Доживем до понедельника. Ключ без права передачи

Imi͡a Georgii͡a Isidorovicha Polonskogo (1939-2001) khorosho izvestno blagodari͡a filʹmam, sni͡atym po ego st͡senarii͡am: "Dozhivem do ponedelʹnika" (1968), "Kli͡uch bez prava peredachi" (1972), "Ne pokidaĭ…" (1989). No teksty Polonskogo t͡senny i sami po sebe - oni zavorazhivai͡ut, ikh otlichaet virtuoznai͡a vyverennostʹ dramaturgii: pod vozdeĭstviem melkikh, slovno pesok, sobytiĭ meni͡ai͡utsi͡a deĭstvui͡ushchie lit͡sa ego istoriĭ, neprimetno deformiruetsi͡a pravda… Neveroi͡atnoe usilie mozhet potrebovatʹsi͡a, chtoby sokhranitʹ sebi͡a, poĭti naperekor, preodoletʹ strakh ili bolʹ. Ėtoĭ slashchavosti lisheny i vymyshlennye miry Polonskogo (korolevstva Abidonii͡a ili Pukhoperonii͡a, naprimer), nedarom ego skazki - dli͡a vzroslykh. Geroi vsegda sledui͡ut vysokim idealam. No ne kazhdyĭ personazh - geroĭ. I v chudesnykh korolevstvakh tozhe…

The name of Georgy Isidorovich Polonsky (1939-2001) is well known thanks to the films shot according to his scripts: "We'll live to see Monday" (1968), "The Key without the right of transfer" (1972), "Don't leave..." (1989). But Polonsky's texts are valuable in themselves — they are fascinating, they are distinguished by the virtuoso precision of dramaturgy: under the influence of small, like sand, events, the characters of his stories change, the truth is imperceptibly deformed… An incredible effort may be required to save yourself, to go against the odds, to overcome fear or pain. This sweetness is also deprived of the fictional worlds of Polonsky (the kingdom of Abidonia or Puhoperonia, for example), no wonder his fairy tales are for adults. Heroes always follow high ideals. But not every character is a hero. And in the wonderful kingdoms too…