Boris Akunin became popular in the late 1990s when he began publishing his detective novels. Most often events in his novels take place in the late 19th-early 20th century. The first series of his novels tells about adventures of detective Erast Fandorin, the second series is investigations by nun Pelageya. Recently his new novel entitled ALTYN TOLOBAS saw the light. Boris Akunin's books became bestsellers. Probably, the reason for his great popularity is, as he puts it, his desire to try himself in all kinds of detective genre which is most popular with the general reader. He makes readers marvel at his play upon words, he often makes them forget what events did take place in history and which are product of his imagination. No wonder, his novels stirred up interest of stage directors and film-makers. Last spring his play SEAGULL was shown at a theatre festival. Russia's famous film directors are making films after his novels.

In an interview with the VREMYA NOVOISTEI newspaper Boris Akunin said that film director Alexander Adabashyan was making a series of TV films after his novel AZAZEL on the ORT channel. According to him, the shooting is almost completed. Yet he says he has nothing to do with what is going on the film set. He says his work was over when he tabled his script. At present he is waiting for the film to appear on TV. He says he had to put up with the fact his heroes do not look like he imagined them. Yet he thinks the film is interesting. Another prominent film director Nikita Mikhalkov is working on Boris Akunin's novel STATSKI SOVETNIK, or a high-ranking official. Supposedly, Oleg Menshikov will be starring in the film. Boris Akunin says he holds vivid discussions with Nikita Mikhalkov about the novel and the concept of the would-be film. The thing is that the political detective novel is key-noted with the idea of Confucius that a noble man serves to his emperor as long as his service is in keeping with his inner conviction of a proper conduct. Akunin's hero Erast Petrovich Fandorin advocates this idea. The idea was tested many times by Russian intellectuals. It is attractive but vulnerable. The problem is serious. It cannot be discussed at length in a detective film. So, the script writer and the film director have come to terms that it should be a feature film, not a political essay. In short, this film will feature three love stories against the background of Russia's long-standing conflict between law and order and chaos.

Boris Akunin says he has little experience in film-making. Yet VREMYA NOVOSTEI has published the writer's most interesting reflections about the present and future of Russian cinema. Though many speak about a crisis or even disaster in home film-making Boris Akunin sounds more optimistic.

He thinks that Russian film-making still has a great potential, rich cultural traditions and, what most matters, it has a national identity. Traditionally, strong points of Russian cinema were good acting, an ability to make psychological involved films and the cultural heritage, primarily great literature. There is such a thing as national cultural mythology. In Russia it is poorly developed. It has not became part of mass culture. Yet with the help of cinema this can be done. A good example of making a myth for the whole world out of nothing is Hollywood with its cowboys. They are, do doubt, world-famous. Russian cultural heritage calls for the creation of a more exquisite legend. In our consciousness today there is a myth of gone-for-ever Russian culture of the late 19th-early 20th century. This is not a mere myth. This is what has been created by national literature, fine arts and music. Actually, this is not a myth. This is the best thing that has been created by Russia within 1000 years. This is the heritage that must be used.