It arrives not with a whisper, but a whirlwind – a dizzying kaleidoscope of mistaken identities, frantic chases, and sheer, unadulterated absurdity. Watching Vladimir Menshov's 1995 Russian comedy Shirli-Myrli, often known to international audiences (if known at all) as What a Mess!, feels less like settling in for a movie and more like being strapped onto a malfunctioning carousel powered by pure cinematic chaos. It’s a film that throws everything at the screen, a maximalist farce born from the turbulent, anything-goes spirit of mid-90s Russia.
A Diamond, Four Brothers, and Utter Pandemonium
The premise itself is pure screwball, amplified to an almost operatic degree. A massive diamond, the "Savior of Russia," is discovered in Siberia, destined to fund the entire nation's vacation needs (yes, really). But before it can reach Moscow, it's stolen by notorious con artist Vasiliy Krolikov (Valeriy Garkalin). The situation spirals instantly when it’s revealed Krolikov has not one, but two identical twin brothers he never knew existed: Innokenty Shniperson, a world-renowned Jewish conductor, and Roman Almazov, a celebrated Romani baron and musician. Oh, and did I mention there’s a fourth identical brother, an American airline steward named Patrick Crolikow, who also gets drawn into the fray? Valeriy Garkalin’s monumental task of portraying all these distinct (yet constantly mistaken) characters is the film's undeniable centerpiece. It’s a performance less about subtle nuance and more about sheer comedic energy and physical transformation, a whirlwind tour of accents, mannerisms, and increasingly ridiculous situations.
More Than Just Slapstick?
Directed by Vladimir Menshov, who stunned the world by winning the Best Foreign Language Film Oscar for the gentle, character-driven Moscow Does Not Believe in Tears (1980), What a Mess! feels like a deliberate, almost defiant, departure. It’s loud, brash, and plays ethnic stereotypes for broad laughs in a way that might feel jarring today, yet seemed part of its satirical intent within its specific post-Soviet context. Is it simply a manic farce, or is there something deeper bubbling beneath the surface? The film pokes fun at nationalistic pride, bureaucratic incompetence, ethnic tensions, and the sudden, overwhelming influx of Western influence (personified by the bewildered American brother). One wonders if Menshov, amidst the collapsing certainties of the old regime, was using hyperbole to grapple with Russia's own chaotic search for identity. What does it mean to be Russian, Jewish, Romani, or even American, when everyone looks exactly the same and is caught in the same whirlwind?
A Constellation of Russian Stars
While Garkalin carries the multiple lead roles, the film is packed with beloved Russian actors clearly relishing the absurdity. Vera Alentova (Menshov's wife and the star of Moscow) plays multiple roles herself, including the American steward's fiancé and a Russian-American interpreter, adding another layer to the mistaken identity madness. The legendary Inna Churikova is unforgettable as Krolikov's long-suffering mother, Praskovya Krolikova, whose discovery of her multiple, identical, long-lost sons provides some of the film's surprisingly poignant (amidst the chaos) moments. Seeing such established talents dive headfirst into the slapstick and exaggerated scenarios is part of the film's unique charm. It felt like a major event movie in Russia at the time, a big, expensive production aiming for spectacle and escapism during a challenging period. Menshov reportedly poured significant resources into it, wanting to create something visually dynamic and unapologetically entertaining.
An Artifact of Its Time
Watching What a Mess! today is certainly an experience. The pacing is relentless, the plot convolutions dizzying, and the humour often relies on stereotypes and situations specific to its time and place. Some jokes land, others feel dated or culturally specific. Yet, there's an undeniable energy, a go-for-broke spirit that's hard to dislike entirely. The practical effects and production design capture that distinct mid-90s feel – a world grappling with new freedoms and new absurdities. It’s a film that could only have been made in that specific window of Russian history, reflecting both the anxieties and the wild creative possibilities of the era. I remember stumbling upon a subtitled VHS copy years ago, perhaps in a specialty store or borrowed from a friend with eclectic tastes, and being utterly bewildered yet strangely compelled by its sheer audacity. It wasn't like any American comedy I'd seen.
This isn't a subtle film; it's a cinematic sledgehammer of farce. Its ambition is enormous, perhaps even excessive. But buried within the noise is Valeriy Garkalin's tour-de-force performance and a fascinating, if chaotic, snapshot of a nation in flux, laughing (perhaps nervously) at itself. It demands a certain tolerance for high-volume comedy and a willingness to embrace the utterly preposterous.
Rating: 6/10
Justification: While undeniably uneven, culturally specific in its humor, and overwhelmingly chaotic, What a Mess! scores points for its sheer audacity, Valeriy Garkalin's Herculean multi-role performance, the presence of Russian acting legends, and its status as a unique, high-energy artifact of post-Soviet cinema. Its relentless pace and reliance on broad stereotypes might weary some viewers, preventing a higher score, but its ambition and cultural context make it a fascinating watch for the adventurous retro film fan.
Final Thought: It leaves you breathless, slightly confused, but perhaps with a grudging admiration for its sheer, unhinged commitment to the bit – a true cinematic whirlwind from a very specific time and place.