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My Friend Ivan Lapshin (Aleksei German, 1986)
In the opening scene
of Ivan Lapshin, a narrator explains
that his story is a “declaration of love for the people I lived with as a child,
just five minutes’ walk from here and a half a century ago.” As fifty years and
five blocks would imply, memory is viewed here as something slippery; almost
tangible yet just out of reach. Outright realism often gives way to clearly
staged pictorial beauty, reminding us that we are viewing a subjective memory.
German switches, almost at random, between scenes shot in color and black and
white. A voiceover occasionally intrudes upon the action, to further emphasize
the constructedness of all memory. The resulting film, which revels in the past
even as it seems soberly aware of the disappointment to come, would likely be
probably intensely nostalgic for anyone who lived under Communism. For the rest of us, My
Friend Ivan Lapshin offers a distinctive, yet mildly uninvolving mélange.
The indirectness of the film’s point of view makes it somewhat difficult to
interpret precisely what it is trying to communicate about Communist Russia.
Throughout the movie we are shown the optimism of the people, yet at the same
time, whether through the agony caused by a spilt canister of petrol or the way
that the characters’ cramped living spaces squelch privacy, we are made aware of
the costs of collectivism. Characters talk hopefully about the future but we,
like the narrator, know of the disappointment to come. Perhaps the most potent
message, though, is found in the brief sequences that return us to the 1980s,
from which the story is being told. Little in the physical environment in the
fictional town in which the film takes place seems to have been changed in the
fifty years since Ivan’s story unfolded, but it’s made quite clear that a way of
life has died. 70 Jeremy Heilman 07.16.11
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