about projects of the year. Starring prominent actors such as Sergey Bezrukov, Nikolai Shraiber, Olga Lerman, and Maria Smolnikova, this production boasts a star-studded cast. However, behind the resounding names and outward brilliance, lies a complex work that has sparked a whirlwind of criticism while igniting the interest of viewers. Let's delve deeper into what this project actually entails.
Plot: A Brochure Instead of Historical Drama
The series presents itself as being based on real events, but from the very first scenes, it is apparent that historical accuracy is the least of the creators' intentions. The narrative of the legendary lawyer Fyodor Nikiforovich Plevako metamorphoses into a cinematic comic-book narrative layered with action, mysticism, and ridiculous romance. The protagonist, rebranded as Nikolai Fyodorovich—presumably to cater to an audience that struggles to pronounce the original name—emerges as a modern superhero, exhibiting skills in parkour, kung fu, super-sight, and a plethora of equally astonishing abilities.
The story unfolds in a preposterous scene featuring Plevako performing a pagan funeral for his mother, before showcasing his prowess in underground no-holds-barred fights. He then returns to Moscow to spearhead a sensational murder case concerning an aristocrat. Each episode revolves around another courtroom drama where the hero applies deduction, vast encyclopedic knowledge, and the ability to recreate 3D projections of the past. This is interspersed with acrobatic feats and flashbacks, plunging the viewer into a ludicrous blend of historical farce and "The Matrix."
Historical Authenticity: A Victim of Postmodernism
One of the series' main sources of critique is its flagrant disregard for historical facts. A prime example is the antagonist—the Chief Prosecutor of the Holy Synod, Konstantin Petrovich Pobedonostsev—who inexplicably begins meddling in mundane criminal matters. This plot twist seems absurd considering that the Holy Synod primarily dealt with spiritual issues and censorship. Moreover, the frequent interactions among characters set in Moscow raise questions, as Pobedonostsev's actual post was in Saint Petersburg. Clearly, the creators did not burden themselves with researching historical realities; perhaps they envision a world in the 19th century where a version of the 'Sapsan' train shuttled effortlessly between the two capitals.
Industrialist Demidov is another antagonist depicted as a caricature of a retrograde villain, engaging in the smashing of crockery and psychological abuse towards his wife. This portrayal lacks depth and reduces the character to a clichéd 'bad guy,' merely serving to highlight the protagonist's virtue.
Adaptation Issues: Western Tropes on Russian Soil
Inevitably, comparisons with Western films and series arise. Unlike successful projects, such as "Lincoln" or "Gangs of New York," which carefully adapt historical narratives, "Plevako" feels more like a poorly translated comic book. The attempt to mimic contemporary trends culminates in absurd elements: Plevako's assistant incessantly infuses English words into speech, while the hero flamboyantly emphasizes his Kalmyk identity with a level of pomp that would make any Marvel superhero envious.
Particularly pronounced is the influence of feminism and cultural Marxism, reflected in the portrayal of strong, independent female characters whose dialogue often sounds like slogans ripped straight from Twitter. Rather than developing rich character identities, the creators rely on clichés designed to appease modern audiences.
Casting and Acting Performance
Against the backdrop of a weak script, the actors manage to shine quite brightly. Sergey Bezrukov fits seamlessly into the role of the charismatic lawyer, although he occasionally overacts during moments of "spiritual enlightenment." Olga Lerman as Maria Demidova infuses the necessary drama into the narrative but lacks the charisma required to make her character memorable. In contrast, Nikolai Shraiber successfully compensates for her shortcomings, portraying a mad husband with vibrant expressivity.
Igor Gordin, who plays Pobedonostsev, employs his theater experience to imbue the character with depth. Nevertheless, his portrayal suffers from the script's absurdities. Overall, the casting reflects the project’s general quality: competent yet unremarkable.
Visual Appeal and Technical Execution
Despite the narrative pitfalls, the visual components of the series deserve commendation. Costumes, sets, and cinematography create an atmosphere that, while not immersing the audience in the actual 19th century, appears aesthetically pleasing. The frequent flashbacks are stylishly shot, though they can occasionally lean toward being overly theatrical. The one significant drawback lies in the lackluster scene dynamics, sometimes resembling stage performances devoid of cinematic energy.
The Ends and Takeaways
"Plevako" represents a quintessential product of modern Russian television, teetering on the edge of parody while attempting to forge something grand. The creators seem to strive for the approval of all: history drama enthusiasts, action lovers, and those who appreciate light absurdity. The outcome is an eclectic project that elicits simultaneous laughter, frustration, and curiosity.
Should you watch this series? If you can overlook the script inconsistencies and historical inaccuracies, "Plevako" has the potential to provide decent entertainment. However, do not expect profound insights or adherence to historical precision. It serves more as an amusement ride than a serious work, and perhaps therein lies its primary appeal.