akoaytao1234
PLOT: Ivan,a hot headed taxi driver hunts down Lyosha, an alcoholic saxophonist who stifled his fare the day before. A love-hate friendship ensues but things change when an American producer helps Alyosha's career to take off. Taxi Blues(1991), started as a very interesting travelogue about 1990 Moscow but as the film delves towards the the crazy leads, it just started to fell apart. The story about the old vs the new felt very underdeveloped and somewhat too silly for its own good. It just lacks the subtext of the early scenes to keep me interested. In addition, it kinda offset the grandness of the beginning started to be lost in a milieu of unneeded craziness between Alyosha and Ivan. [2/5]
FilmCriticLalitRao
A post Perestroika film like "Taksi-Blyuz" must be viewed in the context of Russia after 1990s.It is a landmark film in the history of Russian cinema.It speaks about an independent Russian state which might be a little difficult for some non Russian people to understand.It must be mentioned that it is not all an American Taxi Driver.The core issues of this film are masculinity,music and patriotism but still our hero grapples with numerous emotional conflicts.In today's modern day Russia,I am sure that so much has changed ever since it was created in 1990.The taxi is old in this film and decline of Russia is becoming a sore sight for natives as well as foreigners.There are many black markets where everything can be purchased.One such street vendor sells old stuff such as a saxophone,some old clothes. This is a short story of oppressed and oppressor.This film is not for you if you are expecting to watch a modern day Russia."Taksi-Blyuz" is not a film about poverty but about all factors known for making people come to terms with poverty.Pavel Lungin has made his film with a tinge of sadness.It is a nice thing that women have a minor presence as most of them lack strong will power."Taksi-Blyuz" is a true perestroika film to be admired for its inherent Russianness.
zardoz12
In his "Movie & Video Guide", Mr. Maltin (or one of his reviewers) writes of the musician in "Taxi Blues": "... the latter, who embodies the spirit of the oppressed Soviet artist-intellectual, plays his saxophone solos to block out the reality of his existence." It is true that the man sits in reveries, playing sax solos in his head, and is a brilliant musician. But it is more evident that he has a deep love affair with the bottle: the first time we see him, he is drunk; he goes to jail twice for his lubricated actions; he is homeless because his girlfriend threw him out over it; he has lost gigs due to his flaky behavior. In a nation of future AA members, Zaitchenko's character stands out because he has a talent, and is quickly destroying it. This is why the taxi driver is important; in his own crude way he tries to stabilize the drunk, and he is our window through which we see the sax player. We also get to see the outskirts of Moscow: the dump, seedy allyways, the brutalist apartment complexes, grimy little jails with rebar for cell bars. Truly a time capsule of Muscovite life before everything ended.
grob248
Besides this, I have only seen one movie by Pavel Lungin, namely Luna-park, which also comes off highly recommended. Taxi Blues is an excellent work all in itself. Lungin very well transcends the chaotic atmosphere in Russia during the late Perestroika period, and prior to the break-up of the Soviet Union itself. The tumultous relationship between two main characters represents bipolar parts of the Russian society, and shows degradation of the social fabric. Piotr Mamonov (who is also the leader of the well-known Moscow rock-band Zvuki Moo) turns in an impressive performance as Lyosha - a westernized, alcoholic Jewish mucisian. The rest of the characters are equally picturesqe, be it the strong willed, conservative, nationalistic taxi driver, or his neighbor, an old man of the Stalinist generation. The film's unsettling pacing and incessant moodswings further contribute to the overall picture. An excellent film from one of Russia's leading directors.
AD
