Stereotyping Russia for Her Own Good

Yuri Mamin’s Window to Paris is a humorous and truthful depiction of Russia immediately after the fall of the Soviet Union. As the audience follows the story, they are confronted with a realistic evaluation of the atmosphere of the time: Russia’s economy is suffering and her people are desperate for help and for change. There are rallies for democracy; there are shortages everywhere. Through it all, however, the “Russian soul” is alive and well. The residents of the communal apartment drink and celebrate as much as they please, and there is still a firm (though sometimes hidden) loyalty to Russia.

While supporting Russia, this film is certainly not a glorification of Russia over the West. Mamin places both Russia and the West on a level field: each has its bad side and each has its good side. One way Mamin “equalizes” Russia and the West is through confirming and refuting stereotypes of Russia. These stereotypes take on several forms, ranging from the country itself to the individual characters. On the most general level, the settings and backgrounds provide symbols for all of Russia, including the stereotypes attached to Russia. By manipulating the mis-en-scene, Mamin both rejects and accepts these stereotypes, giving the film a well-rounded message of nationalism and self-criticism for Russian audiences.

First, the backgrounds of the film display many stereotypical scenes that would be known or expected by a Russian audience. In Russia, the weather is cold and gray. Buildings are broken-down and cramped. Mamin takes these images one step further, using mis-en-scene to create a feeling of social disorder and despair. For example, when Nikolai is first introduced into his new home, he is led down a claustrophobic hallway. The hall is full of useless junk, including broken pianos; live chickens run around; and the light is dim and yellow. All of those elements of the mis-en-scene create a feeling of disorder and constriction: the hallway becomes a cage full of debris and animals. Also, when the French woman is wandering through St. Petersburg, she stops in a dirty courtyard of decrepit buildings to watch a bag of fish heads fall to the ground in front of her. Through images like this, Mamin is confirming the stereotype of post-Soviet Russia as a dirty and hopeless place, where it is quite acceptable to live in a cage and trudge through garbage on the street.

On the other hand, Mamin refutes this stereotype by providing more positive views of Russia. Near the end of the film, there is a beautiful shot of Peter and Paul’s fortress, with fireworks exploding in a clear blue sky over the Neva. This scene alone conveys the elegance and pride that Russia’s past (and, hopefully, future) holds. Another example of a positive scene is when all of the men of the communal apartment are drinking together in Nikolai’s room. The room is dark and smoky, which makes it seem small; but the audience is not suffocated by the smoke or lack of space. The room, while dirty and dark, is also cozy and full of friends: the men sit close to one another and enjoy themselves. This scene in particular encapsulates Mamin’s message to Russia: it is true that times are dark, the air is hazy and the future is clouded; but, Russia is a strong country, held together both by familial feelings and a need to survive. Things may be bleak, as they are for the unemployed Nikolai, but there is some good left in Russia and it should not be forsaken, as Nikolai realizes while coaxing the children to come home.

In the end, Window to Paris gives Russian audiences a lot to think about. They are confronted by the fact that Russia is in disarray, partially through their own faults: through apathy they have allowed a bad situation to become worse, as clearly evidenced by the garbage-filled streets. Russians are also given hope: there is beauty and good in Russia and her people. Mamin’s portrayal of Russia urges audiences to recognize the good and the bad, come to terms with both, then to use the good to transform Russia into something better.