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harmful old zionist woman

Date: June 4, 2023 Time: 00:57:28

“Good actress Tsigal-Polishchuk nervously responds to Faina’s name.” Photo: Channel One

Ranevskaya was immediately born as Tortilla and for the rest of her life obscenely complained about old age (it is even strange that the role went to Rina Zelena).

Only a few living saw her in the theater, in the cinema she played 12 episodic roles and one main role in the film “Watch out for Grandma!”

So, the main content of the unfading myth of Ranevskaya was the statements of Faina Georgievna about the ass, transmitted with special aspiration in the circles of Russian Jews. Well, all this: “It should be given to the museum. I’m not a great actress, I’m a big butt.” Or: “All my life I’ve swam in the toilet in a butterfly style.”

A certain one-sidedness of humor was offset by the charm of senile recklessness and the dissonance of merit and behavior. Today they would say: “bapka burns.”

It was clear to everyone that eight episodes of Mule and ass jokes could not be pulled out, and no one knew anything else about the People’s Artist of the USSR and did not seek to know. The idea to ride with the breeze in the glory of a deserved foul language was a failure from the beginning, but the result, as they say, surpassed.

It’s no secret that all of our stellar biopics are made with the sole remit of biting the Soviet regime, under which those stars were ignited, and the jerk people who created a legend about them. Authors with intelligence and tact do not undertake such work, because there are many problems with the fonts, and the viewer only cares whether the artist is similar or not. The finished script of Larisa Zholobova, with the participation of Alina Semeryakova and Yuri Moroz, most of all resembles the crying of the fugitive Tsudechkis in the US immigration service to obtain a pan-refugee status. And “Memory” of him, and the pogrom of him, and the Holocaust with a capital letter, and personally Comrade Suslov on the crest.

It turns out that Mulya, who irritated Fanya as a child, was killed by the Reds during the pogrom. Everyone knows that Trotsky’s army, Uritsky’s Cheka and Sverdlov’s All-Russian Central Executive Committee did not sleep at night, how to make more pogroms and kill more Mules. And the only salvation from the executioners was the Christ-loving white army: remember, remember. From the story of how the commissars put Fanya’s rich dad on the counter, and he sat on the rails with a sentry and laughed, a wonderful horror story about anti-Semitism with a butt in the face, an arson I live in the car. and a promise to be shot by hanging with special sadism.

From the nerves of the offended nation of tailors and film critics (yes, yes, us too) are completely off their benches. It seems that there is no watchmaker and theatrical figure in the USSR who would not want the return of tsarism, when there were no such words as “boy” and “pogrom”. And they grumble, snort, slander and justify the Great Terror with all their rude behavior: after all, it turns out that Yezhov and Beria were right? They didn’t finish it either, they didn’t take out the viper’s sting until the end.

Intensifying the Soviet decadence of the muses, Ranevskaya, in the role of the whore Zinka from the Pathetic Sonata, twice exclaims: “We do not serve the tsar’s lackeys!” – leading the audience to indescribable delight. There are no such words in the play, but on the network it is only in Ukrainian, and Zholobova does not know the language, so she comes up with what a slut can blurt out most stupidly in a play on a revolutionary theme (in fact, Zinka He made an excellent observation that the bourgeois and the proletarian take off their pants in exactly the same way.)

Kachalov invites Ranevskaya to Aragvi two years before the appearance of this restaurant.

A major’s wife calls prostitutes “shalashovki” in 1931, when there was no such word, let alone in the lexicon of grown-up wives.

In real Romania, where they killed for belonging to the Communist Party (Kira Muratova’s father, for example), they show the film “Foundling” from the USSR, and even in Russian, just to please Fanya’s emigrant father, who died a year before the film’s release.

In the midst of all this horror, the good actress Tsigal-Polishchuk walks around with a blank stare and nervously responds to Faina’s name. The casting directors (all three) did a great job. Domogarov is quite Kachalov, Alexander Titorenko is Alexandrov, Andrey Butin is Merkuriev one on one, and that Romm, played by Alexander Bezrukov, looks like a cowardly Eichmann, so it’s Lenin’s revenge in October.

The fresh idea that socialism is the worst place for a lonely old Jewess with the effects of fiction has been tested with exceptional zeal.

All other places are just heaven and flourishing Arcadia to her.

Ranevskaya would say: …

But no, it is not yet the time in the open press to convey word for word what the harmful old Zionist lady would say to this.



Dir. Dmitri Petrun.

KION/Channel One.

Puck Henry
Puck Henry
Puck Henry is an editor for ePrimefeed covering all types of news.

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