Exploring the Polarizing Nature of 'Plevalko' Series

The series "Plevalko", which hit the screens in 2024 under the directorial vision of Anna Matisson, has rapidly become one of the year's most talked-about projects. Starring Sergey Bezrukov, Nikolai Shraiber, Olga Lerman, and Maria Smolnikova, the show is festooned with star power, yet amid the glitzy performances lies a tapestry of contradictions, sparking both fervent critiques and a genuine audience intrigue. Let’s dive into the essence of what this show truly encompasses.

Plot: A Woodcut Instead of a Historical Drama

Promoted as a narrative rooted in real-life events, it quickly becomes evident that fidelity to historical accuracy is not the authors’ primary ambition. The life of the illustrious lawyer Fyodor Nikiforovich Plevalko transmutes into a cinematic comic-book style infused with action, mysticism, and a dash of absurd romance. The protagonist, renamed Nikolai Fyodorovich—likely a palatable choice for an audience that might struggle with the original name—exudes the charm of a contemporary superhero, boasting an arsenal of skills ranging from parkour to kung fu and even super-vision.

The narrative kicks off with an outlandish scene where Plevalko, having buried his mother with a pagan ceremony, showcases his prowess in underground no-holds-barred fights. Following this spectacle, he returns to Moscow to tackle a sensational aristocrat murder case. Each episode thrusts viewers into a new courtroom drama, where the hero employs deduction, encyclopedic knowledge, and even reconstructs 3D projections of the past. This is all peppered with acrobatic exploits and flashbacks, blending a historical farce with the vibes of The Matrix.

Historical Fidelity: The Victim of Postmodernism

Perhaps the loudest objections to the series stem from its freewheeling interpretation of historical facts. In a particularly bizarre twist, Inspector Konstantin Petrovich Pobedonossev, the Holy Synod’s Procurator, is cast as an antagonist who inexplicably meddles in a mundane criminal case—an absurdity, considering the Holy Synod’s sphere was strictly spiritual affairs and censorship. Additionally, the frequent crossover of characters in Moscow when Pobedonossev was based in Saint Petersburg raises eyebrows. It's clear that the authors did not delve deeply into the historical context; in their imagination, they perhaps envisioned some prototype of a high-speed train shuttling between the two capitals in the 19th century.

Another nemesis in the plot, industrialist Demidov, appears as a caricatured retrograde villain, depicted as an abuser and a bully towards his wife, stripped of any depth and reduced to a mere cliché crafted to highlight the protagonist’s virtues.

Challenges in Adaptation: Western Tropes on Russian Soil

Inevitably, the series invites comparisons with Western films and shows. In contrast to successful endeavors like Lincoln or Gangs of New York, which carefully adapt historical narratives, "Plevalko" resembles a poorly translated comic. Its attempt to catch the zeitgeist results in puzzling elements: Plevalko's assistant habitually slips in English phrases, while the hero self-consciously flaunts his Kalmyk identity with a pomp that could make any Marvel superhero envious.

A striking influence of feminism and cultural Marxism surfaces in the portrayals of strong and independent female characters, whose dialogues echo like slogans plucked straight from Twitter. Instead of crafting well-rounded characters, the creators rely heavily on clichés designed to appeal to contemporary viewers.

Casting and Performance

In the midst of a lackluster script, the actors manage to shine. Sergey Bezrukov seamlessly fits into the role of the charismatic lawyer, although he occasionally overacts during moments of "spiritual epiphany." Olga Lerman provides a dramatic element as Maria Demidova, yet she lacks the magnetism to render her character memorable. Conversely, Nikolai Shraiber compensates for his partner's shortcomings, portraying a manic husband with vibrant expression.

Igor Gordin, who takes on the role of Pobedonossev, leverages his theatrical background to add depth to his character. However, even he is hampered by the ridiculousness of the script. Overall, the casting aligns with the project’s general level: solid, yet without flourish.

Visuals and Technical Execution

Despite the narrative pitfalls, the show’s visual aspects merit acclaim. The costumes, set designs, and cinematography build an aesthetic that, while not historically immersive, is still captivating enough to allure viewers. The frequent flashbacks, stylishly executed yet at times overly elaborate, add a flair to the series. The one significant drawback is the sluggish pacing of scenes, which occasionally feel like theatrical performances stripped of cinematic vigor.

Finales and Final Thoughts

"Plevalko" stands as a quintessential product of modern Russian television, teetering between parody and the aspiration to create something grandiose. The creators aim to please an array of audiences: from history drama enthusiasts to action lovers and fans of whimsical absurdity. The result is an eclectic work that elicits laughter, frustration, and curiosity in equal measure.

So, is it worth tuning into this series? If you're prepared to overlook its script anomalies and historical inaccuracies, "Plevalko" might serve as an entertaining distraction. However, one should not expect profound depth or historical rigor. Ultimately, it’s more of an amusement ride than a serious artistic endeavor—and perhaps therein lies its true merit.