GRAFFITI

Russia, 2005, 125 minutes, Colour.
Directed by Igor Apasyan.

This film starts in a tour-de-force swirl of camerawork and editing. A young art student has put up his signature graffiti all over Moscow and is challenged by a gang. He defies them and races off, setting up an exciting chase (which defies realism as he continually outruns bikes) – but is finally caught and bashed. We know nothing about him – and learn nothing of his background except that he is surly young man with chips on his shoulder.

To get a pass grade, he travels to a decaying small town – which, as in all films where the city slicker meets the country citizens (no matter how hayseed or hillbilly they might be) leads to his change of character. He is commissioned to paint a mural in the renovated club, featuring the leading citizens. However, more and more people turn up with photos of those killed in war, especially in Chechnya, and he has to readjust – and start again. It is as if he is the same kind of blank wall and the citizens imprint themselves on him and bring him to life.

There are the usual types: the alcoholic rogue who becomes a sage father figure, the simple young soldier who has been wounded and disfigured in the war and who is the sewage disposal man, the larger than life prostitute (rather Fellini-like) with whom he is infatuated, the local authorities (some overweight and over-important) who have employed a geologist to find oil to revive the economy, plus some villains, especially a farmer who breeds ostriches.

This is a cross-section of Russian characters presented in a raucous, not too subtle way, who portray human nature, human foibles and some moments of tragedy. And the young man, despite himself, is transformed.

1.A Russian film? With an Armenian perspective? For home audiences? Universal?

2.Moscow, the opening, the streets, action? The countryside, the old town, decaying? The hall, homes, the river? The musical score?

3.The title, the opening, the young artist, his painting on the walls, as a painter, the group accosting him, the fight, the chase? His being wounded? Escaping? The tour-de-force of the filming and the editing of the chase?

4.The artist, going to class, surly in his attitude, his professor, the others going to Italy, his poor grades, the possibility of improving them? The farewell to his girlfriend? Going to the country?

5.The artist as a character, no background being given to him? A blank wall to be painted – as he did – with local characters?

6.His arrival in the town, the bar, the range of people, the authorities? With Clesio (Ecclesiastes), the drinks, the talk, the bet? His staying? Meeting the authorities, the discussion, the wall, the plan, the agreement, the design, the sketches, the achievement of the mural? The Soviet style? The further photos, characters, his reaction, unwilling to include the others, staying? Continued adjustment of the painting? People’s reaction? His having to start again? The emotional moment with everybody standing there when the mural was finally revealed?

7.The characters in the town: Clesio and his story, drinking, wise, his caravan, his ex-wife? Supporting the artist, advising him, old and raucous, the money and the drinking? His ex-wife, her shop? The authorities, their appearance, country types, their roles, the meetings, the prospects about oil being discovered, a dying town?

8.The geologist, his search, his boring talk, hitting the pipe instead of finding oil, hunted at the end?

9.Mitri, his work, his going the rounds, collecting the sewage? His smell? Young, being in the war, his disfigurement, simplicity, friendly, with the artist? His work, Maria and his infatuation, her reputation, as mad, prostitute, her not responding to him? The support of the artist and Clesio, the money, buying the necklace, giving it to Maria, the bond between the two, the love, his inabilities and his injuries, her gentleness, dancing? In the caravan and its being attacked?

10.The farmer with the ostriches, Clesio and his fascination, finally letting them go? The group attacking the caravan, beating Clesio, his death? The reaction of the artist? The wedding ceremony – and setting the house on fire?

11.The artist and the effect of all these people, the incident with the girls, Clesio arranging the line-up?

12.His going to the bus, reflecting, the farewell? His decision to return? His change? The memories of Clesio, at the grave? Mitri and Maria? The future – and a revival of the town or not?