Daywatch (2007)

Directed By: Timor Bekmambetov
Cast: Konstantin Khabensky, Mariya Poroshina, Vladimir Menshov, Galina Tyunina, Viktor Verzhbitsky, Zhanna Friske, Dmitry Martynov, Valeri Zolotukhin, Aleksei Chadov

In 2004 director Timor Bekmambetov delivered one of the most original and visually sumptuous science fiction fantasy films ever made. Based on the book by Sergei Lukyanenko it told the story of the Nightwatch. The second instalment in what is reported to become a trilogy is Daywatch, picking up shortly after the first film, this story centres on Anton’s attempt to correct the mistakes of his past. Unlike most sequels released this year, Daywatch never suffers from the diminishing returns syndrome, and feels as unique, original and inventive as Nightwatch. Almost immediately the film thrusts you into its obscure concept, with a sequence set in old Russia and an Asian warlord who tries to find the Chalk of Destiny, an object which will become vital to the film.

As the story develops characters who were minor roles in Nightwatch comes into more prominence, particularly Daywatch members Zavulon and Alisa, which adds depth to these intriguing characters. In fact, this is one of the most notable aspects of Bekmambetov’s film. Compared these films with say The Matrix trilogy and the care and attention paid the character outshines that of The Matrix sequels. Even Anton’s roommate Kostya and his father are given time and attention to grow and form fully rounded characters so that come the finale, everything and everyone involved seems to fit perfectly together into the central story arch.

It’s incredible that such attention is paid to the characters as with so much visual imagery and jaw dropping sequences it could so easily have fallen the way of style over substance. But the story, juxtaposing Anton’s love of his son and the love of Sveta, who possibly holds the key for the Nightwatch. And without exception every performance is fantastic. What makes it so incredible is that every character feels so new and original. From Gesser and Zavulon, leaders of the Light and Dark, Anton, Kostya, Sveta, Alisa, Yegor and Olga; all pitch perfect performances.

As the plot unfolds, holding back all its cards until the awesome, monumental finale, this feels in tone with the original whilst simultaneously creating a tone all of its own. One such example is the lesbian love scene which comes midway through the film. As it develops the humour, sexuality and sheer mind boggling scene unravels to such a glorious genius that it really highlights how dull a lot of Hollywood filmmaking is. That Daywatch has become the most successful Russian film of all time shows how accepting the Russians are of obscure narratives and unconventional plot developments. America on the other hand has responded poorly to the films release. When you look at Nightwatch and it’s sequel, and boil it down to its principles the film is fundamentally identical to that tried and tested concept used in Star Wars, Lord of the Rings and The Matrix, and yet any similarities to these films end there. Daywatch is such a monumental success cinematically that Russia has played Hollywood’s game and came out on top.

And the film raises the bar in terms of what can be achieved on a budget; the final apocalyptic sequence is perhaps the most impressive and convincing ever committed to screen, and all on a budget of $6 million. For all of Hollywood’s spending it’s rarely that they create a film as mind blowing brilliant as this.

Bekmambetov’s follow up to the seminal Nightwatch is as confusing, mind bending and gloriously over the top as its predecessor and lacks non of the narrative or dramatic weight of the original. For those who don’t pay attention the film may run away from you, but for those who keep up the reward has rarely been greater.