Frontline surgeons "The military doctor!" What could be braver than a doctor that gives life in battle? Whose service is much harder, about life without thinking about your own. The military doctor goes with the soldiers, not knowing what is next! And a bag full of bandages, his sergeant carries with him..."(A. Sergienko)
In all the pictures shot in the first post-war year, there is a life-affirming beginning. In the work of Joseph Heifitz and Alexander Zarhi, this beginning was elevated to the status of anthem. The anthem is performed in honor of the most humane profession on earth - the doctor. The war has just ended, but its consequences are visible at every turn - the wounded, the disabled, the crippled. For those who have lost an arm or leg, the only solution is a prosthesis. But among the injured were many who looked physically healthy, but because of the damaged nerves did not work hands or feet. These were not a few, but thousands. It is for the solution of this complex medical problem that three friends, three military surgeons, are taken.
The main message of the film is visible to the naked eye - you should never lose faith in yourself, in yourself. If your feet do not work, let your hands work. If you have a bright head on your shoulders, let it work in such a way that the paralytics again find the opportunity to move, and therefore enjoy the long-awaited peaceful life. Today, many viewers believe that all Soviet cinema is ideological. That’s how it is, but the ideology of these paintings is simple and clear: give to others more than you take from them. That’s what three frontline friends do when they take on ' an unbearable' task. However, not all of them are ready to fully bear the burden of research in the face of constant failure.
This does not mean that someone is scared, scared, tired. Not everyone is allowed to wander in the dark and to the touch for a long time in search of the right path. Someone will leave the race, but will not run away, but will always be there to support a friend in a difficult moment. Another feature of post-war paintings is reckless aspiration for tomorrow. It is for this reason that the camera operator with such affection watches the construction and restoration of destroyed houses. The people won. Now he deserves a bright rich life - hence the constantly sounding music, and theatrical productions, and almost carnival New Year.
And although in 1947 the film received the Stalin Prize of the II degree, this does not mean that it was shot ' for the sake of the leader'. It was made primarily for the people, for the victorious people. He was filmed in order to give, if not the very opportunity, then at least the hope that Soviet medicine will soon be able to cope with all the consequences of the war. That kind of faith is expensive.