247. Russian director Kantemir Balagov’s second feature film “Dylda” (Beanpole) (2019): A Russian Nobel Prize winning work of literature inspires a complex film on the varied tribulations of an unmarried woman

Three very interesting and complex films on women with screenplays written by the film’s own directors are those made by male directors. One of those three would be Kantemir Balagov’s Beanpole.  Balagov has admitted that his main source of inspiration was Nobel Prize for Literature winner Svetlana Alexandrovna Alexeivich’s 1983 book War doesn’t have a woman’s face. The other two films of similar artistic strengths and flavour about unmarried women are the American films: Joseph L. Manckiewicz’ The Barefoot Contessa (1954) with Ava Gardner (in arguably her best role) and Paul Mazursky’s An Unmarried Woman (1978) with Jill Clayburgh (in one of her best roles). Balagov, unlike the two US director-cum-screenplay writers, co-scripted his film with another male scriptwriter, Aleksandr Terekhov. Both Balagov and Mazursky present a quixotic emancipation for their lead characters, while in Manckiewicz’ case the liberation, unfortunately, leads to tragedy.

Iya (Victoria Miroshnichenko) the Beanpole  (Note the use of white in this shot)

Iya, the Beanpole, in another contrasting shot. (Note the use of green
and the deliberate camera angle to capture it)

Balagov’s film Beanpole is not a war film though it is indeed a tale of soldiers just as Malick’s The Thin Red Line (1998) is not a typical war film but rather a film on the “war” within the soldiers’ minds in a war setting. Likewise, Beanpole is an exquisite film on the psychological, social and medical “wars” female soldiers fight, on their return from the frontline for their aspirations for a emotionally fulfilled life.  Balagov is a self-confessed admirer of Russian film maestro Alexander Sokurov and the deft use of the camera, lighting, and visual composition in Beanpole will recall the typical Sokurov touches. (The use of colour and lighting in Beanpole is far superior and intelligently chosen compared to the Oscar nominees of 2020.)

Iya and Masha and the subtle use of contrasting colours in their garments

Victoria Miroshnichenko plays the gangly, former Russian World War II soldier Iya, euphemistically called “Beanpole” because of her lanky height and simplicity. More importantly most characters in the film are aware that Iya is suffering from post-traumatic stress disorder (PTSD).   As the film progresses, the viewer will note that “Beanpole” in the film is quite the opposite of the intelligent PTSD afflicted Will (Ben Foster) in the interesting US film Leave No Trace (2018). The PTSD afflicted Iya, who dotes on her military colleague and friend Maya’s toddler son Pashka, unwittingly suffocates the child during a seizure, a fascinating sequence in Beanpole.

Two inseparable friends: Masha (Vasilisa Perelygina) (left)  and Iya the Beanpole

Going by the title of the film Beanpole, one would assume the tale is on Iya’s life. But co-scriptwriters Balagov and Terekhov have scripted a tale of two military women, the simple-minded Iya (Beanpole) afflicted with PTSD and her close street-smart friend and colleague Masha (Vasilisa Perelygina), who has lost her son Pashka while he was in the care of Iya and cannot conceive another child due to war injuries.  The film ignores Masha’s past as it concentrates on her two current objectives: one, to get married to a loving husband, and two, to bring up another child to replace the dead Pashka to fulfil her motherly instincts.

A fascinating and powerful interaction: Sasha's mother
meets Masha, her aspiring future daughter-in-law over a formal meal

Masha does find her ideal “future” husband in another military man Sasha, who is smitten by Masha and intends to marry her.  But Masha’s dream of marriage is short-lived following a fascinating encounter with Sasha’s mother over a formal dinner.  That dinner sequence depicts a war without bullets fired or tantrums exhibited by either woman. The iciness in the conversation and camera positioning will probably not be forgotten in a long while by any astute film viewer. Sasha’s mother was simply magnetic in delicately underscoring the social differences between her son and her future daughter-in-law. The build-up and the eventual break-up of Masha and Sasha are not of two individuals in love but indicative of the differences between the artificial social equality in the military with its uniforms and the real world where money and class matters either in Leningrad (now St Petersburg, where Bolagov and Sokurov have spent most of their lives).

Masha identifies the possible sperm donor for Iya's future child,
as a replacement for Masha's dead child Pashka
(Note the colour of clothes and the background in the shot)

Balagov’s Beanpole trudges onward to grapple with Masha’s second objective of bringing up a child that she can call her own to replace her dead child Pashka. The film then presents a new complex scenario. Masha cannot conceive a second child due to a war injury. Masha gets her close friend Iya, who is not interested in having sex with men, to conceive a child to fulfil Masha’s emotional needs following the death of Pashka. The outcome is not as important as are the effects of war on men and women alike off the battlefield that Beanpole presents as a larger picture.

Beanpole mirrors Alexeivich’s 1983 Nobel-prize-winning literary work that explored the myriad problems faced by women soldiers after a war concludes.  There is hardly any political undercurrent in Beanpole except when 6 year old Pashka is asked to bark like a dog by friendly elders and is stupefied and unable o respond.  An elder comments that there are no dogs left in Leningrad for Pahka to know how they bark because they have all been eaten—a rare indirect political comment of the food situation within the film.  Beanpole is thus essentially a social and psychological commentary on the plight of women soldiers after a war, either traumatised or injured for life.

The camera accentuates white in this shot by intentionally
incorporating the floor to add white colour to the shot

Beanpole is a significant film as it introduces a major new talent among contemporary Russian filmmakers in Kantemir Balagov, who writes his own original screenplays, and deserved his Best director award at Cannes’ Un Certain Regard section.  The various honours at other film festivals for its cinematography (Kseniya Sereda) and the performances of the two female leads confirm the intrinsic worth of this film. A remarkable cinematic work of 2019 from a promising 29-year-old man making his second feature film!

P.S.  Beanpole is one of the author’s top 20 films of 2019. The film won the Best Director award and the FIPRESCI prize in the Un Certain Regard section of the Cannes Film Festival; the Silver Apricot Award at the Yeravan Film Festival of Armenia; the Best Film award at the Montreal Festival of New Cinema; the Impact Award at the Stockholm Film Festival; Achievement in Cinematography and Best Screenplay awards at the Asia Pacific Screen Awards; the Special Jury Prize at the Lisbon and Estoril Film Festival;  the FIPRESCI prize at the Palm Springs International Film Festival (USA); and the Best Actress award at both the Antalya Golden Orange Festival (Turkey) and the Sakhalin International Film Festival (Russia). Two films mentioned in this review The Thin Red Line and Leave No Trace have been reviewed earlier on this blog (click the names of the films to access the reviews).