Snippets of storylines decorated with bright moments. The types do not look drawn enough to be immortalized, as Ryazanov previously managed. And stunts, like flying locomotives, you expect more from other directors. Intelligent bums (with joined Armor, clearly gravitated participation in their show) are inspired in the song about the tundra, the road and the rain dripping on the snout, seek to splash with the totalitarian past, critically understanding its flaws; the intensity of pathosity is achieved in combat (fantasmagoric as their cause) in the final with reprises suitable for slogans. For 1991, this is ideologically correct, feeling on the verge of caricature. The character of the Innocent made a remark about his nationalism. Thank you Henrietta Altman for the script. The actors did what they could (the episode of farewell to the characters Volkova and Mikhail Filippov to the song Rotaru “My Homeland” is a flight).
I tried a little eroticism, which became possible. The film looks hastily-emotional, not ripened, a reflection of the confusion of Ryazanov in the comprehension of the last years of the USSR - like almost all citizens then, to the pace of change were not ready at all. Perhaps driven by clear inflation, “eating” the budget of the film.