I belong to those viewers who like melodrama films. True, while watching such films, my tears do not flow, I perceive them rather as a spectacle, and it is precisely this spectacle that I often lack. It is known that romance is generally a popular genre. Why is our filmmakers so dismissive of such films? You remember, however, “Stepmother”, “Romance of Lovers”, “Moscow, my love” … But this is so little.
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To Voltaire’s famous phrase “All genres are good except boring,” Pushkin added that Voltaire did not say: “equally good.” Melodrama is not a boring genre …
At the time of Voltaire, this genre was not yet. It was just that in some theaters the orchestra played along with it to enhance emotions. But in these theaters there were mostly plays with plot effects, sensitive scenes, monochromatic characters (the villain is so super-villain, virtue is so super-virtuous). These plays were to the taste of the public, who went out for a feast, jittery, even shudder.
In Russia, the first half of last century, melodrama was a success thanks to the game Schepkina. Mochalova. Karatygina Ostrovsky rejected the melodrama, although he reckoned with her ability to excite emotions.
Melodrama, for obvious reasons, has become one of the favorite genres of cinema in his youth. I am not ashamed to admit: the first film – Kozintsev and mine – “Ferris Wheel” was a melodrama on modern material, “S. V. D ”- on the historical.
Recall Chaplinsky "Lights of the big city" – clearly a melodrama. You cannot say the same about “New Times” – a social, high comedy.
It is indicative that in modern commercial cinema of the West there is almost no significant film in the melodrama genre, although there are beautiful pictures of other genres: detective, comedy, western. The movie “Man and Woman” by Claude Lelouch that was in your box office, for all its drama, is devoid of melodrama. I will make a reservation: the American film “love story” had a huge success (in part, which is very characteristic of the genre, thanks to music), but this success turned out to be not only exceptional, but also the exception that proves the rule.
Cinema eighty years – a solid age. Cinematography has come under the power of big themes, big feelings. Returning to pure melodrama doesn't mean falling into childhood? A moot point.
Of course, it is better that there are more good and different genres. You can not derogatory to any genre. One famous critic at one time called Kozintsev’s and Maxim’s trilogy a mixture of melodrama and vaudeville. We are not offended, but I think it was in the trilogy and more.
What a wonderful, I dare say, purely emotional film "And the Dawns Here Are Quiet …"! Is it a melodrama? Of course not. And people in the halls can not refrain from tears. The films “Romance of Lovers”, “The Beginning” had great success, undoubtedly, one can sense the traces of melodrama in them. But only traces! Rather, the controversy with the genre of melodrama.
But who knows if a representative of the genre will appear to us in a short time, without impurities and without covers, and what will happen in this case? I am convinced that if the studio had read the script, even if the most sensitive one, in which there was an artistic task, genuine drama, no one would refuse to put it.
In art, everything is possible, and suddenly a melodrama may be necessary, pleasing (to tears!).