The past collides with the present in this unflinching portrait of life behind the late Iron Curtain, showing the often antagonistic relationship between a half-mad, free-spirited saxophone player and his older, old-fashioned alter ego, a hack who has seen too many changes through the window of his Moscow cab. Alexei's exuberant, non-conformist energy is the catalyst for the drama but this is clearly Ivan's film, and the story matches his often irrational mood changes while staying remarkably true to its characters, presenting both archetypes in three not altogether appealing dimensions (Ivan is a traditional anti-Semite; Alexei is an irresponsible deadbeat). The film conveys with almost naked candor the seamier side of the new Moscow subculture, adding a somewhat veiled accusation of moral corruption and decadence in the social reforms of Perestroika. The imagery is often arresting, but if the film is critical of Western influence it isn't entirely immune to them, and it's disconcerting to see the story end in a routine car chase slapped together from what look like outtakes from a William Friedkin movie.
13 Reviews
Insightful and Interesting
garcianyssa13 November 2015
Warning: Spoilers
Taxi Blues tells of the antagonistic relationship between Shlykov and Lyosha, which begins when Lyosha fails to pay Shlykov the fare for his taxi ride. However, as the film continues they become friends of a sort. This changes when Lyosha finds fame with a famous American saxophone player and goes off to tour with him. When Lyosha comes back with no acknowledgment to Shlykov who has helped him, Shlykov is obviously hurt. The film ends with a car chase and subsequent crash and then gives an update on each of the main characters.
This film was very interesting and bittersweet. There are many moments throughout the film where you can see the potential for a better friendship between Lyosha and Shlykov, but there is always something that happens which prevents this. The differences between Shlykov and Lyosha are immediately noticeable, as Shlykov is shown to be more a patriotic, stoic person while Lyosha is an alcoholic musician. These differences between them seem to illustrate the state people found themselves in during these uncertain times. Many people were disillusioned and uncertain of their political identity and you can definitely see this in Shlykov who struggles with Lyosha because he is a musician and more open to the West. The film also did an excellent job of showing Russian daily life during this time with the many scenes in Shlykov's apartment with the old man as his roommate. Taxi Blues is an insightful look into the mindset of many Russians during this time of political uncertainty, but is also entertaining in it delivery of that message.
This film was very interesting and bittersweet. There are many moments throughout the film where you can see the potential for a better friendship between Lyosha and Shlykov, but there is always something that happens which prevents this. The differences between Shlykov and Lyosha are immediately noticeable, as Shlykov is shown to be more a patriotic, stoic person while Lyosha is an alcoholic musician. These differences between them seem to illustrate the state people found themselves in during these uncertain times. Many people were disillusioned and uncertain of their political identity and you can definitely see this in Shlykov who struggles with Lyosha because he is a musician and more open to the West. The film also did an excellent job of showing Russian daily life during this time with the many scenes in Shlykov's apartment with the old man as his roommate. Taxi Blues is an insightful look into the mindset of many Russians during this time of political uncertainty, but is also entertaining in it delivery of that message.
A patriotic cabbie tries to change a lazy alcoholic Jew.
chinpeng7 April 2002
This film shows the conflict and forming of a friendship between two opposites: Shlykov, the hard-working patriotic cab driver built like a tank, and Lyosha, the thin, panhandling urban Jew.
A taxi driver in Moscow named Shlykov gets stiffed of his fare by the Jewish saxophone player named Lyosha who calls himself a genius who "speaks to God". Shlykov tracks down Lyosha and takes his saxophone and that is when the fun begins.
Lyosha fails to make money fast enough to pay Shlykov back but Shlykov decides to give him back his saxophone anyways. Lyosha, sensing Shlykov's soft heart, tries to further take advantage of him by begging him for money. After Shlykov lets Lyosha in his apartment, and after Lyosha causes him great trouble costing him even more money, Shlykov takes Lyosha to jail.
After a violent outburst by Shlykov he decides to go back to the police station to drop the charges against Lyosha. He has decided that sending Lyosha to jail would accomplish nothing. He wants to show Lyosha what life is like for honest hard-working people. Shlykov makes Lyosha come to work with him. The "intellectual" breaks down when forced to do what millions of other people in the country have to do everyday of their lives. Both characters show impulsive and unpredictable behaviour, but for different reason. Lyosha is simply a drunk. Shlykov is a patriotic ex-athlete full of proletariat angst and senses his nation is dying because of the "rotten" westernized hooligans he sees everywhere in the streets who lack any work ethic.
I will not reveal the ending to you but I will tell you this story is not a fairy tale.
I think this film goes much deeper than just showing what life was like in the USSR; the two characters can be found in almost every culture in the world today.
Excellent performances by both Zajchenko and Mamonov.
A taxi driver in Moscow named Shlykov gets stiffed of his fare by the Jewish saxophone player named Lyosha who calls himself a genius who "speaks to God". Shlykov tracks down Lyosha and takes his saxophone and that is when the fun begins.
Lyosha fails to make money fast enough to pay Shlykov back but Shlykov decides to give him back his saxophone anyways. Lyosha, sensing Shlykov's soft heart, tries to further take advantage of him by begging him for money. After Shlykov lets Lyosha in his apartment, and after Lyosha causes him great trouble costing him even more money, Shlykov takes Lyosha to jail.
After a violent outburst by Shlykov he decides to go back to the police station to drop the charges against Lyosha. He has decided that sending Lyosha to jail would accomplish nothing. He wants to show Lyosha what life is like for honest hard-working people. Shlykov makes Lyosha come to work with him. The "intellectual" breaks down when forced to do what millions of other people in the country have to do everyday of their lives. Both characters show impulsive and unpredictable behaviour, but for different reason. Lyosha is simply a drunk. Shlykov is a patriotic ex-athlete full of proletariat angst and senses his nation is dying because of the "rotten" westernized hooligans he sees everywhere in the streets who lack any work ethic.
I will not reveal the ending to you but I will tell you this story is not a fairy tale.
I think this film goes much deeper than just showing what life was like in the USSR; the two characters can be found in almost every culture in the world today.
Excellent performances by both Zajchenko and Mamonov.
Excellently brooding and moody piece of work on Russia during the latter stages of Perestroika.
grob2486 July 2000
Besides this, I have only seen one movie by Pavel Lungin, namely Luna-park, which also comes off highly recommended. Taxi Blues is an excellent work all in itself. Lungin very well transcends the chaotic atmosphere in Russia during the late Perestroika period, and prior to the break-up of the Soviet Union itself. The tumultous relationship between two main characters represents bipolar parts of the Russian society, and shows degradation of the social fabric. Piotr Mamonov (who is also the leader of the well-known Moscow rock-band Zvuki Moo) turns in an impressive performance as Lyosha - a westernized, alcoholic Jewish mucisian. The rest of the characters are equally picturesqe, be it the strong willed, conservative, nationalistic taxi driver, or his neighbor, an old man of the Stalinist generation. The film's unsettling pacing and incessant moodswings further contribute to the overall picture. An excellent film from one of Russia's leading directors.
A great film directed by Pavel Lungin after the fall of Soviet Union
FilmCriticLalitRao2 July 2008
A post Perestroika film like "Taksi-Blyuz" must be viewed in the context of Russia after 1990s.It is a landmark film in the history of Russian cinema.It speaks about an independent Russian state which might be a little difficult for some non Russian people to understand.It must be mentioned that it is not all an American Taxi Driver.The core issues of this film are masculinity,music and patriotism but still our hero grapples with numerous emotional conflicts.In today's modern day Russia,I am sure that so much has changed ever since it was created in 1990.The taxi is old in this film and decline of Russia is becoming a sore sight for natives as well as foreigners.There are many black markets where everything can be purchased.One such street vendor sells old stuff such as a saxophone,some old clothes. This is a short story of oppressed and oppressor.This film is not for you if you are expecting to watch a modern day Russia."Taksi-Blyuz" is not a film about poverty but about all factors known for making people come to terms with poverty.Pavel Lungin has made his film with a tinge of sadness.It is a nice thing that women have a minor presence as most of them lack strong will power."Taksi-Blyuz" is a true perestroika film to be admired for its inherent Russianness.
The film about two men, about soviet union - they need energy, about new oxygen to survive...
pozdeevairina28 October 2009
This film is more deeper thats you can imagine. This film is about 2 Russian souls, two tragical souls in the 1980xx( at the end of soviet union). This men are the parallel to the soviet - both are tragical, needs new oxygen, new energy to survive!
I think that only Russians can understand that cinema, its very hard to see this film, if you are not living in Russia. Unreal playing by actors, amazing Vladimir Cherkasin soundtracks
If you like this film, you can see all the films with Petr Mamonov or films by Pavel Lungin.
I think that this film is more than 10/10
I think that only Russians can understand that cinema, its very hard to see this film, if you are not living in Russia. Unreal playing by actors, amazing Vladimir Cherkasin soundtracks
If you like this film, you can see all the films with Petr Mamonov or films by Pavel Lungin.
I think that this film is more than 10/10
Irresistible psychedelic Russian singer Pyotr Mamonov plays the leading role
andreygrachev25 April 2009
Pyotr Mamonov is one of the brightest representatives of Soviet new wave music scene. He is both rock musician, poet,performer and well-known actor. Here he plays a sax player, who is leading a life of alcochol addict and looser, who is begging for money playing drunk in the streets of Moscow. Ivan is an opposite character- He is hard-working taxi driver, who pays respect to laws and social rules. When he meats Selivestrov (Mamonov) he dislikes him a lot. Selivestrov is spending all money on vodka and tries to cheat a taxi driver, escaping to pay for taxist's work. But Ivvan finds a looser sax player and tries to teach him be honest, hard-working and successful in life. It is very hard for Selivyostrov to start new life, but he manages to do it in the end and becomes world famous star. Great score by legendary free jazz Vladimir Chekasin, perfect acting, best views on Perestroika times and a lot of good humor one can see here Highly recommended for those who are exploring Russian underground music scene of 80s.
www.myspace.com/neizvestnostlab
www.myspace.com/neizvestnostlab
Hal Singer is the last male survivor of the Tulsa Massacre
lee_eisenberg27 June 2020
Released as the Soviet Union was starting to implode, Pavel Lungin's "Taxi Blues" gives one a sense of the disillusion that would come to dominate Russia under Yeltsin.
As it turns out, the movie just became even more relevant. The protests resulting from George Floyd's murder drew attention to the Tulsa Massacre of 1921 (depicted on "Watchmen"). Here's the link to this movie: Hal Singer - who appears as himself - is the last male survivor of the massacre. He was less than two years old when a white mob razed the area known as Black Wall Street, slaughtering thousands. Now 100 years old, he is one of the few surviving links to that act of domestic terrorism.
Anyway, worth seeing.
As it turns out, the movie just became even more relevant. The protests resulting from George Floyd's murder drew attention to the Tulsa Massacre of 1921 (depicted on "Watchmen"). Here's the link to this movie: Hal Singer - who appears as himself - is the last male survivor of the massacre. He was less than two years old when a white mob razed the area known as Black Wall Street, slaughtering thousands. Now 100 years old, he is one of the few surviving links to that act of domestic terrorism.
Anyway, worth seeing.
Taksi-Blyuz (1990)
akoaytao123415 September 2016
PLOT: Ivan,a hot headed taxi driver hunts down Lyosha, an alcoholic saxophonist who stifled his fare the day before. A love-hate friendship ensues but things change when an American producer helps Alyosha's career to take off.
Taxi Blues(1991), started as a very interesting travelogue about 1990 Moscow but as the film delves towards the the crazy leads, it just started to fell apart. The story about the old vs the new felt very underdeveloped and somewhat too silly for its own good. It just lacks the subtext of the early scenes to keep me interested. In addition, it kinda offset the grandness of the beginning started to be lost in a milieu of unneeded craziness between Alyosha and Ivan. [2/5]
Taxi Blues(1991), started as a very interesting travelogue about 1990 Moscow but as the film delves towards the the crazy leads, it just started to fell apart. The story about the old vs the new felt very underdeveloped and somewhat too silly for its own good. It just lacks the subtext of the early scenes to keep me interested. In addition, it kinda offset the grandness of the beginning started to be lost in a milieu of unneeded craziness between Alyosha and Ivan. [2/5]
Who's Really in Control?
khubbard-15 May 2004
*Please note: This review discusses many key events of the film, including the end. Do not read if you have not seen the movie!!!
Taxi Blues is a film about control. It isn't, however, as simple as it initially seems. At the film's conclusion, the audience is left to ask, "Who's really controlling whom?"
At the beginning of this film, Chlykov has complete control of his life. He manages his cab, and his side job of selling alcohol, with an iron fist and the facial expression to match. He is the master of his domain and no one in his or her right mind would dare to question his authority in any way.
The problem is that Lyosha is not in his right mind. His life is careening out of control and he has one priority. Alcohol. From the minute that he requests his first bottle from Chlykov, their lives become irrevocably entangled. In the beginning, it is very clear where the power lies. As the film continues, however, it becomes harder and harder to tell who is controlling whom. Although he does not seem to realize it, Chlykov's life begins to revolve around the very man he seeks to reform. As a result, aspects of his own life start to slip from his control.
For example, when Lyosha begins to seduce his girlfriend, Chlykov, in a desperate attempt to prove his authority, smashes Lyosha's saxophone and then engages Christina in an aggressive sexual act against her will. For those few minutes, Chlykov is free of his self-induced commitment to Lyosha. However, his freedom is short-lived. A few minutes later the phone rings and he is soon back at the jail to meet Lyosha, once again putting his own life on hold.
By the end of the film, the roles have reversed. Lyosha gets his life together, at least temporarily, and is on top of the world as a beloved, world-renowned musician. Chlykov's life, however, is reminiscent of Lyosha's at the beginning of the film. He severs connections with his girlfriend, his friends and his once structured existence. It is no coincidence that in the last scenes of the film, Chlykov is in a speeding car, spinning wildly out of control.
Taxi Blues is a film about control. It isn't, however, as simple as it initially seems. At the film's conclusion, the audience is left to ask, "Who's really controlling whom?"
At the beginning of this film, Chlykov has complete control of his life. He manages his cab, and his side job of selling alcohol, with an iron fist and the facial expression to match. He is the master of his domain and no one in his or her right mind would dare to question his authority in any way.
The problem is that Lyosha is not in his right mind. His life is careening out of control and he has one priority. Alcohol. From the minute that he requests his first bottle from Chlykov, their lives become irrevocably entangled. In the beginning, it is very clear where the power lies. As the film continues, however, it becomes harder and harder to tell who is controlling whom. Although he does not seem to realize it, Chlykov's life begins to revolve around the very man he seeks to reform. As a result, aspects of his own life start to slip from his control.
For example, when Lyosha begins to seduce his girlfriend, Chlykov, in a desperate attempt to prove his authority, smashes Lyosha's saxophone and then engages Christina in an aggressive sexual act against her will. For those few minutes, Chlykov is free of his self-induced commitment to Lyosha. However, his freedom is short-lived. A few minutes later the phone rings and he is soon back at the jail to meet Lyosha, once again putting his own life on hold.
By the end of the film, the roles have reversed. Lyosha gets his life together, at least temporarily, and is on top of the world as a beloved, world-renowned musician. Chlykov's life, however, is reminiscent of Lyosha's at the beginning of the film. He severs connections with his girlfriend, his friends and his once structured existence. It is no coincidence that in the last scenes of the film, Chlykov is in a speeding car, spinning wildly out of control.
Comments focus on friendship forged between taxi driver and musician.
bgrady11 May 2000
Pavel Lungin's film Taxi Blues explores many different aspects of contemporary Russian life. Set against the cultural malting pot of Moscow, the story unfolds as two men compare and contrast their lots in life, each admiring what the other has and wishing they could have it as well.
The film begins with a taxi driver, driven by the hardships in life and accustomed to the dark side of life in Moscow. He picks up a group of musicians after a night out on the town, and after the last one has been dropped off, he is stiffed on the bill. Enraged, the taxi driver stalks the last musician out of the taxi, corners him, and steals his saxophone. In return, the musician is thus forced to perform manual labor for the taxi fare, and to get his saxophone back! The conflict in the film is evident through the two characters involved here. The taxi driver is a dark, strong-willed character, and the musician is a thin and weak soul. They see each other as complete opposite, almost as enemies. But, they somehow manage to find a friendship through their encounter. Gradually, each becomes dependant upon the other, and this is essentially the film's theme. What Lungin is attempting to convey here is that sometimes the bleakest situations in our lives can provide our best opportunities for self-improvement. Both characters are lost, but in different capacities. They are alone, frustrated, and tired, but both experience these things on different levels; the working class level, and the creative/artistic level. Through their experiences together, both men help one another to achieve something greater for themselves, and their friendship is a testament to that.
The film begins with a taxi driver, driven by the hardships in life and accustomed to the dark side of life in Moscow. He picks up a group of musicians after a night out on the town, and after the last one has been dropped off, he is stiffed on the bill. Enraged, the taxi driver stalks the last musician out of the taxi, corners him, and steals his saxophone. In return, the musician is thus forced to perform manual labor for the taxi fare, and to get his saxophone back! The conflict in the film is evident through the two characters involved here. The taxi driver is a dark, strong-willed character, and the musician is a thin and weak soul. They see each other as complete opposite, almost as enemies. But, they somehow manage to find a friendship through their encounter. Gradually, each becomes dependant upon the other, and this is essentially the film's theme. What Lungin is attempting to convey here is that sometimes the bleakest situations in our lives can provide our best opportunities for self-improvement. Both characters are lost, but in different capacities. They are alone, frustrated, and tired, but both experience these things on different levels; the working class level, and the creative/artistic level. Through their experiences together, both men help one another to achieve something greater for themselves, and their friendship is a testament to that.
Leonard Maltin sees an intellectual dissident, I see a drunk. (SPOILERS!)
zardoz1215 August 2002
Warning: Spoilers
In his "Movie & Video Guide", Mr. Maltin (or one of his reviewers) writes of the musician in "Taxi Blues": "... the latter, who embodies the spirit of the oppressed Soviet artist-intellectual, plays his saxophone solos to block out the reality of his existence." It is true that the man sits in reveries, playing sax solos in his head, and is a brilliant musician. But it is more evident that he has a deep love affair with the bottle: the first time we see him, he is drunk; he goes to jail twice for his lubricated actions; he is homeless because his girlfriend threw him out over it; he has lost gigs due to his flaky behavior. In a nation of future AA members, Zaitchenko's character stands out because he has a talent, and is quickly destroying it. This is why the taxi driver is important; in his own crude way he tries to stabilize the drunk, and he is our window through which we see the sax player. We also get to see the outskirts of Moscow: the dump, seedy allyways, the brutalist apartment complexes, grimy little jails with rebar for cell bars. Truly a time capsule of Muscovite life before everything ended.
And now over to Rasto the Slovakian Savage...
BobaMetallica8 January 2001
After I watched Taksi-Blyuz I`m again convinced that Russian cinematography is spectacular, always has been and always will be. I would recommend listening to music by Charlie Parker ("Bird") as an alternate soundtrack to this film.
Me again. Rasto is a man of few words. However, he likes the movie, and his word is good. I haven't seen it yet, but probably will. Rasto has spoken!
Me again. Rasto is a man of few words. However, he likes the movie, and his word is good. I haven't seen it yet, but probably will. Rasto has spoken!
See also
Awards | FAQ | User Ratings | External Reviews | Metacritic Reviews
