My odyssey through the strange world of Russian fantasy films began in earnest many years ago, when I moved to a prominently Russian and Ukrainian neighborhood and started prowling around the DVD stores of Brighton Beach, Brooklyn. Up until then, I’d caught glimpses of this strange and wonderful looking avenue of cinema in the form of dubbed and edited American versions of the films, where Ilya Muromets became The Sword and the Dragon and Sadko became The Magic Voyage of Sinbad. These movies made regular rounds on broadcast television back when I was a kid, and I loved them without having any idea they were Russian fantasy films tailored by crafty American distributors to become nationless adventure spectacle. They were colorful, they were full of monsters, and they had lots of guys with swords running at each other. When I crept a little closer to old age, I decided I wanted to find the original versions of the films — much as I did with Eastern Bloc science fiction films — not just to see what had been changed, but also to see them in a better quality than I’d enjoyed on independent broadcast television with rabbit-ear antennae reception.
Studies of Russian cinema tend to be studies of Soviet cinema — classics from the glory days (such as they were) of the communist powerhouse. Russia has moved on, though, both cinematically and culturally (though Vladimir Putin would love if that wan’t the case), and modern Russian cinema is a very different beast than the cinema from which it has grown. And what could be more different from Soviet era cinema than being almost exactly like modern American cinema? Or maybe, if we don’t want to stick with the usual Cold War comparison, let’s say modern South Korean cinema. Oh wait…there’s a Cold War connection there too, isn’t there? Anyway, the point is, modern Russian cinema — at least the big budget version — is highly polished, very slick, slightly soulless, and if you replaced the Russian language with English, you’d be hard-pressed to tell that Apocalypse Code wasn’t a minor Hollywood blockbuster.
After the global success of Peter Jackson’s Lord of the Rings trilogy, to say nothing of the Harry Potter books and movies I hear were mildly popular for a brief period, most everyone assumed the world was ready for a glut of big-budget fantasy films full of heroic posing and dodgy CGI effects. While there were attempts — The Golden Compass, a few Chronicles of Narnia films, that lavish epic In the Name of the King from Dr. Uwe Boll and featuring King Burt Reynolds — most of those attempts fell flat on their face, and the cash-in trend died before it took off.
In 2002, I had the possibly once in a lifetime chance to spend an entire summer driving across the United States. My traveling partner and I were able to indulge every whim, sometimes diverting wildly from our vaguely set course in order to visit some out of the way attraction or satisfy some curiosity or whim. Among the many things we both enjoyed was visiting air and space museums. Some we had targeted ahead of time. Others we learned about along the way. Some we stumbled upon entirely by chance out in the relative middle of nowhere. We were, at one point, making our way across Kansas after having already stumbled upon the Mid-America Air Museum in Liberal. We hit a town called Hutchinson, and as we made our way through caught a glimpse in the distance of a couple rockets. Obviously further investigation was warranted, and that in turn led us to The Cosmosphere. By this point in our travels, we’d hit more air and space museums than I can remember off the top of my head, and though I was not tiring of them (who can get enough Ham the space chimp? No one I’d want to know, that’s who), what made Cosmosphere one of the best was that a substantial portion of the museum was dedicated to the Soviet space program.
In November of 1989, The Berlin Wall — perhaps the most potent symbol of the Cold War other than Ivan Drago — became a minor speed bump as the physical, social, and political barriers separating West and East Germany collapsed. As Germans began streaming back and forth across the once imposing border, the entirety of the Soviet-era Iron Curtain began to crumble as well, and before anyone knew what was happening, the world had changed. In the ensuing weeks and months, East and West German were reunited into a single country, the Berlin Wall was demolished, and the Soviet Union ceased to be while the satellites that had once comprised it became new countries. It was a heady mix of joy, terror, confusion, elation, and ambivalence that I remember well.
As the kind of pop culture savvy, switched-on individual who reads Teleport City, I assume you’re familiar with Sam Raimi’s excellent 2002 adaptation of Spider-Man. But in case you’re not or just need reminding, here’s a quick recap of the plot. Peter Parker sees the girl of his dreams being wooed by a wealthy jock with a flash car. Deciding what he needs is a cool set of wheels, he uses his recently acquired spider powers to enter a wrestling contest for money, only to see through his inaction, his beloved Uncle Ben shot and killed. The 2009 Russian film Black Lightning (produced as all Russian movies apparently are by Night Watch’s Timur Bekmambetov) uses the same plot, but asks the one important question Spider-Man left dangling; ‘what about the car? What about the car??’