BALTIC SCREEN MEDIA REVIEW 2015 / VOLUME 3 / ARTICLE Article Folk Elements in Aleksei Balabanov’s Brat and Brat 2: A Morphological Analysis EMILY SCHUCKMAN MATTHEWS, Department of European Studies, San Diego State University, USA; email: [email protected] 64 DOI: 10.1515/bsmr-2015-0024 BALTIC SCREEN MEDIA REVIEW 2015 / VOLUME 3 / ARTICLE ABSTRACT The article uses Vladimir Propp’s Morphology of the Folk- tale (Морфология сказки, 1928) as a framework to illustrate the way in which Aleksei Balabanov masterfully creates a modern folk tale using classic motifs and structures in his 1997 fi lm Brother (Брат, Russia) and its sequel Brother 2 (Брат 2, Russia, 2000). The paper argues that Brother and Brother 2 are post-Soviet retellings of classic tales of Russian folklore and that Danila is a modern hero, an un- likely saviour of the Russian nation and the Russian soul. Danila’s journey is formulaic, predictable and straight- forward, yet nevertheless makes for a powerfully new take on concepts of Russian nationalism and heroism. The underworld to which our hero must journey is located in the heart of Russia’s ‘Peter’, and possession of the Russian nation and soul are the object of his quest in the volatile post-Soviet period. Folk and fairy tales illuminate the way. They anticipate the millennium. They ferret out deep-rooted wishes, needs, and wants and demonstrate how they all can be realized. In this regard, folk and fairy tales present a challenge, so within the tales lies the hope of self- transformation and a better world. (Zipes 1979: xi) The premier of Aleksei Balabanov’s Brother ist adventure, but seemed to refl ect so well (Брат, Russia, 1997) came at a time when their own anxieties about the new realities Russia was in search of a new ‘self’ and, of post-Soviet life. It is not surprising that quite literally, a new national idea. In the the fi lm’s protagonist, Danila, so quickly Kremlin, President Boris Yeltsin pushed his became a cult hero, an emblem of Russian aides to develop this national idea in order nationalism and an embodiment of the to provide a framework for policy and social ‘new Russia’ (Birchenough 2000: 20; Larsen consciousness in the seemingly free-for- 2003: 508–511). Indeed, Danila emerges all environment that marked his tenure. from Aleksei Balabanov’s two blockbuster In 1996, Российская газета even sponsored fi lms Brother and its sequel Brother 2 (Брат a contest for the best ‘national idea’ and 2, Russia, 2000) as the uncontested hero of promised a ten-million rouble prize to the the post-Soviet period.1 victor (Obojski 1996). While Balabanov may not have created his epic in response to any 1 Balabanov’s two fi lms chronicle the adventure-journey politicised appeal, the success of his fi lms of Danila Bagrov (Sergei Bodrov, Jr.). The naïve and mysterious Danila ventures to St. Petersburg to seek can at least, in part, be explained by the na- out his older brother, journeys to the underworld of the tional craving for a post-Soviet hero. In the city’s mafi a and eliminates those who do evil to Russians. In the sequel, he continues his journey in midst of a yet another time of troubles, the Moscow and America where he asserts Russian Russian population was primed to embrace authority and moral superiority, returning home to the Motherland a heroic defender of the country’s a tale that offered them not only an escap- ideals and values. 65 BALTIC SCREEN MEDIA REVIEW 2015 / VOLUME 3 / ARTICLE In this article, I will argue that one rea- ENGAGING THE FOLK son for the success of Brat and Brat 2, and In his exploration of the role of the folk in Danila’s status as a cult hero, is Balabanov’s the contemporary culture industry, Jack complex and systematic use of folk narra- Zipes notes that historically the folktale tives and structure. The folkloric framework has functioned as a uniting force for a com- of the fi lms not only makes the story famil- munity, ‘bridg[ing] the gap in their under- iar, but contributes greatly to the viewers’ standing of social problems in a language ability to identify on a deeply personal level and narrative mode familiar to the listeners’ with Danila. I will argue that Balabanov not experiences’ (1979: 6). Further, he highlights only includes elements of Russia’s folkloric the dynamic nature of tales as ‘each histori- traditions, as observed by Susan Larsen,2 cal epoch and each community altered the but that his two fi lms actually follow the original folk tales according to its needs distinctive structure outlined by Vladimir as they were handed down over the cen- Propp in his landmark exploration of the turies’ (Zipes 1979: 8). The role of the folk Russian wonder tale, Morphology of the in the production of contemporary culture Folktale (Морфология сказки, 1928) (Propp has become an area of interest for many 1968). I will argue that the very structure of folklorists who are examining the ways in the fi lms’ narratives brings the folk to the which popular culture incorporates folk- forefront, allowing viewers to contextualise loric elements to better engage audiences. Danila’s quest in the broader spectrum of Peter Narváez and Martin Laba describe Russian heroism and history. In addition folklore and popular culture as ‘interde- to offering a structural analysis of the fi lm pendent categories of cultural activity in based on Propp’s morphology of the folk- modern society’ (1986: 7). They also offer an tale, I will look at the ways in which the use explanation of the folklore-popular culture of the folktale formula in the 1990s fi ts an relationship that resonates with Propp: ‘of- important historical pattern of Russian fer a means of rendering experience intel- cultural productions, particularly during ligible and graspable through recognizable times of confrontation with the West and forms that are both pleasing aesthetically the advent of new social and political reali- and relevant in a social interactional sense’ ties. I will also examine the ways Balabanov (Narváez, Laba 1986: 2). This understanding infuses his hero with the historicism, patri- of the importance of folkloric infl uence on otism and epic qualities of the heroes found audience reception and understanding of a in another category of Russian tales, the specifi c narrative is applicable not only to bylina (былина, epic). This blending of genres forms of mass media but to popular cinema. allows Balabanov to create a character that Several folklorists have begun to look at the resonates on multiple levels with an audi- role of folklore in fi lm, or ‘fi lmic folklore’ as ence deeply connected to its literary and described by Juwen Zhang (Sherman, Koven folkloric past. 2007: 1). The use of the folk in contemporary contexts is not a new phenomenon, particu- larly during times of social volatility. 2 Larsen discusses the importance of the ‘folk’ in The integration of the folk into cultural her seminal 2003 article, noting that ‘Balabanov productions is particularly evident through- created a fairy tale for post-Soviet audiences’ (2003: 508). However, an in-depth assessment of the folk out Russia’s history. Gary Cox notes that as structure of the fi lm is not the main focus of her early as the 17th century it was common article which instead highlights the importance of Brat in defi ning post-Soviet masculine identity. In her for authors to use the fairy tale formula dissertation, Ira Österberg offers an analysis of Brat, to defi ne their heroes, particularly their incorporating Propp’s morphology. She condenses all 31 functions into the fi rst fi lm, fi nding just 27 ‘Russianness’, in the face of the onslaught (Österberg 2006: 10) and does not extend her analysis of Western values. This technique, Cox to Brat 2. She and I differ in our interpretations of the roles of Hoffmann, the assigning of morphological steps continues, ‘enabled contemporary readers and identifying the primary goal of Danila’s quest. to connect their hopes for the future with Österberg does not include signifi cant exploration of the bylina or bogatyr in her study. their memories of the past’ (1980: 87). He 66 BALTIC SCREEN MEDIA REVIEW 2015 / VOLUME 3 / ARTICLE argues that this folk plot structure became the post-sots’ engagement with ‘traditional increasingly popular in the country and was cultural models’ (2004: 376). Expanding on ‘virtually standard for all prose tales’ (Cox Lipovetsky’s observations, Olga Mesropova 1980: 91). describes the ways in which fairy tale sub- The tradition of engaging folklore in plots ‘serve as the narrative core’ of the im- literature continued into the 19th and 20th mensely popular female-centred detective centuries. Numerous scholars have identi- novels written by Daria Dontsova (Mesropo- fi ed these trends in literary productions by va 2008: 113). authors such as Fyodor Dostoevsky, Nikolai Like the cultural productions dis- Gogol, Nikolai Leskov and Alexander Push- cussed above, the Brat fi lms cinematise kin.3 Katerina Clark notes that the practice people’s fears during a time of political of utilising the trope of the ‘folk-epic hero’ and social upheaval. At the heart of Brat’s existed in part so authors could ‘appropri- success is its ability to resonate so deeply ate the semantic overtones of the medieval with its audience and to unite a commu- text; authors hoped in this way to conjure nity. Viewers’ comments about the fi lm on up the lionhearted hero who helps his fel- internet-based fi lm forum Kinopoisk.com low men (a bogatyr) or the truly dedicated illustrate the intense connection they feel champion of the faith (a saint)’ (1981: 50).