Adult children's tale The Ice Granddaughter is one of the underrated masterpieces of Soviet cinema. Contrary to the generally accepted pattern, according to which the fairy tale does not imply a deep philosophical plot, this film is a striking combination of ambiguity of human feelings and relationships, a manifestation of sincere love, an allegory of suffering and uplifting happiness.
The film is interesting in terms of the unusual positioning of the main character. The viewer gets to see her as the protagonist and antagonist, which deprives the “Ice Granddaughter” of predictability.
Choreography and music play a special role in the perception of the work, so subtly and appropriately combined together. The combination of a pagan spirit and, apparently, a very recent conversion to Christianity draws attention. This tragedy of the Russian people, the baptism of a new faith, is shown in the film with only a few symbols, but creates a complete allusion to the reincarnation of the Snow Maiden, manifesting itself in the Ice Granddaughter at critical moments in the life of the main character.
I admire the scrupulousness with which the filmmakers approached its creation, taking into account even the slightest nuances of historical accuracy.
It is this fairy tale that can be revised at any age: a child to admire the amazingly beautiful Svetlana Orlova, a teenager to experience the emotional turmoil of lovers, enchanted to watch the film as an ancient parable about the miracle of adult love.
10 out of 10