Twenty years ago on Russian television came out TV series by Yuri Moroz "Kamenskaya". We asked people who saw how the story of the film heroine of the 2000s, police major Nastasya Pavlovna, began to tell what makes this series special and allows them to remember it even in the Netflix era.
producer of special projects at the Takie Dela portal
As a child, I loved watching TV, and I saw the first season of Kamenskaya as soon as it was shown on NTV in 2000 - I was nine years old. I remember that I was immediately struck by how well it was shot and how similar it was to a real movie. Now, against the background of the general development of the industry, the series, of course, looks a little naive, but at the beginning of the 2000s it was an example of high-quality television production and looked incredibly cool. I was especially touched by the music of Alexei Aigi: now sometimes I listen to it and wonder how sincere it is.
There were no such heroines as Kamenskaya then on television either - this is a very complex, detailed character. On the one hand, Nastasya Pavlovna, of course, is a superwoman with superpowers, and you can't help but admire her. It seems that it all consists of an analytical mind, an iron will and impenetrable adherence to principles. But at the same time, she has an inner conflict, some kind of breakdown and a very tender soul, which make her very human, so you do not stop associating yourself with her. In general, I am proud that at a young age I had a female character in front of my eyes, whom I wanted to be equal to.
I watch the first season regularly - probably about once every three years. I don't like the rest of the seasons so much. My favorite "business" of Kamenskaya is "Concurrence of Circumstances", the very first episode. This is a very interesting commentary on the topic of women in the male world - it seems to be relevant to this day. In this episode, Kamenskaya goes to Petrovka from the district police station, and from the first minutes they hint to us: there is no place for her, and therefore we need to behave more quietly. She refuses to cheat on herself and, thanks to this, gains respect and authority in the team - that is, she gets what she deserves.
This line develops in parallel with the investigation into the murder of an ordinary employee of the Research Institute of the Ministry of Internal Affairs, who suddenly decided to blackmail her boss who deceived her and stole her dissertation - and this woman did not get what she deserves. I interpret it this way: according to the authors, the only winning model of behavior for a woman if she wants to succeed in a society of men is to persistently follow her principles. In my opinion, there is something interesting in this, at least I do not remember that in other Russian TV series a similar idea was expressed.
Look At Media Special Projects Manager
I have a special affection for the Kamenskaya TV series, because Elena Yakovleva is very similar to my mother. It was released in 2000, when the people's love for films about police everyday life was gaining strength. Distinguishing this series from the rest of the streets of broken lanterns, of course, is that the main character here was a woman. During school time, you don't really understand the detective plot and read the images in a peculiar way, but watching the series now, I am amazed at how the heroine of Yakovleva is an advanced woman.
My favorite episode is Death and a Little Love, in which Kamenskaya is getting married. It is there that she can be considered both as a person who is worried about marriage, and as a professional who starts working two minutes after registering at the registry office. It seems to me that for the cinema of the early 2000s, she is a unique character. In the era of the heyday of stereotypes about female behavior and deliberately sexual images, Kamenskaya counts only on herself.She agrees to marry a simple mathematician after fifteen years of relationship, but she does not burn much with this idea, fearing to deprive her family of attention because of work. The history of her relationship with her husband shows that you do not need to give up what is important to you if there is a person nearby who will not try to remake you.
She comes to the wedding in a dark dress, and receives sneakers as a gift from her colleagues. I think the creators of the series managed to create not an exaggerated character of a strong woman, but a very harmonious image. She catches the most serious criminals with her bare hands, but is touchingly afraid of blood. The heroine of Yakovleva is very empathic: she worries about even the most notorious villains, always tries to understand the motivation of others, to reason with the women who cover up the rapists, and resists risky operations where many people may suffer.
If we talk about the surroundings of the film, then I have a particular weakness for the image of Moscow in the 2000s in cinema. It seems that the grass used to be greener: everyone was poor but happy, experiencing dramas in stylish 90s looks. In addition, it is difficult to find better soundtracks for such a lost romance than Angelica Varum.
editor of the portal "Kinohod"
"Kamenskaya" appeared on the air during the heyday of Russian crime serials and at the end of the dashing 90s. The first such success was, of course, "Streets of Broken Lanterns", staged according to the books of police lieutenant colonel Andrei Kivinov. A couple of years later, the recipe "Streets …" was also used in the new project of NTV: at the heart of the Russian "pulp fiction" with large circulations, the author is again a police lieutenant colonel, but now the ladies - Alexandra Marinina and the heroine of her novels Anastasia Kamenskaya …
Me and my friend, who hooked me then on this series, really liked Nastasya Pavlovna as a female psychotype, an alternative to all female images that we could see in the cinema before. So, for example, she was absolutely not fixated on the so-called female happiness with dreams of a wedding and a wedding dress. Her boyfriend Chistyakov tried to marry her to himself for more than ten years, to which she said: “You are so selfish. You are ready to deprive a person of freedom because of the computer. " From clothes, she preferred jeans and other casual, and her manner of communicating with men without pretentiousness and fear of appearing as an intelligent woman not only admired, but also made her completely exceptional.
She easily put men in their place, which earned their respect. For example, the new colleagues of Kamenskaya Korotkov (Sergei Garmash) and Lesnikov (Dmitry Nagiyev) - such impudent and seasoned operatives - at first did not favor her, based on gender stereotypes. But she was able to quickly and clearly demonstrate to them the professionalism of an analyst and a sense of humor.
My friend and I liked to associate ourselves with the independent Kamenskaya, although, of course, it was also interesting to follow her love line, because it was decided in favor of warm human relations, without the vulgar paraphernalia of serial gloss. And Chistyakov (Andrey Ilyin) became for us almost the man of our dreams. The complete opposite of the brutal beauties of the film: stupid behavior, caring attitude - on the verge of "henpecked" - and trepidation. This image was consolidated with a wonderful musical theme (Chistyakov's theme), written by the composer of the series, Alexei Aigi. By the way, his music seems to be a separate hero of this film itself - it is so eloquent and original, on the scale of a wide screen.
I was especially impressed by the story "The Reluctant Killer." It is this episode that I would recommend to watch a modern, sophisticated Netflix viewer of the new generation, who suddenly did not watch Kamenskaya, in order to find out that on Russian television there was a really high standard of a dramatic detective series, with a much more modest budget than it is customary to shoot now in the world.
Development Director, Human Films
"Kamenskaya" is a Russian TV series of the level of hit HBO shows. At least the first season. Noir, but without excesses in the grotesque, intelligent, stylish, cinematic and, surprisingly, relevant from the point of view of modern agendas.
The main character clearly conveys a feminist message, paradoxically not focusing on this. The only one she really lets in is her man, and then we see that she just lets him be around and take care of herself. She does not go to secular parties, and in general does not go anywhere, even on vacation she goes to calmly translate a book. Of all the ways to relax, he prefers martini, which drinks exclusively from cocktail glasses. In general, she is an analyst and because of this she is rather absent-minded in everyday life. Already in the first episodes, we are shown that all the housework instead of Kamenskaya is entirely taken over by her partner.
In almost every episode there is a very strong and artistically justified element of drama, a powerful empathic wheel. Young Garmash and Nagiyev are in places to theatrical soulful and expressive, besides Garmash also represents the “old school” of cop serials, which, against the background of the superintelligent character of Nagiyev and Kamenskaya herself, looks simply archaic. The game of Baluev, who appears in one of the series, simply tears to pieces.
The arches of the main characters are written brilliantly, and we can observe how they develop, the minor characters are made with love, the episodic ones are colorful. When watching the first three episodes, you experience delight and pleasant surprise at every step. Dialogue, music, depth and power of acting, camera work, plot twists - it is very difficult to immediately accept that in a Russian TV series all this can be so high-quality, consistent, thoughtful and original.
An actor with dwarfism and heroin addiction, filming in an art house, ends up on the set of a snuff movie commissioned by a school teacher who sells icons and, apparently, raped and killed his mother in childhood. Snuff is filmed by a director who writes the music for all of his films, but in the end it turns out that his retired teacher did it. How do you like this, Pedro Almodovar? I would like to say that this is a typical plot for Kamenskaya, but this is not true. There are simply no typical plots in it. Each episode is unique and competes with others in color and aesthetics. And this applies to all instruments.
When you listen to "Kamenskaya", one gets the impression that they planned to take Alexei Aigi as a composer at the stage of approving the idea of the series - so masterly and meaningfully his works reveal what is happening on the screen. Music really works here. It does not embellish, does not create a background or mood - it tells a story as much as what is happening on the screen. Sometimes it seems that it is the music that creates this empathic bridge and makes you so deeply and fully experience the events of the series.
The most important thing is that Kamenskaya, on an emotional and artistic level, shows the viewer what is really important in each story. This is a person, his choices, actions, consequences. The way the motivational lines of the heroes are spelled out allows not only to trace their behavior, but also to live with every moment of their formation and development. Feel why they are right. And it reads especially well against the background of global stories about secret psychotropic devices, nuclear weapons, secret agents-hypnotists, murders and frames of large businessmen and politicians. And every time in this terrible global and extrahuman reality of higher goals and state interests, a simple and bright human is breaking through - suddenly, but very much into the topic.
"Kamenskaya" came out when no one was seriously watching the series: on TV, one after another, there were stories about poor Venezuelan and Mexican girls, to whom love suddenly comes.The quality of this was all low. And then a series comes out with such a cast: in the main roles Elena Yakovleva, Sergey Nikonenko, Sergey Garmash, in the secondary roles - Marina Levtova, Viya Artmane, Mikhail Efremov, Valery Priemykhov, Alexander Baluev and many others. It was not only interesting to watch, but also beautiful: the series was filmed, and the disturbing music of Alexei Aiga sounded behind the scenes.
The coolest episode - "Sixes die first": Kamenskaya is investigating the case of a serial killer. Victims are killed by a sniper, only on Sundays, near the Moscow Region railway stations; and in parallel with this, the police captain Lesnikov, played by Dmitry Nagiyev, meets a young beautiful and mysterious girl and hides at her house, because he is suspected of currency fraud and wants to be imprisoned.
Now you won't surprise anyone with a series with a female investigator in the title role - before Kamenskaya, only Zinaida Kibrit from the Soviet television series "Experts lead the investigation" is remembered. As a result, "Kamenskaya" paved the way for many series-imitators: immediately after it came "Secrets of the Investigation", where instead of Anastasia Pavlovna Kamenskaya was Maria Sergeevna Shvetsova. And there was also his own "Kolobok" (a fair head of the department), and an understanding pathologist, and always ready to help her husband, and friends-opera.
The series can be watched for the sake of personal signs of the time: Yakovleva walks in a sweater and with a backpack that my peers wore, she has a Panasonic home phone and a pink alarm clock, which I had; orange juice is drunk because it is a luxury, not a source of vitamins; Dmitry Nagiyev drives an old BMW and in a leather short coat along the Moscow streets of Minsk (most of the scenes were filmed in Minsk) - hello to Gleb Zheglov.
teacher of Russian language and literature
The joint creation of Yuri Moroz and Alexandra Marinina came to its viewer at exactly the right time: he was ready for it and wanted to see something that was not like either the cult Soviet "Experts" or the "St. Petersburg" "Streets of Broken Lanterns" and " Gangster Petersburg ". Not similar and at the same time similar. Because they were not just loved - adored! The viewer of the 90s longed for new stories about honest, nice and, at the same time, to the best of cardboard "cops" living here and now. And he received them as effectively as possible - in the first days of 2000.
Murovskaya "Kamenskaya" is related to the St. Petersburg serials by its phenomenally economical implementation. Now it may look like a disadvantage, but then it looked quite natural and did not cause any negative. The vast majority of city scenes were filmed in hardly recognizable Minsk. Applause to the operator: you can guess this only by looking closely and knowing well the metro, streets and parks of the capital of Belarus. The costumes of the heroes couldn't be simpler: the most common "overalls" and police uniform. Faceless interiors, a minimum of general plans and quite a bit of attributes of the gangster elite and the "beautiful life" of a criminal element. All attention to the characters, they have all the salt!
The scrupulous accuracy of the casting of "Kamenskaya" was startling from the very beginning. Now, watching the series for the hundred and first time, I again want to thank Tina Tumanishvili for Nikonenko, and for Garmash, Ilyin, Nagiyev. And for Yakovlev, of course. Secondary and “one-off” participants are no less impressive: Baluev, Via Artmane, Yulia Rutberg. Having saved as much as possible on the entourage, Frost put on good actors and made the right decision. Low bow to Marina, who agreed for the film to significantly change (reduce and simplify) the composition of the characters in her books and abandon many of the individual features invented for them. Having lost a number of their features, the heroes found a lot of new and very successful in the actors. First of all, of course, we are talking about Nastya.
On-screen Nastya does not wear long hair and is not fond of acting, on-screen Chistyakov is not at all red and is not at all pathologically absent-minded."Kolobok" is miniature and not at all fat, in Korotkov and Lesnikov (at least for the first two seasons) the features of many employees of Gordeev's department were combined. There is no need to look for differences - and no one hides them - and this only makes it more interesting. And also captivating is the maximum rejection of the chernukha, to which we are so accustomed in the 90s and which has set our teeth on edge so much for the “criminal decade”. All the nuances of the plot, which are distinguished by excessive cruelty, hardly get into the frame.
This is a movie made by high professionals with the highest quality and conscientiousness, albeit with a minimum of effects. This is a brilliant script that accurately and elegantly translated excellent texts into the language of another art form. These are great acting jobs without overplaying and lying. And this is an opportunity to understand the generation of those who in 2000 were up to thirty years old. Tired of the "era of changes" and showdowns, who have not earned money for a crimson jacket and "gelding", not confident in themselves or in the future, inspired by the hope that Yeltsin's successor will continue his work and life will change in favor of the people … Yes, then we were naive and optimistic maximalists, like Nastya Kamenskaya. But I still believe that there is nothing wrong with that.