Насладись "Левиафаном"

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Abstract: The article is devoted to aesthetic evaluation of Andrey Zvyagintsev's film 'Leviathan'. Using rather provocative methods, the researcher proves the genre of the flim to be a classical ancient tragedy where a protagonist, Kolya, becomes a victim of fatal events represented by a Biblical monster Leviathan. Tokmachev finds a number of features bringing together the film's heroes with the heroes of ancient tragedies (plasticity and integrity of their images, no reflection towards their own actions, irrational behavior and amechania, i.e. inactivity in extreme situations). The film's plot resembles a tragedy, too, in particular, it has a great number of narrative mismatches and accidents (recognition and peripeties) as well as a fatal chain of irreversible events and misfortunes that fell on the shoulders of the innocent hero. The researcher believes that Andrey Zvyagintsev's film has got double layers. Classical ancient tragedy is 'disguised' as a burning drama, the conflict between a 'corrupted' mayor and an 'honest' businessman unfolding among sublime beauty of the Polar Region and plain charms of provincial towns. The author of the article notes that that external conflict literally split the audience into those who supported the film and those who opposed the film. The author proves that the aforesaid conflict was not the essence of the matter but just decoration and circumstances in which the existential tragedy unfolds. Andrey Zvyagintsev excludes the episode of 'Kolya's rebellion against the mayor' from the final version of the film. At the main moments the hero stays inactive being in the state of amechania. This means that his opponent is not personified. However, neither mayor nor church is guilty in Kolya's misfortunes. Nobody is guilty here. The author reminds that the logic of ancient tragedy is different from the logic of the Judeo-Christian myth because there are no cause-and-effect relationships expressed by the 'crime and punishment' formula. Going beyond the borders of the Judeo-Christian myth or even cause-and-effect relationships, Andrey Zvyagintsev 'stops the samsara wheel' and 'screws out' the hero from numerous 'dispositifs of power' in order to see it as a purpose but not means (Immanuel Kant's expression). This allows the audience to empathize the hero or even experience a catharsis but not shallow selfish feelings relating to the support of or opposition against political preferences. This relates Andrey Zvyagintsev to the best fiction of Russian philosophy and literature.  

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