Restless "Matilda": what is known about the situation around the film by Alexei Uchitel. Without bare chest and repentance for the death of people

Image copyright RIA Novosti Image caption Matilda Kshesinskaya was famous ballerina before the October Revolution

Deputy Chairman of the State Duma Committee on Security and Anti-Corruption Natalya Poklonskaya sent a request to Russian Prosecutor General Yuri Chaika with a request to check the film "Matilda" by Alexei Uchitel for insulting the religious feelings of believers, specifying that she did not watch the film.

Strictly speaking, she could not watch it, since the film about the romance of the future emperor with the ballerina Matilda Kshesinskaya, who later, already in exile, married Grand Duke Andrei Vladimirovich from the Romanov dynasty, will be released in wide distribution only in March next year.

The film director Alexei Uchitel noted that the final version of the tape is not ready either. The same was said in the Kremlin - since no one has seen the tape, then the public does not have a definite opinion about it.

However, back in April this year on YouTube video hosting trailer appeared romantic historical drama. There he was available to members of the little-known social movement"Royal Cross", who complained to the Crimean woman Poklonskaya, after which she turned to the prosecutor's office, where she herself served until recently.

Aleksey Uchitel in an interview with Radio Baltika called this appeal "insanity", and the lawyer and former senator Konstantin Dobrynin offered to defend the director in court for free if it comes to that.

"This is not the first request, there is already an official response from the prosecutor's office, which says that everything in the film is within the law. But, apparently, no one knows about this response," the director said.

Nicholas II has been canonized by the Russian Orthodox Church as a martyr and passion-bearer since 2000, but his relationship with Matilda Kshesinskaya took place before his accession to the throne.

Exactly romantic relationship ballerinas with the future emperor and is dedicated to the film Teacher. The slogan even appears in the trailer: "Love that changed Russia."

The BBC Russian service asked historians what they think of this film and the role of the dancer in Russian history.

Petr Multatuli, Candidate of Historical Sciences, Head of the Sector for Analysis and Evaluation of the Russian Institute for Strategic Studies. The great-grandfather of the historian served as a cook for the Romanov family and was killed by the Bolsheviks along with the emperor:

This topic is of interest to vulgar people from history. If we take the situation with Kshesinskaya, then it does not matter either in history or in his career statesman, is an absolutely insignificant episode purely platonic love. They always met in public, they were not left alone - this can be seen from his diaries. What she [Matilda] wrote there in her memoirs - so she was retired and recalled not only novels with the Tsarevich.

But that's not the point - they take a specific story, this small episode and develop it in order to insult the memory of Nicholas II, the memory of history, his father, the Russian monarchy as such. The disgusting trailer is an insult not only to the feelings of believers, but Nikolai is canonized by the Russian Orthodox Church is an insult to anyone's feelings. normal person. If a person has a normal relationship with conscience, taste, he perceives this as a personal insult. This is all very unworthy, this is a microwar with our history. If they want to experiment with history so much, let them take the history of France and England, only there it will not be all the same.

Robert Service, professor of history at Oxford University, specialist on Nicholas II:

It is highly unlikely that Matilda could influence the future policy of Russia, other than the fact that the Bolsheviks confiscated her house. Especially considering that the future emperor lived in isolation in Tsarskoye Selo. Their romance was an open secret, but his diary is extremely uninformative about his personal life. It is an interesting phenomenon that a film about those events could cause such a scandal in Moscow now.

Alexander Shirokorad, military publicist and historical popularizer:

The romance was both deep and shallow: until the end of their days, they retained affection for each other. Matilda shamelessly exploited Nikolai both in theatrical and near-theatrical affairs: thanks to her, for example, the director Mariinsky Theater, and in disputes with colleagues, she used the "administrative resource". When the Tsarevich decided to marry Alice of Hesse, he officially broke off relations with Matilda and gave her an apartment.

Kshesinskaya did not influence politics in any way. As I understand from what I know about the film, it says that if Nikolai had married Matilda, the whole history of Russia would have gone differently, but that’s not even Science fiction. There was no way he could do it, he would have to give up the throne and leave. Marriage was illegal Russian Empire.

She needed money and influence, but she never got involved in politics, neither for revolutionaries nor against, and she was never a Polish nationalist. As well as being in France, she did not help the "white movement". She, of course, dreamed of becoming an empress, but only in order to have influence, no politics interested her.

The artist, of course, is usually pleased with increased attention to his works. But when your opus is viewed with magnifying glass- Sorry, that's too much.

Alexey Uchitel with his long-suffering (without irony) "Matilda" found himself in such an approximate position now. The attack of Natalia Poklonskaya, which caused a muddy wave of aggressive attacks from the "Tsar-bearers" up to the expressed desire to put the director on a stake, on the one hand, added to the film's popularity in advance. On the other hand, they added to it a purely entomological interest on the part of critics, who are now forced to analyze Matilda in the light of the aggressive events around her. And this film, along with the team, did not benefit, of course.

If it were not for Poklonskaya and her retinue of the mentally unstable, Matilda would have modestly walked along the sidelines of film critics as another near-patriotic movie with a not very successful rental fate, but not a failure against the backdrop of our entire film industry. Which one wants to pick up in quotation marks. But since the wave of public discussion has brought it to the surface, we have to sort through the bones. Exhibit anyway.

Let's pay tribute to the Teacher: he did an excellent job with the front side of the film. A costume historical drama from ancient times, when ladies dragged trains of silk skirts, gentlemen in sideburns savored the word “honor” with cutlets, and newly-made emperors laid out round sums from their pockets for the families of those who died during their coronation, in “Matilda” it is designed competently, lovingly and clearly with an honest application of the allocated budget. Which, you see, is already an achievement in our suspicious time.

The story told in the film unfolds against the backdrop of grand facades and elegant interiors. Here one feels not only scope, but also taste, which, again, is a rarity for our current cinema. For the most part, we have one thing - either scope or taste. The magnificent end of the 300-year reign of the Romanov dynasty, which in 20 years will end in a bloody tragedy, becomes a good background for dramatic story love between the soon-to-be Emperor Nikolai Alexandrovich (Lars Eidinger) and the ballerina Matilda Kshesinskaya (Mikhalina Olshanska). Love will begin with a brave experiment by young Kshesinskaya on stage - her chest will accidentally be exposed, and instead of bashfully running backstage, she, having seen the future emperor in the box, impudently looking into his eyes, will continue to dance bare-breasted, which, of course, will attract and will captivate young Nicholas. Then, when Niki tries to possess her in a special tent, Matilda will slap him in the face and promise that he will now love her forever.

In the royal family of the Romanovs, Kshesinskaya was considered something of a passing banner - starting with Grand Duke Sergei Alexandrovich, she would take care of Nikolai, and when Nikolai became an exemplary family man, she would turn her gaze to the imperial cousin, Prince Andrei, whom she would later marry. But the Teacher does not want to know anything bad about the heroine - Matilda is his girl, although she is punchy, but she sincerely and devotedly loves her Nicky. The Polish actress is remarkably good - fresh, black-browed and has that free sex appeal that our actresses are basically deprived of. Therefore, one should not be surprised that the Teacher brought the heroine from abroad. With the emperor, everything is much sadder. Lars Eidinger is an outstanding artist, it is almost impossible to get to the performances of the Berlin Schaubühne with his participation. What the director did with him - you can’t even say right away. Either he forbade, under pain of termination of the contract, to play habitually well. Whether pumped up with sleeping pills. But in any case, looking at a bearded man over 40, who is clearly bored of portraying a 22-year-old boy, is somewhat embarrassing. The dissonance between the eyes of a fairly elderly person and the youthful impulses of yesterday's puberty is too striking, and this makes the love story seem obviously false.

Although - and here again we must pay tribute to the director - he does not insist on the veracity of what was told. He does not even persuade us that, they say, such a thing could be. On the contrary, he seems to emphasize that everything told is fiction from beginning to end, and for this he attracts completely fairy tale characters. Like Prince Vorontsov (Danila Kozlovsky), a bearded man passionately in love with Matilda, ready to send the heir to the throne for her sake. This is such Koschey, Malchish-Plokhish and all the demons at once in one person. This is already funny, but even funnier when a certain Lucifer-like psychiatrist performed for some reason the great German theater director Thomas Ostermeier puts Vorontsov in an aquarium with his head and begins to torture. Isn't this a direct hint to us: don't believe it, dear viewers, don't believe it for a second!

The only problem is that the director himself did not understand whether to believe himself or not. He desperately rushes between genres, between fiction and reality, never deciding what and why he shoots. It seems to him that he is making a completely patriotic movie about that very textbook Russia before 1913, when the piglets were fat, and people believed in God. That is, "Russia, which we have lost." It is not for nothing that the film begins with an unambiguous metaphor - the very famous train crash, after which the health of Tsar Alexander III (Sergey Garmash), who held the roof of the car for a long time, was greatly shaken, like that train. Nicky soon became emperor.

At times it seems that the cunning Teacher actually made a comedy - in addition to Vorontsov and the half-mad psychiatrist, the film has many more comic characters in comical circumstances. The most charming of them is the head of the tsarist detective police, Vlasov (Vitaly Kishchenko). This sinister type, as it seems to the viewer, according to the plot, has been doing nothing but rushing after Matilda for several years, trying to separate her from the future emperor. Apparently, things in the country were going very well in terms of security, since the main guard throws all his strength into the girl-ballerina. Having overtaken her, Vlasov tries to either drown the girl or burn her. Or maybe, on the contrary, things were going badly, but the detective police were busy with the wrong thing, so everything collapsed? Then, it turns out, the Teacher digs deep. And it's really hard to believe this.

Most likely, the director wanted to please a little bit of everyone - patriots (Orthodoxy-autocracy-nationality), lovers of the mass spectacle (smart salons and ferry races), housewives (a story of unhappy love), critics ( good actors, especially Ingeborga Dapkunaite in the role of Empress Dowager, plus the scope for interpretation, which we took advantage of). But as often happens in such cases, the artist missed, and the only one who was seriously interested in the film was the deputy Poklonskaya. And she doesn't want to watch the movie.

By the way, the fact that the Tsarevich always ends up in underpants after a night of love with Matilda speaks in favor of the comedy. By the way, tell someone about this Poklonskaya - maybe she will calm down?

In the Russian Empire, there was not a single person who would stand up for the emperor, and in Russian Federation more than enough such well-wishers

In the Russian Empire, there was not a single person who would stand up for Nicholas II, and in the Russian Federation there are more than enough such well-wishers

Russia sausages are not childish. In psychiatry, this would be called schizophrenia. In politics, they call it an attempt to reconcile and agree with one's past, present and future. The trouble is that all temporary states are changeable. From this, one has to reconcile and agree today with what they stigmatized yesterday. The most recent example is the passion around the film by Alexei UCHITEL "Matilda" about the carnal love of the ballerina Kshesinskaya and NICHOLAS II. Today, we consider this king to be both Bloody and holy at the same time. As anyone likes. But there is a tendency that already tomorrow we will be forced to consider him exclusively holy. Therefore, as long as possible, we recall the human nature of the sovereign, and at the same time about his bloody life path to heaven.

A certain movement "Royal Cross" called on the people to unite against the historical film "Matilda" directed by Alexey Uchitel and sign an appeal addressed to the Prosecutor General with a request to ban the release of the picture on the screen. Nobody has actually seen the movie yet. The excitement of the public was caused by his commercial.

The reason is this - “bed scenes are included in the picture with incredible audacity Nicholas II With Matilda Kshesinskaya”, and this is “not only criminal in relation to the believing citizens of the country, but also in relation to the state, as it is aimed at undermining national security.”

A deputy suddenly appeared at the head of the anti-Kseshinsky movement Natalia Poklonskaya. According to her, Nicholas II is actually "a kind and merciful sovereign, who radically improved the well-being of his people."

It’s stupid to check a film that hasn’t been released, the Minister of Culture commented on Natalia Poklonskaya’s deputy request to the prosecutor’s office Vladimir Medinsky.

The blind readiness of the heroine of the “Crimean spring” to lay down her life for the tsar caused amazement among many of her admirers.

I just can’t understand why what is considered the first love all over the world, Poklonskaya suddenly turns into a “vicious connection” that offends the religious feelings of the Orthodox? - asks by no means a liberal journalist Oleg Lurie.

Moving to Moscow from a deep province, the insane deputy prosperity that fell on his head, coupled with a lot of free time, may have unsettled the former prosecutor. In addition, it is necessary to make allowances for the fact that she studied history at school using Ukrainian textbooks. And there it is written...

family toy

It is believed that the cheerful Polish Matilda Kshesinskaya was given to his phlegmatic son Nicky by his father. March 23, 1890 after the graduation performance of the Imperial theater school, which was attended by Alexander III with the heir to the throne, a solemn dinner was given. The sovereign ordered that Kshesinskaya be planted next to the future Emperor Nicholas II. The family decided that it was time for Niki to become a real man, and the ballet was something like an official harem and communication with ballerinas was not considered shameful in the circle of the aristocracy.

In the jargon adopted in the Russian guards, trips to ballerinas for the sexual satisfaction of their violent passions were called "potato trips." The heir was no exception and under the name of a hussar Volkova for several years I went to Matilda for potatoes. Until he married Alice of Hesse.

Wanting to keep the secret of his intimate adventures, Nikolai did not let Matilda go through the hands of lustful merchants and perverted nobles. He left her in the “family”, transferring her to the care and comfort of her grandson NicholasI- grand duke Sergei Mikhailovich. The new "owner" was single and also carried away by a gorgeous woman. Sergei Mikhailovich made Kshesinskaya the prima of the Mariinsky Theater and one of richest women Russia. Her palace in Strelna was not inferior in luxury to the royal one, which greatly crippled the military budget of Russia. The very one to which the Grand Dukes, and in particular Sergei Mikhailovich, had access.

Official affairs did not allow him to pay enough attention to Matilda, and he asked to "look after" the beauty of the Grand Duke Andrei Vladimirovich, grandson Alexander II. Both lovers knew about each other, but peacefully alternately cohabited with the "witch", never quarreling, and everyone considered Vladimir, the son of Matilda, his own. He really wore first the middle name Sergeevich, and then Andreevich.

After the revolution, already in immigration in France, Kshesinskaya married Grand Duke Andrei Vladimirovich and received the title of Most Serene Princess Romanovskaya.

foreign place

Once Nicholas II told the Minister of Foreign Affairs Sazonov: "I try not to think seriously about anything, otherwise I would have been in a coffin a long time ago." It is this phrase that most accurately characterizes the style of Nikolaev's rule. His place was not on the throne, but with Kshesinskaya under her skirt and at the family table. The patriarchal custom of inheriting power not by merit, but by seniority became a trap for tsarism. The rapidly changing world could no longer be held together by rotten bonds: "Orthodoxy, Autocracy, Nationality."

It is customary to say about Nicholas that he personally carried out reforms, often in defiance of the Duma. However, in fact, the king rather "did not interfere." He didn't even have a personal secretariat. Nicholas II personally never wrote detailed resolutions, he limited himself to marginal notes, most often he simply put a “reading mark”. He basically did not state affairs. Didn't take them to heart. For example, his adjutant said that, having received news of Tsushima, the king, who at that time was playing tennis, sighed heavily and immediately took up his racket again. In the same way, he perceived all the bad news about the unrest in the country and the news of the defeats in the war.

As a result of such a rule, by the beginning of World War I, Russia's external debt was 6.5 billion rubles, and gold in the treasury was only 1.6 billion.

But Nicholas II spent 12 thousand rubles a year on dear photos with his family. For example, the average household expenditure in the Russian Empire was about 85 rubles per capita per year. The emperor's wardrobe in the Alexander Palace alone consisted of several hundred items. military uniform. When receiving foreign ambassadors, the tsar put on the uniform of the state where the envoy came from. Often, Nicholas II had to change clothes six times a day.

The figure of the king, primarily through his own fault, turned out to be exclusively decorative. It was precisely this circumstance that caused general dissatisfaction.

Whole the economic growth 1913 fell on the private bourgeois and capitalist sector. While the mechanisms of power have practically ceased to work.

They could not, since all the controls were in the hands of one person, unable to move them. Tsarism, thus, simply outlived itself.

Nicholas II became Bloody not when, during his coronation on May 18, 1896, 2689 loyal subjects were killed and maimed in a stampede. He became Bloody because of all the ways to govern the state, he decided to use only the simplest - repression.

The worse the situation became, the more often they resorted to them. The revolution of 1905 was preceded by the famine of 1901-1903, which resulted in the death of more than three million adults alone. The tsarist statistics did not count children. For suppression peasant uprisings and the protests of the workers, 200 thousand regular troops were sent, not counting tens of thousands of gendarmes and Cossacks.

And then on January 9, 1905, Bloody Sunday took place in St. Petersburg - the dispersal of the procession of St. Petersburg workers to Winter Palace, which had the goal of handing over to the king a collective petition about working needs. The working people, "like the entire Russian people," have "no human rights. Thanks to your officials, we have become slaves,” the workers wrote in the petition.

The troops met them with cannon and rifle fire. Everywhere the reprisals were carried out according to one plan: they fired in volleys, with and without a warning, and then cavalry flew out from behind the infantry barriers and trampled, chopped, whipped the fleeing.

Government report: of those who went to the king, 96 were killed, 330 people were injured. But on January 13, journalists submitted to the Minister of the Interior of the Empire a list of 4,600 dead and mortally maimed by name. Later newspapers wrote that more than 40 thousand corpses with bayonet and saber wounds, trampled by horses, torn by shells and similar wounds passed through the hospitals of the city and its environs.

Thus, the faith of the people in the good king-father was trampled. The wave of general discontent was already unstoppable. During 1905 - 1906, the peasants burned down two thousand estates of landowners out of 30 thousand existing in the European part of the empire. Jewish pogroms claimed the lives of at least 10,000 more people.

In October 1905, the All-Russian political strike spread throughout Russia. The Sevastopol uprising ended with the execution of the sailors of the Black Sea Fleet - the cruiser "Ochakov" and other rebellious ships. Memorial prayers tens of thousands of innocent victims did not have time to subside, when crop failure attacked Russia. The church, landlords, and tsarist officials refused to share the grain, and as a result, the mass famine of 1911 claimed the lives of 300,000 people. Strikes and shootings began again. A fact has been preserved: in 1914, doctors examined conscripts for the army and were horrified - 40 percent of recruits had traces of Cossack whips or ramrods on their backs.

Triumph of the Will

Beginning in the autumn of 1916, not only left-wing radicals and the liberal State Duma, but even the closest relatives - 15 Grand Dukes - stood up in opposition to Nicholas II. Their common demand was the removal of the “holy old man” from governing the country. Grishki Rasputin and German queens and the introduction of a responsible ministry. That is, the government appointed by the Duma and responsible to the Duma. In practice, this meant the transformation political system from autocratic to constitutional monarchy.

The Russian officers made a decisive contribution to the overthrow of Nicholas II. His attitude towards the tsar-father can be judged by the derogatory name of the popular snack - "nikolashka". Her recipe was attributed to the king. Powdered sugar was mixed with ground coffee, this mixture was sprinkled with a slice of lemon, which was used to eat a glass of cognac.

Confidant of the Chief of Staff of the Supreme Commander-in-Chief Adjutant General Mikhail Alekseev - general Alexander Krymov in January 1917, he spoke to the Duma members, pushing them towards a coup, as if giving guarantees from the army. He ended his speech with the words: “The mood in the army is such that everyone will gladly welcome the news of the coup. A revolution is inevitable, and this is felt at the front. If you decide to take this extreme measure, we will support you. Obviously there is no other way. There is no time to lose."

The Imperial Headquarters was, in fact, the second government. There, according to Professor Yuri Lomonosov, who during the war was a member of the engineering council of the Ministry of Railways, dissatisfaction was ripening: “At the headquarters and at Headquarters, the queen was scolded mercilessly, they talked not only about her imprisonment, but also about the deposition of Nicholas. They even talked about it at the general's tables. But always, with all the talk of this kind, the most likely outcome seemed to be a purely palace revolution, like the assassination of Paul.

In March 1917, it was the military, the commanders of the fronts, who forced the tsar to sign his abdication. The last order of Nicholas II was the appointment of General Lavra Kornilova Commander of the Petrograd Military District.

A few days later, by decision of the Provisional Government, Kornilov left for Tsarskoye Selo to enforce the arrest decree. former empress Alexandra Feodorovna and the entire royal family.

By the way, today the same people who go to rallies in an embrace with the icon of Nicholas II and sing "God Save the Tsar" erected in Krasnodar a monument to his jailer, General Kornilov. And they regularly hold commemorations near him, to which they bring the icon of Nicholas II.

After the abdication, Nicholas II turned out to be so nobody the right person that its existence was simply forgotten for a while. Minister of Foreign Affairs of the Provisional Government Pavel Milyukov tried to send royal family to England in the care of the king's cousin - George V, but the king chose to abandon such a plan.

Not knowing what to do, the Provisional Government sent Nicholas II and his family deep into the country. The link became his triumph of will. Not a sovereign, but a man, from the moment of his abdication until the day of his death, he showed much more character than during his entire reign. How did he say about it Edward Radzinsky, there are monarchs who do not know how to rule, but who know how to die with dignity.

At the beginning of such articles, it is customary to warn about spoilers. In this one, they will inevitably be, although it is strange to be afraid of spoilers in a film based on real events from Russian history, albeit a little, as Aleksey Uchitel admitted, embellished.

In Russian cinema, which depends on state funding and, accordingly, is forced to express the interests of the party issuing money, there are now three main themes, they are also the notorious bonds: Patriotic War, space and ballet. Interestingly, all of them, and not just the first, are almost always revealed by filmmakers in a retro vein. Space stories based on true events "Salute 7", "Time of the First") and ballet are dedicated to the events of the past. Thus, it is as if a priori it is recognized that in the field of space and ballet we have long lagged behind the rest of the planet, but at least there is something to remember.

These films are about Russian or Soviet victories, to be interesting to the audience, lag behind Hollywood trends - just like in the 1930s Grigory Alexandrov copied American musicals, and Lyubov Orlova studied Marlene Dietrich's makeup and wardrobe. All recent successful Russian films about World War II (for example, "Stalingrad" Fyodor Bondarchuk) is impossible to imagine without the reference "Saving Private Ryan", who showed how to present military cinema to a modern audience. In the same way, our modern films about space are made with an eye on "Gravity" that determines exactly how to serve space theme in the 21st century. Films about ballet also have their own landmark - "Black Swan" Aronofsky, and "Matilde" obsession with perfectionism is shown in Kshesinskaya's desire to learn how to perform 32 fouettes in order to outrun Legnani's rival (and to prove to the audience that she did not go to ballet to become a courtesan). With ballet in the cinema, things are worse with us than with war and space - "Big" grossed only 234 million rubles at the box office. with a budget of 370 million, proving that the problems classical dance modern viewers are not close. But in "Matilde" It's not just about dancing, of course.

The biggest surprise in "Matilde"— genre leapfrog. Usually in Russian cinema, such a biographical film is decided as a magnificent historical drama or, given the plot about the love of the not yet crowned Nicholas II (Lars Eidinger) for Kshesinskaya (Mikhalina Olshanskaya), as a melodrama. After all, this is a film about impossible love, the one that Pugacheva sang about during "Kings can do anything". The teacher, perhaps realizing that the trend has changed and the genre of historical drama can only cause a polite yawn in modern viewers, suddenly shoots a thriller about a love not even a triangle, but a quadrangle (Matilda - Nicholas II - Prince Andrei - Count Vorontsov). The poor crown prince, who suffered from love for six years from the moment he met Kshesinskaya in 1890 until his coronation and marriage to future Alexandra Fedorovna (Louise Wolfram), is shown here as the only sane man in the life of a prima who does not want to kill her, unlike Vorontsov (Danila Kozlovsky) and Prince Andrei (Grigory Dobrygin), who eventually married Matilda. Moreover, he and his mother, Empress Maria Fedorovna (Ingeborga Dapkunaite) are rare characters in this film who are not caricatures with personal characteristics. Vorontsov, in addition to trying to kill Kshesinskaya, is no longer busy with anything, like Prince Andrei, whose only condition is falling in love. In general, Matilda is also only busy dancing and allowing others to love her - she has no other activities or background, which is strange for the heroine, whose name the film is named after.

Contrary to the indignation of Orthodox radicals, who, with their protests against the film, created excellent advertising for it, the average viewer is unlikely to understand that it is precisely in this story of the relationship between a free crown prince and an unmarried dancer that can cause the wrath of believers. "Matilde" it makes sense to make artistic claims: there are a couple of ridiculous pompous dialogues (Nikolai: “What will you give? A bracelet or earrings?” Prince Andrey: “Your life, otherwise you may never know who you really are”), there is no scene Nikolai’s acquaintance with Matilda and her invitation to his chambers (the ballerina ends up on the crown prince’s bed as if the Teacher had cut out a logically important link in the montage), Vorontsov is first hanged and then tortured, and not vice versa, and Maria Fedorovna, who for six years warned her son against compromising his unequal connection, suddenly fades at the most crucial moment and is not even present at the coronation itself.

But there are no questions about how the future king is shown. "Niki" Romanov is the most sober-minded man in this madhouse, where the rest of Matilda's fans are hysterical and promise to solve her. Not only that, he is also a kind, fair king who insists on paying compensation to the families of those who died in the stampede during the coronation. "Matilda" so toothless and innocent that it does not really fit into the series at all scandalous films like "The Last Temptation of Christ"- in a couple of years, when the cause of the scandal will be forgotten, everyone will look at the picture and wonder what the noise was about. Perhaps for Orthodox radicals, for whom Nikolai Romanov is a canonized martyr, the very idea that he indulged in carnal pleasures with a ballerina even before marriage is a sin. For all other viewers - on the contrary, evidence of physical and mental health. The latter is now often lacking in public disputes.

Next news

Documentary filmmaker Sergei Aliyev told reporters that he plans to film documentary"Lies of Matilda", designed to "debunk the myths" around the personality of Nicholas II. that historians, fighter Fedor Emelianenko and State Duma deputy Vitaly Milonov will become its participants, but the latter two have not heard about the picture before today. 360 tells what is known about the film.

What is "Matilda's Lie"

Not yet shown on the big screen, the film by Alexei Uchitel "Matilda" has already made a splash. The State Duma deputy Natalya Poklonskaya launched a campaign against him, and now, in defiance of the picture, they want to remove the tape-refutation. Documentary filmmaker Sergei Aliev, after watching the trailer for "Matilda", he decided to shoot his own film - "Matilda's Lie". Filming will begin very soon, but the director has already revealed some details regarding the script and crew.

The script is being added. We will finish this work by the end of this week. Filming will begin next week and will take place in Yekaterinburg, Moscow and St. Petersburg

— Sergei Aliev.

He specified that the "small budget" film would be approximately an hour long. The team of director Yuri Ryazanov will help in the filming. The Lie of Matilda may see the light of day in the first half of September - the creators expect that they will be able to agree on broadcasting with federal channels.

Alexey Uchitel, in turn, that he will be glad to watch the documentary film "Matilda's Lie", but it seems that one cannot count on positive criticism.

Insanity continues, there are idiots, let them film.<…>Moreover, I do not understand what they want to expose if they have not seen the film. They couldn't get a script. And if they read it, then let them do what they want. I will be glad to see it

— Alexey Uchitel.

It is also planned to include video monologues about Nicholas II by actors Andrei Merzlikin, Alexei Nilov and Metropolitan of Tashkent and Uzbekistan Vikentiy in The Lie of Matilda. But they don’t want to shoot Poklonskaya in this film - everything is clear with her.

Deputy Vitaly Milonov was allegedly supposed to star in the film. However, Aliyev's ambitions seem to be a little different from the case - in an interview with 360, the parliamentarian said that he had not received an offer to participate in the filming of the picture, but he really would like to play the emperor in a film about Nicholas II - but only a feature one.

It was also reported that the famous fighter Fedor Emelianenko will take part in the filming of the film. However, his PR manager Yulia Kuklina told 360 that no one offered Fedor to act in the film.

No one talked to Fedor about filming the film. And he does not plan to take part in them. it fake information

— Yulia Kuklina.

How it all started

"Matilda" - Feature Film Russian director Alexei Uchitel. The film is dedicated to the love story of Emperor Nicholas II and the young ballerina Matilda Kshesinskaya.

The scandal surrounding the film, which has not yet been released, flared up in November last year. State Duma deputy Natalya Poklonskaya led the ranks of the tape's opponents: according to her, the image of the sovereign in the Teacher's film is distorted. Moreover, Poklonskaya began to put sticks in the wheels of Matilda when the film was not even mounted.

The deputy several times appealed to the Prosecutor General's Office with a demand to check the film for insulting the feelings of believers, but no violations were found in the department. Her behavior has received mixed reactions - how can you criticize a movie even if you haven't seen it? However, this did not stop Poklonskaya from continuing the fight - she turned to a group of experts who said that the film should not be shown to the general public. Later, another examination found in the film only one bed scene which, they say, is even for teenagers to watch.

Poklonskaya did not give up and collected complaints from like-minded people, and more recently, without deigning to watch the finished film, a video from what she considers “pornographic roles” of the actor who plays Tsar Nicholas in Matilda.

Film critics consider Poklonskaya's behavior ambiguous, but one thing is clear - the deputy has not yet succeeded in achieving his goal and banning the screening of the film. Director Alexei Uchitel valiantly and not without irony takes down all her attacks. Once he even suggested that the deputy was very likely in love with Nicholas II, for which "".

About the film, even Russian President Vladimir Putin: on June 15, during the Direct Line, actor Sergei Bezrukov asked the head of state to resolve the dispute between Poklonskaya and the Teacher. Putin noted that royal family tougher films were also made, but he would not want to get involved in a personal dispute with Poklonskaya.

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