Aitore was Zholdamka biography

SHULAMAH AITOR ZHOLDASHALI - reflection on his own creativity and Kazakhstani music Author: Oraz Kereibayev Cinema July 12 The most high -profile domestic film of this summer is undoubtedly the debut tape Aitore Zholdami Shulamah. The picture aroused the interest of the viewer long before the exit, because this is the first work about Kazakhstan rappers, telling about the current position of our musical industry.

The expectations from the project of the public were diametrically opposite: some were preparing to see the grandiose failure of the director, while others believed at the beginning of the new milestone of national cinema. However, the final product turned out to be something average, at the same time giving the audience a stylish drama about friendship and music and disappointing with an extremely template script.

About why Shulamah is far from the perfect film, which is still worth watching, says the film critic of Oraz Kereibaev. The article contains spoilers! The plot of three friends - Sapa, Gani and Dara - live in Temirtau and dream of once becoming popular musicians. While still children, they created their rap voltage with the ironic name Shulamah in the translation “not noise”.

Ten years later, the guys remained to be by nouns from the provincial city, so Gani and Dara decide to finish with a musical career and look already into the sad eyes of adulthood. The ideological leader of the SAP team in an attempt to prevent the group’s split is lying to friends that the Almaty producer became interested in their demo. Having decided to give the last chance of a children's dream after all, the guys go to the southern capital.

Naturally, upon arrival, the deception of Sapa is opened, and the heroes are trying to find other ways to break into the Kazakhstan rap industry. All attempts are in vain, until one day the successful producer Sula, who decided to take the group under his wing, pay attention to the guys. Further friends expect popularity, acquaintances with stars and stadium concerts.

But together with a new life, the guys will have to check their many years of friendship for strength, in which money, contracts and obligations to the label have now come. A weak script and a strong visual Shulamah leaves behind an extremely double impression. On the one hand, the entire plot of the film does not cause any interest and it can be completely predicted in the first act.

On the other hand, visual storytelling is able to captivate the viewer, who will eventually close his eyes to an extremely conditional story. The script of the film was written in large strokes through which the authors schematically declare the main characters, their problems and the main antagonist. None of the characters have a pronounced backstory or spelled out by motivation.

Rather, we are simply designated that one guy is prioritizing friendship over a career, the other dreams of becoming famous and earn money. These goals will be clear to the audience, but such one -dimensionality kills any rudiments of the heroes. Of the three members of the group, the authors of the script are trying to add depths of the gift, which was embodied on the screen by the diamond Merzakypov, prescribing an additional line with an ex -girlfriend.

But their attempts to create a drama look extremely stretched, and the dialogs between the two heroes are more likely to cause Spanish shame and nervous laughter than forced to empathize with the rapper. And you can find a lot more similar problems in the film, starting from an absolutely naive ending, as if coming out of a children's fairy tale, and ending with an infinitely stretching joke about the boxing pear, which for some reason was named Herzhan.

But here it is worth noting that the rest of the humor in Shulamah works, and the hero Daniyar Alshinov plays a significant role in this. The same with the visual. The directors of Aitore Zholdas were also Igor Tsai, as well as the operator, Erzhan Arakeev, made excellent work on shooting, installation and visual effects. Many scenes will be remembered by the viewer precisely because they look on the screen.

From such solutions, the picture acquires the desired dynamics and musicality that you expect from the film about young rappers. Therefore, from a technical point of view, Shulamah looks like an empty project with a beautiful wrap. Does this mean that the film will fail at the box office or will not fall in love with the viewer? Of course not. In one of the scenes of the film, the producer Sula explains to the guys how to make a hit: first you need to write a swinging bit, then come up with a catchy chorus, and only then for a checkmark you can add a verse, most importantly, not too complicated.

Also, the creators of Shulamah add all kinds of cameo, high -quality visual, fast clip installation to popular music to the film and only a schematic plot for a proof. Reflection in your own career, although there are two names in the list of directors, Shulamah in all respects looks like an ultimatical project Aitore Zholdaskali. In his debut film, all the strengths and weaknesses of the director are traced, which are drawn with him from the first musical clips.

Therefore, it is not surprising that many scenes from the tape look like mini-clips with beautiful shots and unusual transitions.And although some episodes really work to promote history, others rather play the role of crutches for the director, who, due to the inexperience of working on full -length projects, prefers to go into more understandable short forms. We observed a similar trick in the first season of Sheker, when the director resorted to musical inserts literally every couple of minutes.

Of course, this adds styles to the project, but at the same time creates the feeling that we are watching an hour and a half visual series for the Kazakhstan rap album, and not an independent film production. Having stuffed his hand in a short format, Zholdashahi shot two successful series Sheker and Octagon, where he received the first wide fame. In the thematic plan, Shulamah repeats the ideas of previous projects.

So, all three stories speak of young poor guys who are seduced by money and a beautiful life. In each case, the hero literally sells his soul, and then he understands his mistakes and tries to return everything to his circles. Here, parallels between the director and his protagonists are inexorably suggested, because the director himself had once told how he tried to find himself in the industry, while not breaking under the oppression of producers and systems.

Therefore, each new story of Air can be interpreted as another attempt to understand yourself and finally turn from a young and talented clipmaker into a full -fledged filmmaker with principles. The first hints of this transition are already in Shulamah, so we can wait for his next work and hope that he will be able to make a greater focus on history, and not on the visual. SHULAMAH has many problems, but its publication is a definitely important stage in the development of the Kazakhstani film industry.

The picture shows and comprehends the identity and independence of the modern musical scene in Kazakhstan.

If Dos Mukasan mythologized the music of the past, then Shulamah does the same with the music of the present. The emergence of real artists in the film becomes something more than just Camoo, their screen images carry ideas and associations with them, understandable to everyone who is familiar with the Kazakhstan rap scene. The public does not need to explain who the Shiza rapper is and why the Disrespect from it becomes a strong blow to our ego protagonists.

Finally, the use of the Darkhan Juzz musical composition in one of the key scenes says a lot about the ideals for which one of the members of the Shulamah group is standing, because Aitore at that moment draws parallels between him and the image of a freedom -loving musician, the embodiment of which is the music of Darkhan. Therefore, the fact that in today's domestic industry quite colorful names appeared, capable of their appearance to cause a number of associations with the viewer indicate a new stage in the formation of the Kazakhstan musical scene.

And due to the fact that Aitore was able to capture all these images on the screen, today's idols of youth forever left their mark in the history of our cinema. Shulamah shows that Kazakhstan no longer needs to look back at any “big brothers” in search of names and heroes. Shulamah's conclusion is not the perfect film. The picture has both weak and strengths. The tape can be scolded for the script, praised for the visual, discussed its place in Kazakhstani culture for a long time, or just forget what has been seen immediately after watching.

Nevertheless, the authors of the project were able to achieve the main thing: to make a noise among the audience and give a sip of fresh air in the rapidly developing, but so monotonous Russian film industry. The new milestone of Kazakhstani cinema did not come, but at least one step forward was taken. Therefore, the debut work of Aitore should be watched and recommended, albeit with all kinds of reservations.

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