... And again disturbing news come from the front for minority freedom. The self-selected progressive public is concerned that the Ministry of Culture of the Russian Federation “banned” the shooting of Alexander Mindadze's feature film “Dear Hans, dear Peter” on the basis of tyranny.
The public is rightly concerned.
Because her real problem is not at all what public tears are about.
This problem is called - meaningful state policy in the field of culture. What warned Comrade. Putin What is written in official letters in the state program of the Ministry of Culture. And for some reason, the freedom-loving swamp community considered empty populism. And in vain.
Let's take a look at this. history not from the point of view of speculative "freedoms", but as it really is.
What really happened?
Director Mindadze wanted to legally receive a little public money (that is, due to tax deductions from our salary or business income) to create an art film about the friendship of German and Soviet engineers in a romantic love triangle amid the alarming 1940 year.
The Ministry of Culture didn’t give any money to us in the legal order - as a result of the application being reviewed by three instances. The expert board of live-action cinema was in favor, and the military-historical and socio-psychological advice was opposed.
Please note: the Ministry of Culture in the person of its legitimate authorities did not “ban” the film, but refused to give public money for its filming. That is, from the point of view of legality and traditionally interpreted civil and entrepreneurial freedoms, everything is logical, there is nothing to even quarrel about.
So why scandal?
Columnist of the state agency RIA Novosti, Yuri Bogomolov, complains that “censorship is being infiltrated in one way or another into the sphere of artistic practice.”
Gazeta.ru explains that “the rights to assumptions for the realization of their creative intent are violated”.
The injured director Mindadze is distraught on the air of Ekho Moskvy: “I cannot yet comment this situation consciously. Because, apparently, there is confusion. "
That is: before everything was fine, and suddenly all of a sudden - such is Stalinist tyranny.
Well, the guilty one is ready: of course, Vladimir Medinsky, the strangler of creative freedoms, who, as soon as he became minister, immediately choked and began - it suffices to recall the story of the film “I Serve the Soviet Union” on NTV. True, the Minister personally does not formally have a relationship with this particular decision, but it is clear that a stranger is still the same.
Let us return, however, to the outrage of minorities.
It would be very logical to cling to the banal avarice. The fact is that the Mindadze film is a Russian-German co-production. And the Germans give their money for his shooting. But not one hundred percent, but only on equal footing with the Russian state. And, since the Russian state does not give money, the Germans allegedly can also come off. There is a financial loss of the creative team.
Perhaps such a household motive is present in indignation.
But at least, this motive is hardly the only one and the defining one.
Well, if only because Alexander Mindadze himself is not a grabber, but a great artist; he and without any creative success of Medina is a box.
And in general, the outraged public will find at whose expense to profit - Minkultovskie crumbs are not decisive here.
What matters is, you wonder, ideology. And to be honest - the ideological war, where the question is simple: about our survival.
What is this movie about?
Let us turn to the story, which was studied by the relevant councils of the Ministry of Culture.
... In 1940, at a certain Soviet factory (by all appearances, it was defense, and then we didn’t have non-defense, in essence) launching the process of producing optical glass. Glass is boiled in the USSR by the Germans sent from Nazi Germany. And nothing they can not. The accident at the plant during the next attempt to weld, finally, this very optical glass inflates the nerves even more in the group of technical specialists. In addition, one of these engineers is a woman, and one of the Germans craves her, and she craves someone. And there is also a Russian hero wedged in. Then, of course, the evil Stalin and Hitler forcibly make cute characters enemies against Human Rights and the Art Truth, from which everyone suffers ...
So here. Regardless of the highly artistic representation of the production and romantic twists and turns, all this from a historical point of view is disinformation and lies.
The situation described in the scenario is physically impossible.
Because there was no military-industrial cooperation between the USSR and Nazi Germany in the real 1940 year. If anyone is interested in well-known facts, then Weimar (pre-Nazi!) Germany in accordance with the Rapall Treaty in 20-s really made a significant contribution to the development of the Soviet defense and Soviet military science, but with the coming of the Nazis to power this extremely useful process was ruthlessly curtailed. the tacit consent of the parties - because for some reason they did not want to strengthen the obvious military enemy either in Moscow or in Berlin.
This is a lapidary scientific fact that turns the rest of the drama of the work in question, at best, into a meaningless fantasy.
And it is this lapidary scientific fact that brings to the public a member of the military-historical advisory council under the Ministry of Culture, Mikhail Myagkov: “... The authors of the film, due to a misunderstanding, or maybe out of ignorance, transferred the realities of the times of the Weimar Republic to a different historical period ... Rublev "during the Civil War ..."
Actually, the film conceived is such an art house on a production theme, which, of course, will find its audience. Question: what's the Russian state?
This is a film about the Germans. Soviet people, of course, appear in it, but sporadically - and they look, by the way, much paler than the liberated and energetic Aryans from the Third Reich. But, most importantly, relations within the close German group have nothing to do with the history of our country. Freudian experiences of the protagonist - his own business, probably interesting to the German audience. A movie about the Germans do not necessarily shoot it in Germany. It can be removed both in Russia, and in Australia, and in Argentina. But it is not clear why this should be done for the money of Russian taxpayers.
The Germans who finance the project are interested in their ancestors not looking outcasts: then, before the war, we dealt with the Russians with one thing (using a concrete example of glass melting and, as implied, joint planning of the live-life war in world history) are generally the same. Normal such. It is not necessary to broadcast the identity of Hitler and Stalin, it is possible to show how the Russians and the Germans are fighting over this damned optical glass together. How production drama is colored by the Freudian complexes. As ordinary people are engaged in their important affairs, live production and personal problems. Such a film could be made in 1973, and in 1983 without any hefty literate geopolitical allusions. Yes, so here is the same: "Moscow does not believe in tears." Only (and that is why) is better.
This is a first approximation.
And here you can dig a little more and in the new approximation note that the pre-war life of the Germans untouched by the corrosion of Nazism is becoming a trend in German cinema. The scandalous “Our mothers, our fathers”, where the development of such an “innocent” idea of the pre-war - in fact through Nazi - Germany, caused a storm of emotions in today's society there. Relief from a sense of historical guilt - how great it is! And shifting it to someone else is a high! That is why a short and thoroughly deceptive episode in which Russian soldiers shoot wounded German soldiers looks like a logical one in “Our Mothers” and then nurses are raped.
... These considerations against are fair.
But not exhaustive.
What is the matter really?
But the matter is as Vyacheslav Telnov, head of the department of the Ministry of culture in cinematography summarizes: “Guided by a common opinion, we decided that a film that does not correspond to our ideas of war should not be released on the 70 anniversary of the victory over Germany.”
Namely, all the factual disinformation and lies on which the plot of the film project under discussion was based was invented by specially trained citizens and put into public circulation in order to substantiate another lie - about “equal responsibility of the totalitarian regimes of Stalin’s USSR and Hitler’s Germany in unleashing World War II war.
The applied political motivation of this lie for the beneficiaries and enthusiasts of the current world order is clear: the historically recorded fact of the Russian Victory of 45 does not fit the lucrative and salutary concept of the coming global restructuring. This is not even Russophobian cunning: "nothing personal - only business." This motivation is in itself hostile to the Russian state. It is hostile to such an extent that it should be, according to the mind, not at all the Ministry of Culture and even the Ministry of Foreign Affairs, but the Ministry of Defense and the Supreme Commander personally to the heap: no matter how hard the enemy does not give up, it’s clear what to do.
But the matter is not even in the world order - to hell with him.
In the appeal of the Minkult official Telnov to “our ideas about the war”, more is more important. Namely: the significance of the history of our Victory for the Russian society itself.
And not only and not so much for the veterans with whom Telns politically correctly covered: this is supposedly "not the look that veterans of the Great Patriotic War are waiting for." It is necessary to understand a simple thing: a great generation of winners inexorably leaves us. A couple of anniversaries - and witnesses, even non-participants in the war, can be counted on the fingers. But, leaving, these people leave us a legacy of Victory Day - which in fact has already become a holiday without gray hair at the temples.
The majestic history of Victory is the only unconditional and non-negotiable moral bond that today makes us truly a people. And in our understanding, and in the space of world history.
The lie about the generation of the Winners - even if not by malicious intent, but by the usual ignorance for the creative intelligentsia - is by definition a diversion against Russian society and the state. Because regardless of the creator’s self-perception, the goal is not demographic, but spiritual destruction of Russian civilization. And our civilization is not just a guarantor of Russian sovereignty, but also a guarantor of rationality and fairness of the world order as a whole, which has been proved by historical practice. In May 45 was proven.
And just as the preservation of Russian civilization as a spiritual subject is, in the extreme, the mission of the state cultural policy.
Therefore, the most convincing argument against "dear and dear" - completely reinforced concrete irrational in Russian - led Miagkov: "I would be ashamed if my children saw such a film."
Therefore, today the Minister Medinsky is going, as officially announced, to personally explain to the director Mindadze the position of his institution. After all, Medina, not as an individual or a historian, but as an official, represents the very state that officially recognized Solzhenitsyn as the “conscience of the nation,” generously funded “Tired of the sun” and babbling something about “de-Stalinization” - and, therefore, responsible for the perverted humanitarian environment in which the artist Mindadze arise incomprehensible creative fantasies. And the artist is the same, in fact, a citizen like the other millions and millions of Russians.
And, by the way, we will note in parentheses, if the German film investors, due to the decision of the Russian Ministry of Culture, decide not to sponsor such an artistic project, it will also bring immense benefit to the German people. However, in passing, to cause good to the brothers in mind is also an everyday Russian mission.
In this way.
As of today, we have a systemic fact that the Russian state, through its Ministry of Culture, is demonstrating readiness and ability to fight for truth and justice within the framework of its at least some powers and at least on what sections of the front. It is to fight - you need to understand what is actually happening in our society now. And this fact is welcome.
It can also be reserved in this light to hope that the concept “commissioned by the Ministry of Culture” will eventually return to our life as a trustworthy certificate of quality for a work of art. And accordingly, the summary “is not recommended ...” (by the way, it would be nice to legitimize something like that) - as an alarm.
But at the same time, we must understand that the Ministry of Culture is not a single collective epic superhero. Like last year, contrary to the public position of the Minister of Culture, the disgusting film movie “I Serve the Soviet Union” was still shown on June 22 TV, so today the film project “Darling Hans, dear Peter” has all chances to be realized: and the German sponsors have not yet disappeared, and the board of trustees of the “independent” Cinema Foundation intends to consider the application (and there they have the legal right to pour out so much money that no Ministry of Culture and its crumbs is needed).
And then the fate of the film - if it is removed, despite everything - and its impact on our children will depend on not on Medina, but on the notorious “civil society”. From us with you, if in a good way. It was then - only in our power to provide this diversion with a resounding collapse, as it happened with “Anticipation” - “Citadel”, “... One Woman”, “Spy”.
And the only way - every day.