The Russian action movie: the sociological poetry of criminality

A little history

The russian action movie of the 90s was highly influenced by the historical and cultural context of that time. During the early 90s – during and after the fall of USSR – there was a huge wave of criminality throughout the country. Almost all goverment structures lost all their influence and the power came into the hands of criminal group (bandits). These groups had specific territories of influence. For example, Moscow was controlled by 6 bandit groups. The criminal groups not only owned their own businesses and property but also “roofed” (“крышовать” [krishovat'] - from the russian word “крыша' [krisha] - “roof” - controlled, defended from other criminal groups, collected money from – usually monthy) most organizations (however small) that were in their zone/territory of influence. It is not a secret that those memebers of bandit organizations/groups that survived the 90s – for it is obvious that some of them didn't, a lot of conflicts between groups were solved with viloence – have afterwards become successful businessmen. This does not, however, mean that all Russian businessmen have a crimial background, although there is always a possibility of that being the case.

The depiction of those times in film in literature has specific features. We can see that in film and literature banditism is in a way romantisied. The protagonist (a lot of times a member of a criminal group) becomes a pseudo-romantic hero – individualistic and lonely, overcoming hardships, abolishing old idols and searching for new ones.

The protagonist

Analyzing (or simply watching) a russian action movie we have to keep in mind that it is in a lot of ways different from the classical Hollywood action film. However, I will not focus here on the differences and will not make a comparative analysis, but will briefly describe the main characteristics of the russian action film.

The main hero (protagonist) of the action movie does not exist outside of action and movement — only in actions he obtains his character and appearance. In the Russian action film there is always only one protagonist, there can not be two, three or a group of them – this fact correlates with the main characteristic of the hero – although he is the main focus point of the story and everything revolves around him, he exists separately from his surrondings, he stands out, there is no ahrmony between him and the world he lives in.

The hero usually doesn't have a family – he could be an orphan – but even if he does, there is never a father, but just the melanholic image of his “greyhaired mother” (“the mother whose hair turned grey too soon” - from the work of Dubin - a russian researcher of cultural studies). Despite this the construction of the personage does not obtain a shade of weakness but seems stronger and even more selfsufficient.

A very important element of the russian action film is the presence of the “teacher” or mentor that, in a way, substitutes the father that the hero never had. The teacher is a figure of power and strength, he is the moral idol of the protagonist. The teacher does not have power over the protagonist, but only helps him to discover his enormous inner source of will.

The fact that the protagonist has a moral idol does not mean he cannot (and will not) destroy/abolish those morals and idols. The protagonist of the action film can do anything – space and time are in his hands, the events in the movie only happen because of him. Accourding to Dubin - “...there is no limit to his abilities (capasities)...”. The protagonist is fighting against the evil of the world, he wants to destroy the heart of it.. and we know he can do it.

Diana Goderich

Diana is a 21 years old student Russia, Moscow. She's polish, russian, ukrainian and cuban - all in one. In 2008 she graduated from Physic-Mathematics School of Novosibirsk State University - a boarding school in the middle of Siberia, specializing in technical education. She has a bachelor degree in the Russian State University for the Humanities in 2012 - specialization "History and Theory of Culture". Now she studies a Master in Cultural Studies in Europe (Belgium) at the Catholic University of Leuven.

Diana is a guestblogger for Lumière. Want to read more? Want to write something yourself? Let us know: lumière.radioscorpio@gmail.com!