Karen Shakhnazarov is a jack of all trades when it comes to filmmaking. The Russian director has created timely and entertaining motion pictures for over 30 years, spanning genres as diverse as musical comedy and historical drama. He has a knack for stirring together fantasy and reality to create an appetizing visual surprise, often carefully laced with relevant political and cultural context. The son of a Soviet political analyst, Shakhnazarov possesses a keen sense of how individual stories can unravel the social climate of Russia at various points in history. Celebrating his cinematic achievements is the film series "Dream Catcher: The Films of Karen Shakhnazarov" at the Museum of Fine Arts, Boston.
The series began on a lighthearted note on Wednesday with "Jazzmen" (1983), a comedy set in the 1920s. Plucky protagonist Kostya (played by Igor Skylar) fills the opening shot with his contagious smile and a wink, as his fingers rapidly pound out a catchy jazz tune on the piano. It's only the silence at the end of the performance that reveals he is not there to entertain, but for a trial. His crime? Debasing his academy by pursuing a form of music which represents "the monstrous bourgeois culture" and capitalist ideals. Though the Soviet instructors threaten him with expulsion, Kostya utters five words which sets the course for the shenanigans to follow: "I won't give up jazz."
With that, Kostya sets off to start the first Soviet jazz band, much to the chagrin of the country's leaders. He finds the colorful, street-performing duo of Stefan (Aleksandr Pankratov-Chyrony) and Zhora (Pyotr Merkuryev) who add a banjo and percussion to the mix. The troublesome pair is undoubtedly the main source of charm in the film. Their hilarious bickering and silly antics make the audience fall for "Jazzmen" from the start.
From the get-go, their attempts at jazz are more derived from "The Three Stooges" than anything else. Donning clownish costumes and banging on pots and pans, Kostya's jazz band becomes a circus of sorts. Nevertheless, he stops at nothing to make it in the music world as the motley crew chases money, fame and a unique jazz style. Along the way, they schmooze with Cuban singer Clementina Fernandez (Larisa Dolina) in hopes of gaining another member, and pick up their saxophonist, Ivan (Pyotr Shcherbakov), while in jail. "Are you crooks?" Ivan asks them. "No, musicians," Kostya replies, but there doesn't seem to be much difference anyway.
The film often feels like a Broadway musical. Clementina is introduced bursting into song as she disembarks the train. Kostya, Ivan and Stefan spontaneously break into synchronized dance moves as they saunter arm-in-arm down the street. Alluring, red-lipped songstress Katya and Kostya share a smooth, lounge duet which breaks up the action and puts Katya in a sleek bob, just for kicks.
Luckily, the tunes are so catchy that one can't help but get swept up in the fun. The music by Anatoli Kroll is, in a word, sensational. His light, frenzied ensembles provide the perfect background of tip-tapping and trumpet blares to accompany the band's ludicrous adventures. The sounds are quick and fun throughout, complementing the rusty cymbals and dusty top hats of "a vie boheme."
Of course, by nature of being a musical comedy, the film's loose ends tie together a tad too neatly and unbelievably at times. The ending is a bit hasty and mildly contrived, but by that time the sweetness of the characters has long since settled comfortably in the audience's minds, and they can enjoy the cherry topping on Shakhnazarov's hilarious treat.
Ultimately, the strength of the film comes from its ability to remain undeniably human and heartwarming amidst the ludicrous antics and clownish performances. One of the most memorable scenes occurs when Ivan announces his birthday, and the boys promptly scrounge for gifts that range from a silver pocket watch to -- quite literally -- the hat off Zhora's head. The crew breaks into an impromptu "shoobop" jazz quartet number. It's sugary, but irresistible all the same.
The series runs until Saturday, Dec. 6. Catch "Courier" (1986) tonight at 6 p.m., about a teen figuring out his future, and "The Tsar Assasin" (1993) at 7:45 p.m., featuring a schizophrenic patient who claims to be the man who assassinated the royal family during the Russian Revolution. Take a breather from exam prep and final papers on Saturday afternoon for the surreal "Zero City" (1988) at 1:30 p.m. and "The Rider Named Death" (2004) at 3:45 p.m., an investigation into the series of murders committed by a radical socialist group in Russia during the 20th century. Students pay $8 admission, and tickets can be purchased online at mfa.org/film. Shakhnazarov will make an appearance in person at each of the four screenings to discuss his works with the audience.
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Dec. 3 through Dec. 6
Museum of Fine Arts, Boston
465 Huntington Avenue
617-267-9300
