The “little man” has existed since the beginning of humanity, but in the last two centuries it has become one of the most dominant subjects of discussion in art. Be it literature, fine arts or cinema – the existence of the little man and the issues that accompany it are seen as a significant and insoluble problem.
Mikheil Gabaidze’s film, “Vasomotor Rhinitis” (2024) is a social satire that is free film adaptation of Anton Chekhov’s “Death of a Government Clerk.” From the very beginning, it is worth praising how precisely the work has been chosen, which allows the director to beneficially use the clarity of the issue in it and the ironic approach to it for the film (of course, if he has the abilities to do so).
Cynicism is one of the main tools in the narrative of Chekhov’s work, and Mikheil Gabaidze has not only preserved it, but also developed it more, adapted it for cinema and shared it with the Georgian space. What’s more, since “The Little Man” is a global phenomenon, the director has also preserved this generalization, but at the same time has placed it in a more familiar environment for us.
When talking about the screen adaptation, it is necessary to consider the factor of what novelty the director brings to the work, how he replaces the writer’s language with his own narrative manner, what he adds or what he takes away from the situation.
In Roberto Benigni’s film “Life is Beautiful” (1997), there is a phrase that Uncle Elisio utters: “You serve them, but you are not a servant!”
To fulfill one’s duty is a human obligation but to humble oneself before another is an insult to one’s own personality. He who cannot respect himself is cut off from the world and is driven only by fear.
Chekhov's government clerk is a type who lives only for existence. His actions are determined by a feeling of constant anxiety. Such people are doubly doomed. First, because they do not become "little people" but are born "little" from the very beginning, since the "little person" is a state that exists in a person. And the second reason is the result to which this state is carried. In this particular case, the latter even reaches fatality.
Such a person/character is a very tragic phenomenon. In Mikheil Gabaidze’s work, this tragic image is preserved, and the irony, which is so necessary for this work, only exacerbates the event, if not makes it comical.
In an interview with Adjara Radio, Zaal Goguadze, who plays a high-ranking official in the film, recalled his emotions after watching the final version. He said: “It will hit the target.” And so it happened, the film toured the world, earned awards and continues to gain success.
Mikheil Gabaidze offered us an outstanding work. The film is interesting and enjoyable to watch, with many components. Be it the cinematography, editing, actors, etc.
Firstly, the mood that the director so easily conveys to the viewer, the alternation of feelings and emotions, is worth highlighting. For example, the feeling of awkwardness that reigns in the hall at the beginning is difficult for the viewer not to feel. There is also a constant tension and a feeling of tightness, which is not only due to the main character, but there is a certain vacuum in the environment.
The director’s additions were successful, which can be seen mostly in the wife’s (Tatia Tatarashvili) episodes. For example, an erotic scene that is very stiff and devoid of emotions. Here is a comic situation that, on the one hand, can make the viewer smile, but leave a feeling of awkwardness. This is the husband and wife’s intimate connection along with their own dialogue about apologizing to their superior.
The most important scene is in the bathroom, when the government clerk (Davit Jakeli) is isolated from everyone. It seems that the humiliation of oneself in relation to the superior is not the result of “obligation” but this attitude exists naturally in him. He sincerely considers himself guilty: “God, you know that I haven’t done this on purpose.” He knows that he is guilty!
The same scene presents a rehearsal of an apology. “I’m sorry” said with different intonation and emotion, which almost drives the official crazy. “I’ll strangle you, bastard!” - this phrase is part of his acting in the play, it is addressed to a senior, but in reality it is more like something said to oneself. Such anger and disgust have been accumulated over the years and can only be expressed by someone who is alone in the bathroom. As soon as another person appears nearby, even behind a wall, he immediately returns to his original state.
Mikheil Gabaidze's treatment and attitude towards his work are best revealed in small details, which are difficult for the viewer to miss. The titles are especially smile-inducing: promoted to chief specialist the previous month, high-ranking civil servant №69, the spouse of the person promoted to chief specialist the previous month, etc. The characters presentation with these titles is both ironic and sad. As if this is the proudest achievement they have and the world will remember them as such (if they are remembered at all) and not as specific personalities, individuals.
Along with the director and actors, the works of cameraman Mamuka Chkhikvadze and production designer Luka Beselia should also be noted. The compositions are built with the so-called “basic forms” and the relationship between the circle and the rectangle is especially striking. The work of the film camera, despite the fact that a static camera is used, is distinguished, mostly, when working with a mirror and on portraits.
Gvantsa Nozadze
