Taking cues from Citizen Kane, The Godfather, Once Upon a Time in America and GoodFellas, this Russian mob film is, frankly, not tall enough to get on the ride with the big boys.
Tycoon: A New Russian (2003)
Tomatometer
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Reviews Counted:34
Fresh:15
Rotten:19
Average Rating:5.5/10
Consensus: Wants to be The Godfather, but the movie's Citizen Kane-style narrative limits its effectiveness.
Theatrical Release:Jun 13, 2003 Limited
Synopsis: A true story based on the life of Russian oligarch Boris Berezovsky. In 1988, Plato Makovski, an idealistic young academic, convinced four brilliant friends to abandon their science studies in... A true story based on the life of Russian oligarch Boris Berezovsky. In 1988, Plato Makovski, an idealistic young academic, convinced four brilliant friends to abandon their science studies in favor of the shady world of post-Soviet business. Set against the backdrop of the many stupendous upheavals that the country was undergoing, including the economic meltdown that followed the fall of Communism, Plato devised a slew of semi-legal financial deals that enabled him to outfox the ongoing opposition of the Russian secret service (the spiritual heirs of the KGB). He quickly became the richest man in Russia, whose financial and political clout equaled that of the government that tolerated and endured him until he eventually became its rival and enemy. Taking the form of a thriller that follows the police investigation into an attempted assassination of Plato, Tycoon draws us into the private lives and backgrounds of these complex and unique characters who loot their country and its inhabitants, yet are also the lifeblood of a nation paralyzed by inertia and the fear of change. Once a freedom-loving idealist, Plato used his genius to become a monster, unhesitatingly sacrificing his ideals and his closest friends. This is the tragedy of this super-talented individual who embodies all that is most creative in the new Russia and, at the same time, all which is worst for the country that he privatized for his own profit. Set over a fifteen-year period, Tycoon is a true saga that begins with the early days under Gorbachev and moves through the heyday of wealth and power during the Yeltsin era. A kind of Once Upon a Time in Russia, Tycoon shows how one man can help throw a country’s entire life into turmoil. -- © New Yorker Films [More]
Starring: Vladimir Mashkov, Andrei Krasko, Maria Mironova, Sergei Oshkevich
Starring: Vladimir Mashkov, Andrei Krasko, Maria Mironova, Sergei Oshkevich, Alexandre Samoilenko, Mikael Vasserbaum, Levani Uchaineshvilli, Marat Basharov, Alexandre Baluev
Director: Pavel Lounguine
Director: Pavel Lounguine
Screenwriter: Alexandre Borodianski, Pavel Lounguine, Yuli Dubov
Producer: Catherine Dussart, Vladimir Grigoriev
Composer: Leonid Diesyatnikov
Studio: New Yorker Films
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Reviews for Tycoon: A New Russian
Crass, unimaginative, corner-cutting, and simplistic, with the visual vocabulary of daytime soap.
The combination of historical sweep and the need to read subtitles doesn't allow for the kind of subtle character portrayal that made the Godfather series, but Mashkov is a major force as Platon.
Overlong, underfed, and obsessed with making a point with its style and the none-too-subtle comparison of Welles' newspaper baron to Russia's broom baron.
structured like "Citizen Kane" but never gets into the heart and mind of its protagonist
Plato's fast-talking gamesmanship has a sly con-artist's feel in the early stretches, but as his wealth multiplies, the game turns serious and the film becomes preachy and ponderous.
The movie's Citizen Kane-style narrative sometimes works against it, and a lack of coherence is often frustrating. Despite this, Tycoon does land a few punches while telling a story that is distinctly Russian.
The movie is handicapped by a jittery editing style that prevents us from getting involved in the flow of the narrative.
Chilly and convoluted, too eventful to be boring, but never taking the time to immerse us emotionally in Makovski's world.
Like all good gangster sagas, Tycoon succeeds because it pays attention to both the epic sweep of history and small details of individual lives.
What's fascinating is that, even in the absence of sympathetic characters, Tycoon sucks you into a world of power where politics and business are the same thing.
Despite its messiness, Tycoon is a movie wired to the moment. Like certain Spike Lee films, it is a cinematic newspaper whose alarming headlines cry out not to be ignored.
Although Lounguine has a lot to say about Russia's struggle in its transition to global capitalism, his film is strangely uninvolving, lacking dramatic sweep.
Though billed as a Russian 'Godfather,' this convoluted story could be mighty confusing.
Mashkov's riveting performance and Lounguine's classic pacing make it worth the effort.
The flashback structure drains the story of momentum, but Mashkov and Uchaineshvili portray the reptilian glamour of cultured thugs with frightening intensity.
Before long, you lose track of who is who and who is doing what to whom.
Lounguine has taken, if not an original story, an amazingly real one, and turned it into a spaghetti eastern, reducing a Dostoyevskian saga to a Leonean melodrama.
The sheer moral ambivalence and physical exuberance of the spectacle makes it worth seeing, if only for a glimpse at a once-feared society engulfed by chaos.
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