Retro Film Review: The Return (Vozvrashcheniye, 2003)
The 1990s were not very kind to Russia or Russian cinema. The collapse of Communism brought an end to the state-sponsored film industry and almost entirely removed Russia from the global cinema landscape. It took almost a decade and a half for Russian films to garner some interest beyond national borders or suggest that Russian cinema might reclaim its former glory. In 2003, this transformation occurred with The Return, a drama directed by Andrei Zvyagintsev. This directorial debut of a prominent Russian film and TV actor secured the Golden Lion at the Venice Film Festival.
The plot unfolds in a coastal town in Northern Russia, where teenagers Andrey (portrayed by Vladimir Garin) and his younger brother Ivan (played by Ivan Dobronravov) are taken aback by the return of their father (depicted by Konstantin Lavronenko) after twelve years of absence. Unfamiliar with their father and the reasons for his departure, they become even more intrigued when their caring mother (played by Natalya Vdovina) permits them to accompany their father on a fishing expedition. Over the next seven days, they gradually uncover that the journey's true purpose is far from leisurely - their father subjects them to various mental and physical challenges, culminating on a remote island. The boys react differently to the abuse - Andrey seeks to connect with his aloof father, while Ivan distrusts him and rebels against him at every turn. The escalating conflict between the two ultimately leads to tragedy.
The Return epitomizes the "less is more" concept. Filmed on a modest budget with a minimal cast, it effectively utilizes the Northern Russian settings. As the brothers' journey progresses, signs of civilisation give way to hauntingly beautiful forests and lakes, expertly captured by Mikhail Kritchman's cinematography. These picturesque landscapes gradually take on a more ominous tone, underscoring the vulnerability of the boys in the face of nature and their increasingly authoritarian father. These stunning visuals conceal dark secrets, mirroring the enigma surrounding the father's prolonged absence, best left undisclosed.
The casting, crucial in such a film, is exceptional. Konstantin Lavronenko excels as the father, portraying a dark, enigmatic, and authoritative presence that defies simplistic Hollywood characterizations. Vladimir Garin, who tragically lost young life shortly before the film’s premiere, delivers a strong performance, albeit somewhat overshadowed by the rebellious Ivan Dobronravov, who stands out as the more defiant of the two brothers.
The film's primary weakness lies in what could have been its strength - the central source of tension, the mystery surrounding the father. The audience remains in the dark about his reasons for leaving, his occupation, and the true motives behind the trip and the boys' mistreatment. Following a somewhat predictable melodramatic conclusion, viewers are left speculating, leaving The Return feeling incomplete. This ambiguity has sparked various interpretations, with Western critics viewing the film as a religious allegory or a subtle critique of President Putin's authoritarian policies. Despite its imperfections, The Return merits acclaim beyond being merely a good film. Its title aptly signifies the triumphant resurgence of a distinguished cinematic tradition on the global stage.
RATING: 7/10 (+++)
(Note: Original version of the review is available here.)
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