Pelevin’s “unfilmable novel,” it does not add new meaning or give an original interpretation of Pelevin’s text. If it brings few surprises to viewers well familiar with Pelevin’s work, the film can serve as an introduction to viewers unfamiliar with the novel―if, that is, they are not overly confused by the esoteric subplot that complicates the film. Generation P focuses on the life of a new post-Soviet man, Vavilen Tatarskii (Vladimir Epifantsev). Immediately before the fall of the Soviet Union, he had enrolled in the Literature Institute, aspiring to the life of a Generation P dissident Soviet intellectual. As the Soviet [Поколение «П»] system collapses, however, he realizes that his planned role of a dissident poet will become Russia, 2011 obsolete in the new social order. He begins Color, 112 minutes his post-Soviet life as a lowly salesman at one Russian with English subtitles of the ubiquitous post-Soviet kiosks selling Director: Viktor Ginzburg cigarettes, alcohol, and contraceptives. This Screenplay: Viktor Ginzburg, Gina Ginzburg unprepossessing job nevertheless exposes Cinematography: Aleksei Rodionov Tatarskii to the new culture of consumption, Production Design: Nina Kobiashvili, Dmitrii which inspires his first advertising slogans. A Petukhov, Petr Prorokov chance encounter with an old friend, Music: Kaveh Cohen, Alexander Hacke, Morkovin (Andrei Fomin), and his “artistic Michael Nelson talents” enable Vavilen’s new career as a Cast: Vladimir Epifantsev, Mikhail Efremov, successful advertising copywriter. As a Sergei Shnurov, Andrei Fomin, Aleksandr designer of television commercials and Gordon, Ivan Okhlobystin, Roman advertising posters, Tatarskii actively Trakhtenberg, Vladimir Men'shov, Andrei participates in the shift from socialist to Panin, Oleg Taktarov, Renata Litvinova. consumerist society. His position as a Producers: Stas Ershov, Aleksei Riazantsev copywriter gives him the control mechanism Production: Gorky Studio, Room s over contemporary Russia. In the end, Tatarskii becomes a leader of the ruling elite Generation P, Viktor Ginzburg’s first that governs this new Russia through feature film is an adaptation of the novel of manipulating the media. the same title by Viktor Pelevin. This seminal The film combines the story of novel of the late 1990s was considered Tatarskii’s professional growth as a “impossible to film,” and this perceived copywriter, reflected in the numerous difficulty added prestige to Ginzburg’s commercials, with his drug-induced project. hallucinations that reveal the occult The film combines a dark satire of connection between contemporary society and Russian life in the late 1990s with a dystopian ancient Babylonian mythology. This view of Russia’s reentry into the globalized, connection between post-Soviet reality and late capitalist order. With minor variations, ancient Babylon is well represented by the the film closely follows the novel’s plot and protagonist’s name. As we learn early in the gives direct or condensed quotations from film, Tatarskii’s first name, Vavilen, is a Pelevin’s text in the voice-over. This combination of Vasilii Aksenov and Vladimir closeness to the original can be seen as either Lenin. This peculiar combination ironically the film’s strength or its weakness. While reflects the values and contradictions of the Ginsburg has proven that it is possible to film Soviet 1960s generation. On the esoteric level, however, the name connects Tatarskii to changes in product placement have real Babylon (“Vavilon” in Russian). The consequences. One of the computer protagonist’s last name, Tatarskii, is similarly programmers is assassinated for making a symbolic, referring simultaneously to the virtual politician smoke the wrong brand of Tartar yoke and to the ancient Greek tataros or cigarettes. Ginzburg adds a nice touch to the “hell.” These references give demonic theme of virtual politics, represented by the implication to Tatarskii’s role as the top digital transformation of the chauffeur Kolia copywriter and “symbolic husband of the (Andrei Panin) into the main contender for the Goddess Ishtar.” Therefore, his name post of the future Russian president. foreshadows Tatarskii’s spectacular ascent to While many critics found Ginzburg’s the top of the power hierarchy. adaptation unimaginative, the film generated The Babylonian legend related by larger box office receipts ($4.3 million) from Tatarskii presents ancient Babylon as a culture domestic theaters than any other Russian film obsessed with power and wealth, and the same that summer. It also had a successful run at obsessions govern life in 1990s Moscow. In numerous film festivals, including Moscow, addition to its connection to consumerism, the Kinotavr, Toronto, Serbia, Mumbai, and references to Babylon create a picture of a Karlovy Vary, where it won a Crystal Globe highly conspiratorial and hierarchical system in the competition for new films from East and that is governed by chance. His knowledge of Central Europe. Pelevin liked the film and the esoteric Babylonian myth, in combination even asked Ginzburg to adapt the sequel to with his unusual name, allows Tatarskii to Generation P, Empire V. This later novel occupy a position of absolute power. presents an even more dystopian view of Generation P ironically comments on Russian society and an even more involved the topic of the symposium, the “Russian conspiracy. Ginsburg already has plans for middle class,” especially since Pelevin’s novel filming Empire V, which will have a is tellingly dedicated to the “memory of the significantly bigger budget than his first film. Russian middle class.” On the most immediate level, the middle class was Irina Anisimova destroyed by the 1998 economic crisis. At the same time, the very existence of the middle Viktor Ginzburg belongs to the same class is undermined by the novel’s generation as Viktor Pelevin. Ginzburg conspiratorial principle, replicated in the film. emigrated with his parents to the US at the age The protagonist’s rise to the top of the of 15. Educated in New York, at The New hierarchical structure illustrates the School and the School of Visual Arts, he now undesirability of belonging to the Russian lives in Los Angeles. Ginzburg is a successful middle class, due to the instability of this director of commercials (soft drinks, jeans, social position. Thus, a number of Tatarskii’s bank cards, and shampoo) and music videos. friends and colleagues are murdered, and he In 1993, Ginsburg visited Russia, where he himself escapes their fate only by becoming made his first full-length film, the an occult analogue of a Russian oligarch. mocumentary, The Restless Garden Middle-class ideals, such as civil society and (Neskuchnyi sad, 1994), which focused on the social engagement, are also tellingly absent in sex life in the Moscow underground of the the world obsessed with consumption and early1990s. struggle for survival. In this consumerist autocracy, politics are Filmography: largely irrelevant and are dictated by the copywriters. The film’s virtual politicians serve 2011 Generation P (Russia) primarily as tools for product placement. For 1994 The Restless Garden (Russia, example, the copywriters control the cigarette documentary) brands that famous (yet virtual) politicians should 1985 Alien Probe (US, documentary) and do smoke, and, unlike virtual politicians, 1980 Hurricane David (US, documentary)