A role in a film is like a mirror that reflects an actor's personality. Some actors are capable of playing certain roles but not others. If an actor can feel the role, he will play it naturally, because it will resemble his life. The actors put their whole hearts into acting, which gives them the model. Through a role, an actor connects to the audience who makes the final decision regarding the purpose of the film; that's why it is very important to show this goal correctly by playing it sincerely. Personalization is an important factor that can lead to the success or failure of a film. Sergei Bodrov Jr was a lead actor in several films in the late 1990s and early 2000s, he didn't just play roles, he lived them. Sergei came from a well-known family; his father Sergei Bodrov is a famous director. Bodrov Jr graduated from Moscow State University. He later pursued a career in journalism and teaching. Sergei Bodrov began his acting and film career by debuting in his father's film, Prisoner of the Mountains, as the lead actor. Although Bodrov only starred in a few films, his casting in these roles allowed him to become one of Russia's greatest actors. In the post-Soviet era, there has never been an actor as special as Sergei Bodrov Jr. After 1996, few people knew who he was other than the son of a famous Russian director. Bodrov Junior's first role was in his father's film Prisoner of the Mountains adapted from Leo Tolstoy's short story. In this film, he plays a Russian soldier held captive after being ambushed. “In 1996, thanks to the success of this film, he was nominated for the Nika Award for Best Actor and won” (Metaweb). In later films, including Brother and Brother II, he played the role ...... middle of paper ...... culturalist is important. After many years, people still watch Brother and Brother II because they reflect the spirit of a common man who wants to fight against corruption and poverty. Sergei Bodrov lived every role he played, as if it were his daily life; this personalization made his films very important to Russian audiences. Works Cited Beumers, Birgit. “Soviet and Russian Blockbusters: A Question”. Slavic Review (2003): 441-454.—. A history of Russian cinema. New York: Berg, 2009. Ford, Deborah Smith. National Examiner. March 1, 2009. May 5, 2011. Larsen, Susan. “National identity, cultural authority and the post-Soviet blockbuster: Nikita Mikhalkov et.” Revie slave (2003): 491-511.Metaweb. Free base. March 29, 2011. Archived from the original on April 2, 2011. Smith, Sebastian. The Mountains of Allah: The Battle for Chechnya. New York: Tauris Parke Paperbacks, 2006.