Grand Theft Auto aka Watch Out for Cars! (Eldar Ryazanov, 1966). In Russian, with English subtitles
The restoration of the film was performed by a team of professionals from Mosfilm’s Computer Graphics Group. Learn more at https://cg.mosfilm.ru
Film comedy. Insurance agent Yuri Detochkin—a completely wholesome and naive man—driven by a sense of justice, steals cars from people living on illegal income, sells them, and gives the profits to orphanages.
Director: Eldar Ryazanov Screenplay: Eldar Ryazanov and Emil Braginsky Film Score: Andrei Petrov Camera: Vladimir Nakhabtsev and Anatoly Mukasei Production design: Boris Nemechek and Lev Semyonov
Starring: Andrei Mironov, Oleg Yefremov, Anatoly Papanov, Lyubov Dobrzhanskaya, Innokenty Smoktunovsky, Yevgeny Yevstigneyev, Georgy Zhzhonov, Tatiana Gavrilova, Olga Aroseva, Gottlieb Roninson, Sergei Kulagin, Viktoria Radunskaya, and Boris Runge
The wife’s all-time favorite Soviet comedy and certainly well up there among my Top 10, Beregis/Auto has survived into the new millennium and continues to flourish as a New Year staple on Moscow TV—which is sorely strained these days to offer viewers something, indeed anything, to laugh about.
What strikes me today, while looking back at the mini-review below—in the role of a post-post-Soviet appraiser eyeing a post-Soviet impression of a mid-Soviet comedy—is not just how other-worldly both of these recent pasts can now seem (which of course they do), but how much the human mind (and heart) want to keep these eras, with their flawed but well-understood mores, sensibilities and now-appreciated modest virtues, from being erased altogether.
Because part of you, you recognize, goes off the chalk board with them—the part the new nihilists desperately want you to abandon as they clumsily and ahistorically attempt to redesign the past, social and political, to serve their nefarious present purposes.
Orwell was not only right, he was right twice, in stages. Put briefly, we need to remember both why Beregis/Auto worked so well when we first saw it—and then why it could still serve as an anchor in reality while a new generation of bad guys was busily turning their sad and saddening unreality into a Double Plus Good fake-reality that nobody could call out in public. And now decidedly can’t.
But praise be: Beregis/Auto is still there, on celluloid and on television, to remind Muscovites and everyone else that decency could and did appear and persist in consecutive yet differently indecent times—and can now raise our hopes that it will reappear as this dark period finally gives way to dawn.
Source: Mark H. Teeter (Facebook), 2 January 2024. Thanks to Mark for his kind permission to repost his somber New Year’s reflection and the eighth-year-old movie review (below) which prompted it on this website.
MOSCOW TV TONITE: The USSR’s Auto-Robbin’ Hood
Берегись автомобиля/Grand Theft Auto (USSR, 1966)(Dom Kino, 19:00)
If you get the joke at the heart of Beregis’/Auto, you get the Soviet Union, a society in which irony knew no limits and “found humor” was literally all around you, just daring you to laugh…which was the risky part. The movie is based on the jocular metaphor of a Soviet Robin Hood – a morally upright socialist citizen who is pursued by the police, naturally, for taking morality into his own hands: he steals cars from “bad people” (who make “illegal income”) and gives them to good ones (OK, orphanages).
With this suggestive premise E. Ryazanov began an unbroken string of 7 serio-comic Mosfilm hits that ran through Гараж/Garage (1979), with the latter affirming that even if you could steal automobiles in good conscience, as in Beregis’/Auto, there was still no safe place to park them!
The Ryazanov Septet corresponded with the onset, entrenchment and fossilization of late-Soviet Глубокий застой (“Deep Stagnation 9”) and neatly defined the predominant modi vivendi of High Brezhnevism – gaming the system and/or simple theft – but did so, remarkably, without getting the director incarcerated or, even curiouser, blackballed by Goskino. Eventually somebody’s dissertation will tell us why.
Beregis’/Auto was ER’s first collaboration w/ screenwriter E. Bagrinsky and one of the best: the two carefully crafted a “good-hearted saddening comedy” (“добрую, грустную комедию”) about two “friendly enemies,” one representing the state and the other the individual. They are doomed to find themselves eternally at odds, the viewer understands, as the social system they inhabit can’t cope with abstract legality any better than it can abstract art.
Yet however telling its plot and finely tuned its direction, Beregis’/Auto still wouldn’t succeed without its exceptional cast. The праведник-hero – a childlike naïf nicely dubbed Detochkin – is played by the only person who *could* have played him, in retrospect: I. Smoktunovsky, the actor of his generation, who could do (and did) everything from Chekhov to Shakespeare – indeed, he had just done his stunning turn as Hamlet for G. Kozintsev (Lenfilm, 1964) when Beregis’ came out, making the movie’s amateur play-within-a-film staging of the melancholy Dane a big “inside” joke that every contemporary Soviet viewer got immediately.
Supporting, indeed matching Smoktunovsky as Detochkin’s Inspector Javert is O. Efremov in one of the great roles of a great career, making you *believe* in a Soviet police detective who both does his job and regrets its consequences – the only appropriate response there was to the Detochkin case – and on whose office wall in place of the standard Dzerzhinsky photo hangs a picture of…Stanislavsky! Beyond these two beacons of Soviet cinema, Beregis’/Auto offers a collection of supporting players that’s hard to match in *any* film of its era: A. Papanov, A. Mironov, E. Evstigneev, G. Zhzhenov – even D. Banionis (later the hero of Solaris) has a cameo (undubbed) as a bribe-taking Baltic pastor!
Enough. Add Beregis’/Auto to your must-see list and tune it in this evening (or watch on YouTube below).
Oh, and some free advice: if you (try to) drive in the Greater Moscow area, remember to keep your nose clean and your car insurance paid up. If today’s anti-corruption Robin Hoods start stealing cars, there’s no guarantee they’ll distinguish between your Škoda and Alexei Miller’s Lamborghini.
And Now the News, With Somebody You Weren’t Expecting
Mark H. Teeter Moscow TV Tonite
April 7, 2019
The accepted wisdom among high-dome media analysts here in Russia has been that Muscovites who checked on-the-hour radio news either tuned in Ekho Moskvy or Kommersant FM for actual news, in larger and smaller doses, respectively, plus commentary from sources who were relevant and informed or were supposed to be.
Or they got earfuls of untruths, half-truths or misrepresentations of the news from just about everywhere else on the dial, along with pseudo-commentary from various professional spokes-liars (presidential, ministerial, etc.) or professional dim bulbs (Russian MPs, selected idiots on the street, somebody’s cousin Vanya).
Whether or not you accept this accepted wisdom, there has been an interesting recent development you should note: an intriguing Third Way that you may have missed (as I did until recently) has opened up here in the New Muscovite ether for listeners keen on locally sourced radio news coverage. Its creators have given their project’s genre the highfalutin name Avtorskie Novosti, that is, Auteur News, by analogy with avtorskoe kino or auteur cinema.
You might, however, dub the genre The News from Somebody Noteworthy Who Doesn’t Do Radio News for a Living and Might Offer an Interesting Take on Today’s Edition of It.
Auteur News was the brainchild of the modest-sized NSN (Natsionalnaya Sluzhba Novostei), which described the project, as I discovered on its website, in alluring terms.
Auteur News from NSNis a radio program broadcast simultaneously by three stations (Nashe Radio, Rock FM, Radio Jazz) with a daily audience of 1.5 million people in Moscow and four million in Russia. The presenters of Auteur News are well known to listeners, as they are among the most famous people in the country. Currently, 200 contributors are involved in the project.
That thumbnail sketch should pique the interest of listeners numbed by Ekho’s necessary but wearisome good accounts of bad news and the embarrassing agitprop elsewhere on the dial: “President Vladimir Putin today signed another new law to make life better and happier.”
Question No. 1 in the minds of potential listeners would likely be, “Wait, just who are the Auteur 200?” And they would be right to ask. Nikita Mikhalkov is certainly a famous person, for example, but many people would feel more confident getting their news and commentary from a bag of doorknobs.
But let’s start with the glass half full: a brief retelling of how I came across Auteur News.
The wife and I often put on Radio Jazz quietly as background music to dinner, when the grandson, who hates jazz, isn’t joining us.
We were listening to it with one ear, as usual, when the news came on at 8:00 p.m. one recent evening.
Imagine my surprise when a measured female voice from the seemingly politics-free jazz station launched into a four-point litany of items-plus-commentary that seemed like something you’d call Real News with Real Attitude.
The Ministry of Finance, Radio Jazz told us, had “refused to provide the Russian Academy of Sciences funding for international scholarly and scientific cooperation,” which would result in Russia “finding itself in the backwaters of science again, the fruits of which we already know from the Soviet period.”
A repeat of that would be, the voice continued, a “very sad” prospect.
Hmm! My one-ear listening quickly ratcheted up to one-and-a-half-ear listening.
Radio Jazz continued on a more upbeat note.
“Kirill Serebrennikov’s ballet Nureyev was named Ballet of the Year by the jury of the professional music award BraVo,” with the presentation taking place at the Bolshoi Theater in Moscow.
This wouldn’t seem a particularly newsworthy story: the ballet had won a sizable basket of international awards since its premiere in 2017. Ah, but then you recalled the scandals surrounding the production here, including the arrest of the director, and the overall public attitude toward things artistic identified with “non-traditional orientations.”
But the announcement of the award was not the end of the item, as the presenter continued.
“I had the good fortune to see the ballet Nureyev It really is a wonderful ballet, striking from many points of view. And considering that Kirill Serebrennikov, in fact, staged the ballet by long distance, so to speak, the outcome is little short of a miracle. It is sad our national know-how is linked to creative events in ways that are not positive. But I would like to congratulate Serebrennikov on this well-deserved award. May he have the strength to overcome all his trials.”
Wow, just wow. It dawned on me what I was hearing was not only not The News in Putinese. It was news-plus-opinion that would make many Putinistas angry and hostile. I was beginning to wonder whether black sedans and a police van were heading toward Radio Jazz that very minute.
Next, Radio Jazz reported that an ominous institution called the Federal Penitentiary Service of Russia, which sounds even more ominous in Russian (Federalnaya Sluzhba Ispolneniya Nakazanii, or Federal Service for the Enforcement of Punishments) now “want[ed] to oblige its employees to apologize to prisoners in cases where their rights and freedoms have been violated.” As in, “Sorry for the rubber hoses and the knuckle sandwich there, Petrov, we didn’t mean to, y’know, violate your rights and freedoms and stuff.”
As absurd as it sounded to me, it sounded even worse to the Radio Jazz news commentator.
“What a Kafkaesque reality! We will torture people, but then apologize to them. I don’t really understand how these things go together. Lately, I’ve been seeing various features of the old utopian Soviet mindset in a great number of legislative acts. You get the feeling lawmakers don’t understand what is happening in reality at all and create an attractive little mockup of it for themselves, to placate their consciences. As in, ‘Go right ahead, citizens, demand an apology from your jailers for beating and torturing you.'”
Kafka and sarcasm are surely justified in passing along this news item, I agree, but it was still hard to believe my ears. At this point, I was experiencing a flashback impulse to close the kitchen door and huddle around the radio so the neighbors wouldn’t hear us listening to illegal “foreign voices”!
The final item Radio Jazz offered its evening listeners to ponder was a question about as philosophical as a news broadcast gets: How happy are you?
First, the context.
“Finland is the happiest country in the world,” Radio Jazz told us by way of summing up the annual World Happiness Report. “This ranking of global happiness takes into account GDP per capita, life expectancy, charitable contributions, social support, the level of freedom and the level of corruption in terms of their impact on residents ‘vital decisions.’”
Well, Miss Radio Jazz News gave the neighboring Finns plenty of credit.
“Frankly speaking, I am ready to agree right off with this award, because in Finland they do a huge number of social projects. The Finnish people try to be at the center of their own culture. For example, if a festival takes place in a large city in this country, the residents of the surrounding villages are brought there free of charge by bus so they can be involved in culture. I won’t even mention many other important laws related to social status, support for the population, and so on. In sum, we should follow the path of Finland, and not, say, North Korea.”
The last time I heard a Russian newsreader say, “Let’s not be North Korea” was, let’s see here, carry the two, ah, that’s right: never. Which was why I almost lost a mouthful of after-dinner decaf doing a Danny Thomas spit-take over the kitchen table as the news ended. A little went up my nose, but it was still worth it.
All I could say was, Nice job, Irina, and here’s hoping you get another turn at Auteur News before unpleasant men in ill-fitting suits are sent to chat with you at your place of work.
A further bit of web surfing still did not yield what I wanted most: a list of the Auteur 200 and a schedule of their appearances for, say, the upcoming month. But I did dig up a little more background.
I discovered that Auteur News had been on the air for nearly five years, and over 200 presenters had contributed, including politician Vladimir Zhirinovsky, politican and TV presenter Pyotr Tolstoy, football star Ruslan Nigmatullin, actor Sergey Bezrukov, rock musician Andrei Makarevich, writer Sergey Lukyanenko and other Russian celebrities.
This was clearly a very hit-and-miss kind of thing, I could tell. You can imagine setting a long jump record with a sudden vault across the kitchen to turn the radio off before “Auteur News with Vladimir Zhirinovsky” (or Pyotr Tolstoy) abused your eardrums, but if such leaps of faith were what it took to get the likes of Makarevich, long implicitly banned from state-controlled media as an “enemy of the people,” back in the public arena, then maybe it was worth it, I figured.
Yes, perhaps sharing the airwaves with the loud and confused was not too great a price to pay for getting a great unheard voice of reason heard again.
And that, it has long been assumed here, is the same devil’s bargain by which the majority Gazprom-owned Ekho Moskvy stays on the air: lowbrow types and state shills get air time so real news and sane views can reach millions who would otherwise have to scan the dial for “foreign voices” or, more likely, give up the dial altogether and simply glue their eyes and ears to social media.
Which doesn’t sound so bad at first blush, until you recall that social media were instrumental in blessing our brave new millennium with President Donald Trump, who has in turn introduced us to a new and apparently effective form of zombie-generating, masses-manipulating monologue that substitutes for press releases, news conferences, and indeed governance itself: the Auteur Tweet.
Yikes.
In any case, I was still bothered by one thing: how a longtime listener to Radio Jazz could have remained blissfully unaware of Auteur News for the first five years of its existence. Were the presenters less outspoken before? Or did my long-suffering ears simply click automatically to OFF for any radio news that happened to reach them from a station other than Ekho or Kommersant? Possibly both, but one more net search yielded a more likely answer.
This time, I turned up NSN’s original announcement of Auteur News, dated November 7, 2012, which noted the program would air only on weekdays, and only twice daily, at 8:00 and 10:00 p.m. If you were merely a one-ear listener, and your dinner usually ended before eight, it obviously took a bracing shot of Irina Prokhorova to get your attention.
This last search also produced a much better picture of the fabled Auteur 200, as the original announcement named names that were big time; indeed, almost all of them, as the list ran to some 178 people (if my count was correct). And the Big Picture spectrum is a broad one: there are plenty of presenters an educated listener would definitely like to hear an earful from. Beyond Makarevich, the list included director Serebrennikov himself, historian and journalist Nikoai Svanidze, progressive politician Irina Khakamada, saxophone legend Igor Butman, political scientist Nikolai Zlobin, filmmaker Alexei Uchitel, theater director Konstantin Raikin, satirist Mikhail Kononenko, producer and composer Stas Namin, national elections commissioner Ella Pamfilova, and a bunch more.
That said, there are just as many (probably more, actually) who would make the same listener wish he had taken his high-school long jump practice more seriously. Beyond Zhirinovsky and Tolstoy, you find motorcycle gang leader Khirurg (The Surgeon), the “pranksters” Vovan and Leksus, dim Duma stalwarts such as . . . but why list the losers here, have a look for yourself.
And relax. While there are definitely some wildcard types, including several rock musicians who use a single name (ask your grandson), you won’t find Director Doorknobs on the list. At least not yet.
Which is a reminder that, while Auteur News is a real find, without an updated contributor list and a schedule for it, you’ll need to be wary.
Irina Prokhorova was a great way to start, but the next presenter you hear might well focus on Putinista bikers running amok in Crimea.
Be prepared to leap.
Mark H. Teeter, a former opinion page editor and media columnist for the Moscow Times and the Moscow News, is the editor of Moscow TV Tonite on Facebook. His original article was lightly edited to conform with TRR’s nonexistent style guide. My thanks to Mr. Teeter for letting me reprint his article here.
