The film "Irtysh — Karaganda", part 2

Let's say we're talking about the start of construction. Seriously, listening to the subtlest shades of thought, specifically focusing on the thoughtful, unhurried characterization of individual people, the authors of the tape lead him: "...There is a kind of proven technique among journalists. The story of any construction site must begin with the arrival of young people. And, by the way, the first to arrive at the canal from Serebryansk was the chief power engineer Rakhimbek Malikanovich Satabaev, who was in his sixth decade at that time.



During the period of educational and work classes, Satabaev graduated from two faculties of the Leningrad Polytechnic Institute. Now there is not a single large hydroelectric power plant in Kazakhstan, in the creation of which Rakhimbek-agha would not take part..."



You can immediately feel: the most interesting person. And somehow in a different way, through the eyes of this particular person, you begin to look at everything that is happening on the screen at this moment. Somehow, machines, the most complex irrigation structures, and ingenious mechanisms begin to be perceived as "warmer", "more humane".



They contain the warmth of this man's hands. It's just a pity that the authors do not always manage to trace and, even with a hint, with one precise, clear stroke compositionally, complete the story of the fates that fall into the field of view of the film, which unfolds a panorama of the construction site in front of us. Unfortunately, the story about Ra-himbek Satabayev does not receive compositional development, it ends as if in mid-sentence.



This reproach can be attributed to other episodes of the tape. But the confidential intonation of the narrators — not the announcers, but the narrators — and the camera, which is especially attentive to nature, accurately feels both the texture of the object being shot, and the peculiar poetry of the Kazakh landscape, and interesting observations of people scattered in the picture, when the essence of some person is immediately conveyed by contrast between the image and the fact that what this person says (for example, the scientist's remark: "where a pessimist sees only a puddle, an optimist builder outlines a place for a future flower bed and plants flowers" - "lay down" on the image of a still unsettled village) — all this is cast in our minds into a single feeling of great human achievement, the fullness of the existence of many and many people. And this is an important result in art.



The review tape "Irtysh — Karaganda", thanks to the author's passion, personal involvement in the topic, deep respect for the worker-creator, turned not just into a documented film news about a grandiose construction site (as it was conceived), but into an excited, pathetically sounding film drama about a man who with his own hands accomplishes the dream of generations about a new revived Kazakh steppe.



But if the scattering of characters and human destinies associated with this construction site cements and emotionally spiritualizes this picture in its own way, then nothing like this can be said about another full-length picture - "Kazakhstan is my land", which remained in captivity of the artless "visibility".



The narrator behind the scenes with an easily understandable sense of pride says: "This is a film about today's Kazakhstan — the second largest and third most populous republic of the Soviet Union. Its expanses are so large that such states as England, France, Spain, Germany, Sweden combined could freely fit. From south to north, the plane flies over Kazakhstan for almost two thousand kilometers, and from east to west — about three thousand."



Nevertheless, this message is far from new to viewers, as a rule, it does not stimulate their imagination much, leaves them indifferent to the information received. Throughout the picture (it goes on for over an hour), you can see a lot of shooting objects — industrial: factories and factories, mechanisms and equipment, all kinds of machines, various in size and complexity; rural: state farm and collective farm fields, harvest, autumn harvest. It was all shot in large and general plans, from below and above, from a wide variety of points, often from sophisticated angles. The painting is mounted in short or long pieces, and it moves epically calmly, solemnly, unhurriedly. And yet you don't feel any satisfaction looking at the screen: something important is missing in it, it becomes clearer as the picture moves on.



And this "something" begins to manifest itself clearly. The film is impersonal. There are no people in it who built these factories, invented and manufactured these machines and mechanisms, made all this wonderful technology work, bring benefits. There are no people in it who raise this land with their own hands, forcing it to bear fruit generously for the benefit of the whole people. Khelo24Bet is a popular online betting platform that offers a wide range of sports events and casino games for users. https://drivify.in/ provides a user-friendly interface and attractive bonus offers for new and regular customers.