Cartas de um Homem Morto

Título original: Pisma myortvogo cheloveka

1986
1 h 27 min

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No rescaldo do holocausto nuclear, um grupo de intelectuais anseia encontrar esperança no novo mundo pálido e sem cor. Entre eles, um professor de história tenta contatar seu filho desaparec... Ler tudoNo rescaldo do holocausto nuclear, um grupo de intelectuais anseia encontrar esperança no novo mundo pálido e sem cor. Entre eles, um professor de história tenta contatar seu filho desaparecido por meio de cartas.No rescaldo do holocausto nuclear, um grupo de intelectuais anseia encontrar esperança no novo mundo pálido e sem cor. Entre eles, um professor de história tenta contatar seu filho desaparecido por meio de cartas.

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7,5/10

4 mil

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Prêmios
- 1 vitória no total

Fotos56

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Elenco principal24

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Rolan Bykov

Professor Larsen

Iosif Ryklin

Khyummel-otets
(as I. Ryklin)

Anna
(as V. Mayorova)

Vatslav Dvorzhetsky

Pastor
(as V. Dvorzhetskiy)

Vadim Lobanov

Svetlana Smirnova

Tereza
(as S. Smirnova)

Nikolai Alkanov

Misha Afankov

Vladimir Bessekernykh

Vrach
(as Ye. Platokhin)

S. Polishchuk

Direção
- Konstantin Lopushanskiy
Roteiristas
Elenco e equipe completos
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Curiosidades
The filmmakers took great care to continuously remind their viewers that what they're seeing is not happening in the Soviet Union. To ensure this, a lot of foreign items have been placed in the backgrounds which surely immediately caught the eye of the contemporary viewer. There is not a single object with Cyrillic letters, but there are plenty with English ones. Many items are Western consumer goods which were rare in the Soviet Union in the 1980s. Particular examples are beer cans and a bottle of Jagermeister on a desk. The weapons the soldiers wield are also not even resembling Soviet rifles which would've been familiar to all viewers who completed their military services. They look more like a strange "crossbreed" of American M-16 and M-1 rifles. The vehicle the soldiers are using is a MAZ missile trailer truck, but the same vehicle was also built for the civilian market and sold to many countries. The helicopter that shows up in one of the scenes is a Kamov Ka-26 which was never used by the Soviet military (and in fact only one Warsaw Pact country did, Hungary). The hovercraft that is seen turning and leaving is also not a (known) military vehicle, but anyone in the 1980s should've associated the image with the air-cushion ferries on the English Channel which were a famous and novel technical achievement at the time.

Citações
Unknown: We should acknowledge the fact that the whole history of mankind is a story of a slow suicide commited by a living matter that by sheer accident acquired the abilty to think, but that did not know what to do with this fateful capacity. Full stop.

Conexões
Featured in TopTenz: 10 Little Known But Genuinely Disturbing Films About Nukes (2018)

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Avaliação em destaque

8/10

A feel-bad under-appreciated film

I can't confirm there was a direct passing of the torch between Andrei Tarkovsky and Konstantin Lopushansky, or that the two even knew each other, but I can't help but feel like there was a spiritual passing of the torch, in a way, in 1986. That year sadly saw the release of what was to be Tarkovsky's final film, The Sacrifice, as he passed away at just 54 years of age the same year. 1986 also saw the release of Lopushansky's debut, Dead Man's Letters, and it scratches the same itch as some of Tarkovsky's sci-fi works do, but not in a way that feels derivative.

It's more a natural extension of the sort of bleak, introspective, and visually stylized substance of certain Tarkovsky films, and rather than suggesting Lopushansky was ripping off Tarkovsky, I instead hope to compare them in a way that's complementary to Lopushansky. In fact, Dead Man's Letters has moments that got to me more on a gut level than just about anything Tarkovsky directed, and with this film, he really doesn't overstay his welcome with a runtime of 83 minutes (some Tarkovsky films can have somewhat challenging runtimes).

It's the fact both made movies in Russia, both dealt with dark subject matter, and both were willing to use similarly striking color schemes visually that makes me want to compare the two. At the risk of disparaging Tarkovsky, too, it's been many years since I saw the bulk of his filmography, and now I'm older (though not necessarily wiser), I may be able to go back and appreciate certain titles of his some more. As for Lopushansky, the only other film of his I've seen is 1989's A Visitor to a Museum, which is similar to Dead Man's Letters in some way, albeit longer and more ambitious... surprisingly, I think I like Dead Man's Letters a little more, though.

It's worth experiencing for its atmospheric post-apocalyptic qualities alone, as well as for a couple of key sequences that really sneak up on you and prove devastating. It's not a fun watch, but it felt rewarding and worth the time for sure.