Jake Hamann

3/3/04

Russian Cinema

Gillepsie

House of Fools

The madness or war is one of the most common themes in all art of the twentieth century. Because it is such well-worn territory, the challenge for the artist, whatever the medium, is how to present this familiar theme in a way that is original enough to remain emotionally arresting and not repetitive or boring. Andrei Konchalovsky, in his film House of Fools, examines the necessity of escapism in the face of brutality and madness. The director risks looking ridiculous by including scenes featuring Bryan Adams in his otherwise serious war movie, but rather than detract from the impact of the story, these scenes enhance the power of the message.

The character Zhanna, has her first fantasy about Bryan Adams in the very beginning of the film where he is conducting a train. In a sharp contrast to the blues and grays that dominate the rest of the film, this scene features gauzy yellows and flashy reds. It looks like a bad music video, with Adams sauntering around singing his love song to exotic ladies. Coming this early in the movie, the scene is disconcerting and can only be understood as a bizarre joke. Adam’s reappears onscreen in Zhanna’s fantasies throughout the movie, but as the audience learns about Zhanna, our attitude towards her fantasies change. Zhanna is revealed to be a kind-hearted, gentle, innocent woman. She gains our sympathy through her interactions with the patients. She is more than the kooky nut with her amusing fantasy. We begin to want for her to find happiness.

Konchalovsky forces us to accept her fantasy as serious. We can’t see it as the director’s ironic wink, but as something integral to Zhanna’s well-being. The scene were Zhanna is in hysterics because of her cut hand and Adams comes to comfort her illustrates this transformation. Zhanna’s is at her most vulnerable. She has had her heart broken, seen a woman die, and now her home is again a battleground. It seems like she is in danger of being killed at any moment, either by a shell, a stray bullet, or some shrapnel. Amidst this chaos and tension, we feel bad for her and want her to get out, to live. Yet who should waltz into this tense deadly serious scene, none other than Bryan Adams. The colors turn yellow, the guitar plays, and Bryan comforts Zhanna, shielding her from the chaos and destruction that is going on behind them. Unlike the initial Adams scenes, the viewer cannot laugh here. We can still see the war going on in the background. We know that there is still danger. But we, like Zhanna, need the escape and security that fantasy provides. It is in this scene that the director makes us realize the seriousness of that fantasy. Zhanna’s conviction that she is loved is what gives her the strength to carry on in the violent, dangerous and ultimately mad world in which she lives. We desire Zhanna’s happiness and well-being, and if its fantasies about Bryan Adams that provide that, then the girl should dream on.

Rather than make just another war movie, Konchalovsky made a film that challenge the viewer to really examine the line between sanity and insanity. In the mixed-up, muddled-up, shook-up world of violence and war, everyone needs some kind of escape from the horrifying reality in order to survive. By the end of the film, Konchalovsky has accomplished the nearly impossible task of investing someone as ridiculous as Bryan Adams with real emotional weight.