In the film adaptation of the volume of the most brilliant work of Fyodor Mikhailovich, the filmmakers managed to squeeze into a humane-two-part format, and a mix of psychological detective and melodrama was obtained, in a retro-style of the 19th century. However, they could hardly choose the authors of this genre then, and Dostoevsky was kind of about the hard life of ordinary people under tsarism. The beauties of the style of the literary source with tearful-dramatic exaltations and ornate manner of expressing the characters in the film are preserved to the fullest.
The main character seems to be inclined to think of a defaulter with a bouquet of psychological disorders - an amusing case, probably, for specialized specialists who are able to understand this mess - a consequence of his subtle feeling and unworthiness of life in Camorca, and the depression of the image surrounding him of famous - with rats lurking, probably somewhere cornered - St. Petersburg Subways, capable, as shown in the film, of giving birth to a spirit dark and rebellious in his womb, rising in awareness of himself from trembling creatures to Having Right, who clearly suffer from this terrible danger to society.