“The boy’s word. Blood on the asphalt" - a brutal series about Kazan gangs

On November 9, the online cinemas Start and Wink released the first two episodes of Zhora Kryzhovnikov’s new project “The Boy’s Word. Blood on the asphalt." The events of the series are based on the “Kazan phenomenon”. This is the name given to the period of the 1970–1980s, when youth criminal groups became widespread in the capital of Tatarstan. The city was divided into zones of influence of “boys” who were at war with each other.

High school student Andrei is the least likely to resemble the hero of such a story. At home he “plays” a makeshift piano. There is no real instrument in the apartment - between classes at music school I have to practice on drawn keys. And on the street he tries to escape from any conflicts and fights. They still catch up with the hero on the bus. Marat, a young member of one of the local groups, runs there together with Andrei and his comrade Iskander. Marat puts his peers on hold: he takes Iskander’s money and slaps Andrey in the face for disobedience.

Already at school, an English teacher approaches Andrey. She has a request for the boy: to help a student who is lagging behind in learning languages. He, of course, turns out to be Marat. This is where the friendship of the heroes begins. Andrey teaches his friend how to answer the question Where are you from. And Marat - local stories organized crime group and how to grow from a “chushpan” into a boy, that is, from prey to hunter.

The world of criminal gangs is revealed through colorful characters

“The boy’s word. Blood on the Asphalt" is the second high-profile series directed by Zhora Kryzhovnikov. In it, as in “Call DiCaprio!”, the director introduces the viewer to the world of the show through the main character. In 2018, such a hero was the actor Egor, who knew nothing about HIV - the audience, together with the protagonist, found out how and where the virus was treated. And in 2023, it became schoolboy Andrei. A diligent student who knows nothing about the Kazan groups and their showdown, nor about boyish concepts.

The unfamiliar streets of Tatarstan in the late 80s, however, immediately captivate you with their inhabitants. The recent offender Marat, for example, quickly reveals himself as an empathic friend. The guy is “responsible” for Andrei to the senior members of the group and stands up for him school. Plus he protects the main character’s mother from his comrades. She falls for their street scam game, loses a hundred rubles, a hat and practically gives away her coat. At the last moment, Marat forces his comrades to escape - he lies that he saw police officers. When the lie is revealed, the hero gets punched in the face by the group leader.

But the hero of Ivan Yankovsky, Vova, especially attracts attention. He is Marat's brother, a former leader of the group and an Afghanistan veteran. Vova appears only in the second episode, but immediately takes away the audience's sympathy. Like his brother, he stands up for Andrei’s mother and helps the guy get back at least part of the money, fearlessly going out to sparring with a major opponent, makes the boys think about the future and honestly shares what they earn with them.

Such heroes allow Andrei and the viewer to understand: members of the group are not necessarily scumbags who only think about showdowns and who to rob. Among them there are those who are not alien to goodness and justice - just in a peculiar and perverted boyish version.

Kryzhovnikov shows a boy's life as an attraction

In the first episodes of “A Boy’s Word,” there is no clear plot yet—only hints. Andrei and Marat will apparently see a struggle for power in the group between the current leaders and Vova, who has returned from the war. And they will also take part in some big and fateful matter - one for which they are not yet mature enough either in age or in status in the group.

In the meantime, Kryzhovnikov focuses on the life of his heroes and shows sketches from their lives as colorfully as possible. In this, the director is helped by techniques from his main comedies. Shaking handheld camera makes the picture more vivid and creates an effect documentation. And the torn editing with sharp, jerky cuts adds dynamics and humor to the dialogues.

Music plays a special role in the series. Firstly, Kryzhovnikov reveals the characters through their musical preferences. Obstinate teachers recognize only the classics, simple boys listen to “Tender May,” and well-mannered and educated youth timidly hum “Movie». Secondly, with the help of music, the director gives the numerous battles an atmosphere of an attraction. Brutal fights sometimes resemble a carousel: a fast soundtrack plays in the background, and the camera actively runs around the fighters.

The festive atmosphere in the boys' gathering places partly confirms fears that the underworld in "A Boy's Word" may seem too attractive. On the other hand, already at the end of the second episode Kryzhovnikov shows a cruel scene beatings. And he hints: the groups will not lead either Andrei or Marat to anything good. One can hardly ask for a more comprehensive statement from a work of art.

“The Boy’s Word” looks for the roots of crime - finds problems in the family and distrust of the police

Already in the first episodes, Kryzhovnikov places organized crime in an interesting social context. The director not only records the “exploits” of the main characters, but also tries to find their reasons. Found, for example, in fatherlessness. Marat and Vova’s dad didn’t really participate in their lives, and Andrei’s father died. Without a father figure or support, all three found authorities on the street and joined groups - in order to eventually become authorities themselves.

Plus, a group for heroes is the only protection from other impudent boys. Neither the help of activists nor conversations with inspectors help Andrei get rid of his classmate who is extorting money from him. But all questions disappear after one phrase from Marat: he is now with us.

It would seem that this situation should be resolved police. But people in Kryzhovnikov’s uniform are almost no different from street punks. They also hide behind rules and manipulate young people in their own interests. Only the boys use concepts and give instructions, while the police force them to feel guilty and ask them to betray their friends for the opportunity to play on the computer. And violence does not bother either one or the other. Only the boys take turns beating their guilty comrades, and the good policeman copes alone - however, he is armed with a felt boot with a brick inside.

So “The boy’s word. Blood on the Asphalt" from a simple series about regional groups grows into a full-fledged era snapshot. This is a story about the political and social crisis in the late USSR. About family problems and distrust of rotten institutions. But Kryzhovnikov tells it not with melancholy and pain, but with youthful anger and at a pace AIGEL songs.