×
You will be redirected back to your article in seconds

Generation P

P is for punk-spirited, post-Perestroika pastiche in Victor Ginzburg's dauntingly ambitious if somewhat ill-conceived adaptation of "Generation P," a sprawling, largely plotless sociopolitical satire by postmodern Russian novelist Victor Pelevin.

With:
With: Vladimiir Yepifantsev, Mikhail Yefremov, Andrei Fomin, Oleg Takhtarov, Sergei Shnurov, Vladimir Menshov, Ivan Okhlobystin, Roman Trakhtenberg, Renata Litvinova, Leonid Parfyonov, Amaliya Mordvinova, Yelena Polyakova, Andrei Vasiliev. (Russian dialogue)

P is for punk-spirited, post-Perestroika pastiche in Victor Ginzburg’s dauntingly ambitious if somewhat ill-conceived adaptation of “Generation P,” a sprawling, largely plotless sociopolitical satire by postmodern Russian novelist Victor Pelevin. Published in English under the titles “Babylon” and “Homo Zapiens,” the unconventional tome was deemed impossible to film by many, including its author, and yet Ginzburg seems to have cracked it, emerging with a virtuoso “Brazil”-like look at what followed after capitalism won the Cold War. A bit too inside-Russia for commercial export, this local indie hit still feels Western enough to build something of an underground aud abroad.

That unique East-meets-West sensibility owes to Ginzburg’s own background: As a Russian expat who found his voice working in Venice, Calif., the helmer had every reason to identify with Pelevin’s protag, frustrated poet Babylen Tatarsky (compelling, vaguely Russell Crowe-like thesp Vladimir Yepifantsev) whose creative skills are redirected into advertising brand-name Western products to Russian consumers after the fall of communism during the early 1990s.

Babylen begins his heavily self-narrated tale working a grim cigarette kiosk, where the born hustler has learned to short-change customers by sizing up their appearance. His own look will transform radically over the course of the picture, which chronicles the unlikely path by which this bohemian artiste goes from long-haired freaky person to muscled demigod, privy to the innermost workings of the new Russian political machine.

While his compatriots are busy buying previously off-limits American consumer goods, Babylen belongs to the cynical elite responsible for positioning these brands in the new open market, giving him a bird’s-eye view of the sociological circus that ensues (the title “Generation P” actually refers to those who embraced Pepsi Cola as the official taste of their newfound freedom). The film’s first half concerns this crazy transitional period, humorously depicted as Babylen shows a natural gift for this sort of product-oriented propaganda — a callback to 1959’s Kitchen Debate, in which President Nixon equated American color TV with Russian rocket science.

During this revolutionary period, which the film convincingly re-creates onscreen, Babylen’s biggest problem is getting paid before his clients bite the dust in a system where gangsters pull the strings. As the bodies fall, the reluctant company man finds himself thrust upward in a system that aims to employ the same brainwashing tricks used to move products in an effort to manipulate the public will. With this new agenda in mind, Babylen’s team creates a puppet politico using a body double and computer tricks.

Where Pelevin’s pop-philosophical mumbo-jumbo was merely perplexing at first, here it becomes downright impossible to follow as mass-media manipulation techniques too sophisticated even by contempo standards are used to cast a conspiratorial pall over the last 20 years of Russian politics. It doesn’t help that Babylen has been dabbling in some pretty serious mind-altering substances along the way, including fly agaric and LSD, as he seeks communion with the Mesopotamian goddess Ishtar.

Together, these two threads — Eastern mysticism and heavy drug use — lend the film a wild, psychotropic quality that will challenge any non-native viewer to make sense of how the movie connects to the real world. With its heavy-metal soundtrack and mind-bendingly impressionistic style, Ginzburg’s gonzo approach calls to mind “Natural Born Killers”-era Oliver Stone. “Generation P” brings a similarly subversive appeal to Pelevin’s revisionist history of Russia’s recent coming-of-age, boasting impressive production values for a story that demands period detail and significant visual scope. While the result may not exactly make sense, Ginzburg certainly hasn’t skimped in adapting the novel’s iconoclastic themes.

Generation P

Russia-U.S.

Production: A Room/Gorky Film Studio/Karo presentation. (International sales: Generation P, Los Angeles.) Produced by Victor Ginzburg, Djina Ginzburg. Executive producers, Andrei Vasiliev, Yuri Krestinski, Leonid Ogorodnikov, Vladimir Yakovlev, Danil Khachaturov, Andrew Paulson. Co-producers, Roger Trilling, Jim Steele. Directed by Victor Ginzburg. Screenplay, Ginzburg, Djina Ginzburg, based on the novel by Victor Pelevin.

Crew: Camera (color, widescreen), Aleksei Rodionov; editors, Anton Anisimov, Vladimir Markov, Karolina Machievsky; music, Kaveh Kohen, Michael Nielsen, Alexander Hacke; production designers, Aleksei Tylevich, Daniel Auber, Anton Vasiliev, Ben Stokes; sound (Dolby Digital), A. Josh Reinhardt; supervising sound editor, Ryan Collins; stunt coordinator, Viktor Ivanov; visual effects supervisors, Vladimir Leschinski, Arkadiy Dubinin; visual effects, Trigraph; associate producers, Ivan Zassurski, Christine Havercroft, Stephen Benson, Dmitri Yurtsvaig, Rafael Minasbekyan. Reviewed at Karlovy Vary Film Festival (East of the West, competing), July 6, 2011. (Also in Moscow Film Festival.) Running time: 114 MIN.

With: With: Vladimiir Yepifantsev, Mikhail Yefremov, Andrei Fomin, Oleg Takhtarov, Sergei Shnurov, Vladimir Menshov, Ivan Okhlobystin, Roman Trakhtenberg, Renata Litvinova, Leonid Parfyonov, Amaliya Mordvinova, Yelena Polyakova, Andrei Vasiliev. (Russian dialogue)

More Film

  • FX's 'Snowfall' Panel TCA Winter Press

    John Singleton Hospitalized After Suffering Stroke

    UPDATED with statements from John Singleton’s family and FX Networks John Singleton, the Oscar nominated director and writer of “Boyz N’ the Hood,” has suffered a stroke. Sources confirm to Variety that Singleton checked himself into the hospital earlier this week after experiencing pain in his leg. The stroke has been characterized by doctors as [...]

  • 'Curse of La Llorona' Leads Slow

    'Curse of La Llorona' Leads Slow Easter Weekend at the Box Office

    New Line’s horror pic “The Curse of La Llorona” will summon a solid $25 million debut at the domestic box office, leading a quiet Easter weekend before Marvel’s “Avengers: Endgame” hits theaters on April 26. The James Wan-produced “La Llorona,” playing in 3,372 theaters, was a hit with hispanic audiences, who accounted for nearly 50% [...]

  • Jim Jarmusch in 'Carmine Street Guitars'

    Film Review: 'Carmine Street Guitars'

    “Carmine Street Guitars” is a one-of-a-kind documentary that exudes a gentle, homespun magic. It’s a no-fuss, 80-minute-long portrait of Rick Kelly, who builds and sells custom guitars out of a modest storefront on Carmine Street in New York’s Greenwich Village, and the film touches on obsessions that have been popping up, like fragrant weeds, in [...]

  • Missing Link Laika Studios

    ‘Missing Link’ Again Tops Studios’ TV Ad Spending

    In this week’s edition of the Variety Movie Commercial Tracker, powered by the TV ad measurement and attribution company iSpot.tv, Annapurna Pictures claims the top spot in spending for the second week in a row with “Missing Link.” Ads placed for the animated film had an estimated media value of $5.91 million through Sunday for [...]

  • Little Woods

    Film Review: 'Little Woods'

    So much of the recent political debate has focused on the United States’ southern border, and on the threat of illegal drugs and criminals filtering up through Mexico. But what of the north, where Americans traffic opiates and prescription pills from Canada across a border that runs nearly three times as long? “Little Woods” opens [...]

  • Beyonce's Netflix Deal Worth a Whopping

    Beyonce's Netflix Deal Worth a Whopping $60 Million (EXCLUSIVE)

    Netflix has become a destination for television visionaries like Shonda Rhimes and Ryan Murphy, with deals worth $100 million and $250 million, respectively, and top comedians like Chris Rock and Dave Chappelle ($40 million and $60 million, respectively). The streaming giant, which just announced it’s added nearly 10 million subscribers in Q1, is honing in [...]

More From Our Brands

Access exclusive content