Charlize Theron and Mark Wahlberg at “The Italian Job” Premiere in Moscow
The Moscow premiere of “The Italian Job,” marking the grand opening of the city’s first genuine American multiplex, held a couple of surprises. Charlize Theron stunned with a remarkably unflattering outfit featuring a bare, laced-up back, while Mark Wahlberg appeared surprisingly short for a former Calvin Klein model. Otherwise, the visiting stars lived up to expectations, delivering a dazzlingly somnambulistic standard of celebrity image as they graced the stage before the screenings in each of the eleven theaters.
A Slice of Little New York
This celebrity spectacle, however, didn’t detract from the overall experience; it was merely one of the attractions. Another was the influx of Moscow’s entire American diaspora into the “KinoStar” cinema. It was surprising to see so many of them gathered in one place, creating a “Little New York” atmosphere for the evening. The crowd erupted in cheers as each international film industry boss stepped onto the red carpet, followed by enthusiastic, almost sincere, applause for every speech containing phrases like “we did it,” “it’s a breakthrough,” and “thanks to the team and my mom.” Ladies sported artificial mink coats, tall, well-groomed men mingled, champagne flowed with pineapple garnishes, and drinks and food were abundant. Russians were initially prohibited from smoking, but a collective sigh of relief swept through the crowd when the Americans lit up.
KinoStar: Comfort and Location
“KinoStar” is interesting because of its convenience. The theaters are large, the screens even larger, the seats are genuinely comfortable, and there are plenty of restrooms and popcorn for everyone. On the other hand, its location is remarkably inconvenient. Situated far from Moscow, near the 41st kilometer of the Moscow Ring Road (MKAD) without metro access, it’s unlikely that the shuttle buses to the “Mega Mall” to which it’s attached will be of much help. The American investors seem to believe that the theaters will be filled by shoppers from the two hundred expensive stores, plus the nearby “IKEA” and a budget supermarket. One can only admire their confidence that the country is becoming wealthy enough to afford tickets costing 100-300 rubles, even for morning screenings. Or is it really getting richer?
“The Italian Job”: A Review
The film itself, clocking in at two hours, only becomes watchable in the last half hour. This is when three brand-new BMW “Minis,” recently revived by the German manufacturer, leap down subway stairs, jump off platforms in front of oncoming trains, race along the tracks, swerve into sewer pipes, and emerge unscathed from water and fire. Moreover, towards the end, a portly African-American character utters the sacrosanct line: “Listen up, I’ve long realized that you can’t go against nature, mothers-in-law, and damn Ukrainians.” The plot involves the Ukrainian mafia playing a crucial role in this “Italian” heist in Los Angeles, led by a stern character named Mashkov. The audience loved it. The finale, with its computers, traffic lights, and overall rhythm, is also intriguing. But is it worth enduring the preceding hour and a half of blatant, pre-perestroika-era garbage? That’s a big question.
A Flawed Remake
Director F. Gary Gray (“The Negotiator”) clearly approached the remake of the 1969 film from the wrong angle. It would have been better to keep the action in Europe, as in the original. This time, the initial chase on motorboats through the narrow canals of Venice is impressive, but the setting needed a more daring transformation. The naivety of relationships and themes from the mid-20th century, especially in light genres, now feels outdated. The era is gone, and pure stories about “friendship” and “revenge for betrayal” simply don’t resonate anymore. A gang robs an Italian bank, and one of the accomplices betrays everyone, thinking he has killed them. He does kill one. A year later, they all reunite and, with the addition of a safecracker – the daughter of the murdered safecracker – decide to rob the arrogant traitor.
Modern Technology Cannot Mask the Lack of Depth
Throughout the film, they prepare, discuss, and drag on. Neither computers, mobile phones, nor fancy cars can conceal the current lack of naivety, which turns the entire “Italian Job” into blatant boredom. In fact, they only emphasize it, as do the various superstar actors in the leading roles. Mark Wahlberg and Charlize Theron seem to struggle to understand what they’re supposed to be playing, given the absence of sex, violence, or cynicism. Edward Norton is only superficially more colorful, and it’s even strange to see him in this role. After “The Score,” he’s once again delving into cheap gangsterism, suggesting that the cult classic “Fight Club” was an exception for him, not the rule. Jason Statham seems to lack the confidence gained from the outrageous “Transporter,” and he descends to the previous level of a standard “henchman.”
Only Donald Sutherland appears calm and at ease in this mess, but that may be because he dies almost immediately.
If Hollywood continues to release such films as blockbusters, there’s no need to be overly optimistic about the box office success of the first American cinema in Moscow.