Her name was Asey

Prose still poses puzzles to cinema, and many of them still seem almost unsolvable. In Turgenev's "Ace" there is such a description of a German night town.

I wanted to end the long quote in a half-sentence, but I couldn't, because every part of it is suggestive. How to show mysteriously protruding antennae on the screen, how to convey a sleepy whistle. And also add a drop of irony to this lyrical scene ("the German is frugal!"), and also to keep the candles modestly warm... And after all, all this indescribable is important, essential, it helps to understand the state of the hero's soul before his meeting with Asya, the state in which the events described in the story could only happen.

However, the method is well—known - to find the cinematic equivalent of prose, to express its spirit and meaning through the sum of pictorial solutions. However, in practice, this method rarely leads to success, because it is the visual means chosen by the director that too often seem to us not to correspond to the style of the writer being filmed. Everything seems to be in place, everything is correct, but the feeling of inaccuracy still arises.

Joseph Heifitz was exceptionally successful in choosing two of the three actors playing the main roles in the film "Asya" — Elena Koreneva for the role of Asya and Igor Kostolevsky for the role of Gagin, her brother.

Koreneva doesn't just demonstrate this variability — she explains it with all Turgenev's motivations. And the awakening of femininity, and strong, but unclear, impulses to something high, to some kind of service, and the thought that stops these impulses that she is unworthy — she does not know much, she is ill-mannered. There are not many analogies to this character in Russian literature, except for Larisa from The Penniless, whose fate is even more tragic.

Rudin, Lavretsky and Sanin have appeared on film and television in recent years, in different films by different directors, but these characters were interpreted in approximately the same way - as variants of the image of an "extra person". Moreover, this person was superfluous not only because of certain traits of his nature (although she played a certain role in each case), but above all for social reasons. Inaction— yes, of course. But let us recall how one of the first "superfluous people", Pechorin, began to act and killed Grushnitsky, an empty but, in essence, harmless fellow. It's just that action in the Nicholas era often brought results that were very far from expected. This was also evident in people's private lives.

The so-called second plan is developed in great detail in the film. We are immersed in the atmosphere of life in a small German town. Narrow streets, picturesque surroundings, noisy inns, a wide river along which good-natured inhabitants, animals, a coffin and a pastor are transported by boat. There is an organ grinder with a funny little monkey in the film, there is a scene in a tavern where a drunk Russian tries to play skittles, and N. N. makes a wish: "if he hits, I'll get married" (the drunk hits the skittles with a ball, but N. N. still does not marry — the compromise continues); there is, finally, cigars, which are generously distributed by N. N. "for tea" and which are accepted with unfailing gratitude. Many of these scenes are expertly made and will probably entertain the viewer, but perhaps because there are too many details, it feels like they are decidedly out of the style of the film.

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