I watch this movie several times a year. He is my youth, my first love, my first disappointments, my first tears. Before graduation, our teacher tried to analyze this film in two sentences. The bottom line is this: no matter what happens in life, you need to remain a person; anything can happen to you, but try to get out of the most unpleasant, even shameful for society situations with dignity. The second sentence I remembered for life, it became a parting, a kind of covenant. I do not dare to judge the artistic merits or shortcomings of the film, there are experts on this. I lived the film on emotions, the actors were able to convey the idea. I grew up with this movie. I am so grateful to the creators.
P. S. Three films from my youth that I advise people my age to watch sometimes: “School Waltz”, “You never dreamed” and “I ask you to blame Klava K for my death.” . .
I watched the film School Waltz (1977) after reading an article about Elena Tsyplakova: I liked her very much in my youth, especially in the film Adam Marries Eve (1980).
In that film, comedic, philosophical, fictional court decides whether the couple can get married, throwing the young hypothetical trials.
School Waltz is a drama in which school graduates without any preparation plunged into trials after breaking firewood. First of all, this is the pregnancy of the main character, Zosi.
Her lover, Gosha, is not ready for this. The girl's parents also do not show themselves in the best way, so all responsibility for their own life and the child now lies with the girl.
For seventies movies, the subject of teenage pregnancy was very bold. There have been such cases in life, though not often. They whispered about them, the children tried to marry faster on certificate or force the girl to secretly get rid of pregnancy. In any case, the pressure of relatives was strong.
At school, a girl got pregnant in the 8th grade, the guy had already finished eight years. They got married, raised a child. I remember how the class teacher told us, tenth-graders, that we still have five years free to study and ourselves, and this girl – a wheelchair, life is premature.
So Zosya was premature with the child. How her life will turn out is left behind. But you can see the reinforced concrete character of the girl who worked at the construction site during pregnancy.
There are many inconsistencies in the film, and the actors are more silent than expressing emotions.
In addition to Tsyplakova of celebrities there is Yuri Solomin, who plays Zosi's father. Smart, understanding and silently inactive. His role in the later life of Zosi also remains behind the scenes.
Young Evgenia Simonova also plays in the film. In the story, she has a negative character: a rival-separator. And it turned out spoiled girl who is used to that all her ' I want ' fulfilled. A kind of capricious princess from a fairy tale about 12 months, who needed snowdrops in winter.
In the film, it was Evgenia Simonova that caught my attention: her character lived with emotions, laughed and cried. And the heroine Tsyplakova was always frowning and dissatisfied, opposing everyone.
Such a resilient girl who invented her own difficulties, and then heroically overcome them. In the spirit of the time in which she lived.
A movie about love, but I never saw love in it.
7 out of 10
A significant part of the social complications we owe to our tolerance for selfishly sloppy use of words, our willingness to play along with this sloppyness. 'More than anything in the world, I appreciate independence!' - lapidarnis fed young man, and we understand it literally instead of substituting the word “problemlessness” instead of independence and defining the young man in his picture of the world where he should be - in place of the larvae of the social drone, which he will certainly become if he is not exposed in time by the whole society. The answer to the main question to the script ' School waltz', namely, why is it stressed barky, independent young man abandoned a pregnant, but beloved girl, and then immediately, without interruption, not just converged, but married an unloved, unwanted, with a stuffy barracks - do not breathe - relatives behind his back - here. Not freedom, the young man was hungry, not independence, but the ease of life without ropes and encumbrances, which is why he naively delegated his household, gastric, dwarf problems (something else - from where to get an intelligent offspring in Moscow of the seventies?) to those who put their shoulders under them, not realizing by young dope that such a deal is always an exchange of primogeniture for lentil soup, all of himself - for orders with caviar, cake ' Bird's milk' and other squalid deficits.
' School waltz' still remains one of the best in Soviet cinema studies of crippling care, paralyzing spoiling, the viciousness of the idea that an adult child can be materially and emotionally served for the rest of his life, it is only necessary to seat his soul comfortably, but so as not to escape - in a wheelchair, with wheels, on soft springs chair ' Changed temper, broke voice, I don't remember summer - I remember cold, some shame, hindered me, as well as Beck, but not to break out in this verse, ' Because the first risk group before progressive paralysis from a maternal, obsessively affectionate, enveloping figure is men, and the younger they are, the cleaner they are, the more freed from everyday life, the more self-confident with girls, the easier it is to immobilize them, drain them of blood, deprive them of male and human subjectivity. ' School waltz' is a cemetery of stagnant masculinity, giving the entire available spectrum of capital above the average type - from school Casanova, lazy even at the gates in football to stand properly, not chewing and not settling raggedly, through the ever-absent, himself erased from everywhere ' not a doctor in chief' with uselessly European appearance, and to hiding behind the soldiers' stupidity, even lagging behind the dust in his wife's death.
Before the drama of this masculinity, not noticed by anyone in time, not reflected, not corrected, the main problem of the film fades, which in itself is terrible, it is not clear by whom and how it was left without attention in the country of advanced healthcare in general. This problem, of course, lies in the long-standing banality of abortion as almost the only means of contraception, despite the European mores in terms of sexual freedom and the responsibility of parenthood. Scenes in the abortion clinic, where women go, as in the dispensary (' Only here with you and meet!' - cooed two obviously familiar, obviously resigned to this state of affairs patients, sending to sleep flaming with horror Zosya) - really frightening, and the clarifications (' we are four in the same room, and the daughter - cunning steel, understands everything!') immersed in such hopelessness that even howl, at least fighting head against the wall, at least, with the availability of the Basti. The happiness and goodness of our time, of course, at least in the fact that this problem is solved, and therefore the main conflict ' School waltz' lost its tormented by women, as once, after the legalization of an easy and equal divorce, lost the torment of the collision ' Anna Karenina' Everything is broken, broken - for some reason easier than everyone. . .
.. . At first glance, the boy seemed courageous, purposeful, his impetuous desire to become a hero-geologist was perceived as nothing more than a youthful bravado, and the sincerity of his love relationships was believed unconditionally. But as soon as he showed the first uncertainty, confusion, the whole beautiful image immediately turned pale. Following this, the plot powerfully turned the situation, after which the return was possible only through a very strong self-overcoming and introspection. And this confusion and uncertainty had already dragged Gosha to the very end, like a heavy unnecessary tail, the presence of which he did not even realize and did not try to analyze, but only mumbled: “I do not understand anything.”
It is appropriate to consider what might have caused this behavior. According to the plot, it is known that despite his external gloss, the guy grew up almost without his parents, who were constantly on some business trips. Perhaps they were geologists themselves, so the child involuntarily took from them such a life stereotype of behavior – an endless series of expeditions. That is why the father spent little time with the child, he had no one to take an example for imitation in everyday life, an example of attitude to a woman. And if in one situation Gosha showed himself as an enviable lover, constantly worrying about his girlfriend, then, having fallen into an unusual position - hypothetical in the plot, because it was only an assumption - immediately lost. This is generally normal for the human psyche, so anyone can behave, because you can not be constantly ready for any turns of fate. Real courage lies in overcoming oneself, and the film demonstrates the hero’s inability to continue making meaningful and responsible decisions. “I value independence the most in my life,” is the standard of living of this man, who is criticized in the context of the film.
Who has changed in this story, who is its real hero? In my opinion, there is no main character in this film, because everyone remained the same as they were, the participants of the drama did not get any development. Except that obviously negative character, Dina, made some conclusions for herself, but only for this you can not call her the main character.
Zosia only grew stronger in her convictions that she had done the right thing by keeping the baby, and never in all of her time did she regret that she was the only one to blame for his appearance. Her responsible action is welcome, but there is no real heroism in it: a rather ordinary case and a rather ordinary result to be answered for. And she answered in full, it is worthy of all respect. Especially in a situation where even the closest people not only did not support her, but even pushed for something else. However, it seems to me that such an example of Zosi’s behavior could hardly push the female “mass” consciousness to envious imitation. After all, this abandoned girl did not become happy, this picture did not draw any possible life prospects in front of the viewer: study, career, a strong family, joyful motherhood. All this she lost at once, only the hard work of a single mother to care for the child remained. I don't think you can seduce anyone. On the contrary, imagining the prospects, some would prefer to abandon “personal growth” of this kind.
Zosya was originally a strong whole person, capable not only of her own responsible decisions, but also of changing the world around her. When she said “a,” she firmly said “b,” the momentary hesitation was appropriate and forgivable. Taking responsibility for herself, she also radically changed her lifestyle. A mighty willpower that can only be admired!
Zosi's father has a rather murky role here. This cold silent relationship between father and daughter, this constant “tolerance” in the relationship with a brazenly cheating wife, up to the deliberate gentlemanhood: “I’m leaving,” instead of pointing the traitor at the door. This strange gray mouse of this story left no pleasant memories of itself, except for cold exposure in any situation. Even with this more positive than her mother, Zosa's father was not very lucky, although in her difficult days it was emphasized that he provided her with at least some support.
In general, this film catastrophically lacks verbal meanings, here much is given to the audience’s fantasies and conjecture. Therefore, the problem of the main characters of this story (and not only the main ones) seems to me, first of all, that they were unable to rationally explain themselves, influence each other even in simple and understandable words, clearly communicate their thoughts and desires. This is a film of actions and decisions, behind which the viewer must guess something and draw a possible imaginary development of events.
Despite everything, I am sure that strong-willed Zosya could make her boyfriend a real hero. There were deep feelings between them, which did not pass even with time, despite everything that happened. This is an excellent basis for building further relationships, but young people did not take advantage of this. This inability to engage in meaningful, directed human communication here is very surprising to me: happiness was so near, but no one wanted it. And you just had to do something, and not swim silently by the flow of circumstances and wait for no one knows what. Zosya would be able to curb this “free mustang” and put him in the “stand”, because for all his “heroic” throwing he desperately needed support and external control, but either pride, or stupidity, or inexperience of this Zosa was not allowed. More like the last.
But it turned out a great melodrama, soulful and intelligent, but, nevertheless, leaving the viewer without much consolation.
Is there any hope left here? I don't believe in it here, not the material.
"Genius!" That’s what I thought at some point when I saw the picture. And yes, it's "Pictures"! That word is appropriate here. Written in wide, fast, confident strokes and lines. If the director decided that it is not necessary to go into detail, how everything was there, how it happened, then this is his right and precisely this style. Otherwise it would be a melodrama, stretched over many series and still predictable. A drama with a seemingly unspoken ending. Although this unsaid ending, so common in Soviet films of the time, and not only Soviet ones, is a bit stuporous, it is often the only disappointment after watching, as it is this time. But it was very interesting to watch the characters and behaviors that were very surprising, especially the relationships in the Zosina family. And Dina is not even a character, but like a cardboard caricature, standing against the obvious.
As the old saying goes, men love some and marry others. The plot of the film “School Waltz” is just such a typical situation. He, she and the rival. He and she build their relationship on “smart soil” that binds them to a far from platonic bond. But there is no vulgarity in the frame: no kisses and, especially, bed scenes. No special emotional intensity: Dina’s tears, alas, helpless. It is doomed to loneliness: it does not affect the heart of Gosha, causes dislike in the viewer (who likes the separation?). ) i>.
Zosya, who probably claims the title of a positive character, is an image of a girl who swims with the flow: she does not try to fight for her beloved, does not arrange scenes when it would be necessary not just to shout, but to beat the bells. "How, you don't know anything?" she asks surprisedly. I mean, she was hoping some good Samaritan would enlighten her woe-daddy. But she herself, of course, is proud, stubbornly keeps silent: and why a father is a child, isn’t she? Repeatedly referred to the “cat name”, which is not just a coincidence or an unfortunate comparison. This parallel is drawn by Zosi’s mother, friends, and finally Gosha. That is, the matter is not in relation to the outside, but in some essential quality. A child is a kitten who can be "loved very much," waits at home and will never betray. How much Zosei is aware of the responsibility of the moment is a big question.
The spiritual suffering of Zosi is almost not shown (a little sobing - and that's all?). Not a difficult life in a hostel, being pregnant, or childbirth, finally. Very weak scene in the hospital: where is the pain, where is the doubt? And this happens to the heroine not at 37, but at 17! Everything for the first time: another acute sensation - the whole world would have to turn over. But on the screen, "samurai in a skirt." Think about it, the audience, what happened to her. A little “life experience”, and Zosya seems wonderful and beautiful, and Dina, of course, a calculating bitch.
Anyway, this is the story of yesterday’s schoolchildren who were so stoned that they will have to clean it for the rest of their lives. And all the pompous words of teachers, under whose noses the children were dancing “not a school waltz”, alas, very caricatured in relation to reality.
What can you say about the fate of Zosi after watching this film?
As the teacher said at the prom:' The main thing is always to be a person'.
And Zosya coped with this task perfectly, unlike Goshi.
Zosya remained a man who, despite all the difficulties, found the strength to give life to another person. To a small creature who will love her with all his heart.
In the end, she found a love that no Gosha could give her. And she will be happy, unlike him.
It's a great movie. It is worth seeing everyone who is ready / faced with the truthful reality (to emphasize).
For the film I put 10/10, and for myself I note again that the main thing in any situation is to be a person.
Everyone regrets Zosya for the fact that she suffered trials, praises her for being strong. But no one is looking at the root of the problem.
From the beginning, who cares about the safety of sex, but no. Oh, come on, there's someone who doesn't. So what does the heroine do? She alone decides for everyone: for herself, for the father of the child, for the parents (who will have to provide for their daughter and grandson). Mother's instinct!!! you say. I'll say stupid. So begin thousands of stories of Russian women, with a dozen such stories personally familiar and major notes in these stories negligible little.
A film about irresponsibility and its consequences.
A good picture is recommended for viewing.
The main characters - Zosya, Gosha and Dina, like other graduates, are full of hopes and expectations, they have a great future ahead of them.
However, for the first time faced with a non-childish problem and facing a choice, young people behave differently.
After learning that his beloved is pregnant, Gosha does not try to support Zosya. On the one hand, it is understandable that he has only recently emerged from childhood and is not ready to raise his children. On the other hand, is he aware of his own social instability and lack of experience for the birth and upbringing of a child, or is he ruled by selfishness? I think it's the second. If he really loved Zosya, he would be happy to have a family with her and raise a child with her. Naturally, like all young parents, they would have had problems that could have ruined their relationship, but did Ghosh know about such prospects? Hardly. Most likely, he wanted to leave everything as it is - enjoy his youth and not be responsible for his actions. So I come to the conclusion that he was selfish and really did not like Zoshu.
Zosya, although not immediately, accepts the situation as it is, with all the ensuing consequences. I will note that it was not her decision to have an abortion – her mother dragged her to the hospital under the pretext that her daughter depends on them primarily financially and the chance to enter a good university is very high, why should she miss it? You can see that Zosya hesitates, and the conversations of happy mothers with many children in the ward and the poster about abortion were the last straw: Zosya commits a serious adult act - decides to leave the child and bear responsibility not only for himself alone. A little later, when her classmates enter universities, the girl begins to work.
It seems to me that this moment can be considered a starting point, when Zosya entered adulthood with all its hardships and adversity, and Gosha, who decided not to notice the problem, remained a child.
The fate of Dina, the last link of the love triangle, is also interesting. At the beginning of the film, this character caused me nothing but irritation. Of course, her actions - deliberately did not invite Zosya to visit, took her gentleman away to dance, etc. - testify to her selfishness and impudence. This is what they say, “It’s going to go on.”
But at the end of the story, it became a pity for her – it was foolish to accuse a maniacally in love girl that she, knowing that her love is not mutual, still hoped for happiness. An important fact is that it was Gosha who decided to be with Dina, which at a certain stage could not but inspire her hope for a happy future with him. Very hooked dialogue Dina with a little boy, a neighbor at the entrance. Despite the fact that Dina is by all parameters an adult - a married woman, lives separately from her parents and dresses like a woman, before us - a conversation between two young children. She says in a childish way about her husband that he used to be good, but now he has become bad, not realizing that she herself is guilty of marrying him herself, although she had a choice.
The relationship between Zosi and her parents deserves a separate theme. With mom everything is very clear, but the relationship between father and daughter, in my opinion, not fully disclosed. My guess is that Zosi’s father was much closer than his mother – he was the one she called when she fled the hospital and on New Year’s Eve. But throughout the film, the father is silent and does not demonstrate his emotions, which gives the impression that he, although intelligent, but very inert person.
In this regard, for me a mystery – how did people who, in my opinion, did not take place neither as husband and wife, nor as parents, and as individuals, grow up a daughter with such a set of moral qualities and will?
The finale of the film is a reunion of graduates. It’s only been a year since graduation, but the main characters are not so full of hopes and expectations. Their future came very quickly.
During the year that they did not see, Zosya, having passed many trials, could not only fall out of love, but also hate the father of the child, but she kept a picture of Gosha and complained to her father that she could not help thinking about him. It seems to me that Zosya is the only character in the love triangle who loved sincerely and truly. She loved her before she was pregnant, and she loved her after, when Gosha left her alone to deal with their problem. Perhaps it was because of her love for Gaucher that she eventually left the child.
A year later, they meet again. They hug when they meet. At some point I had the impression that she forgave him, and he understood everything, realized everything – they will be together! But instead, Gosha complains about his life and says he wants to drop everything and go on an expedition, and his son has a "cat name." And, despite the fact that Gosha expresses a desire to meet Vaska, we do not see an adult who realized his mistake and wants to correct it, but a confused selfish little boy who does not know what to do.
In the final scene, Zosya leaves school and rushes home to her child. She's been through a lot this year, no doubt more than the other main characters, but she's still human. The obstacles that fell on her lot only hardened her character - she does not drink like Gosha, and does not fall into tantrums like Dina. Behind her back are the windows of classrooms, where she spent her childhood, and ahead - her beloved son, adulthood and a great future. Rest assured, she'll handle it!
P.S. As it seems to me, the problems of a young family, teenage pregnancy and abortion were openly talked about already in the 90s, so it was a great revelation for me that films on this topic were shot in the USSR in the 70s. The film will not lose its relevance. I recommend it to everyone!
Objectively speaking, the film is probably good: the characters are convincing, the actors’ play is very good, the musical accompaniment is soulful and to the place, the script, everything is wonderful.
But I personally do not like the film: the pressing atmosphere, lack of air, hopelessness, hopelessness, in a word, mortal longing. The trouble is that I do not see a favorable outcome in any turn of events: all the heroes drive themselves into such hopelessness that they do not want to live. I will not discuss the relationship between Zosi’s parents, Dina and Goshi, although there is much to be said about them. I will consider the options for the development of events in the relationship between Goshi and Zosi.
Option 1 implemented: Gosha, fearing the birth of a child, abandons Zosya (by the way, what is her name? I wonder why the heroine was called Zosei. But Gosha cannot be happy without Zosi. So is Zosia without Gosha. Convincing. There are no options, in my opinion.
Option 2: Gosha stays with Zosya and gives birth. This relationship is still not long to live, because I can’t imagine that Gosha will perceive this baby as the only thing he lacked in life at 17. The result - Gosha will still run away, and you will not have to wait long.
Option 3: Zosya has an abortion and stays with Gosha. Here Zosya will not allow herself to be happy: tormented by remorse of conscience, coupled with the fear of never giving birth again (or rather, these arguments should be rearranged in places), she will either simply destroy her relationship with Gosha, or quickly become pregnant again. Option 2 will be repeated, namely: Gosha will flee from the baby.
Option 4: Zosya manages not to get pregnant. Her affair with Gosha is happily developing, and they even get married. The couple are in seventh heaven. But just a couple of months later, Zosya still gets pregnant, because in the USSR, family planning was never heard of (except for abortion): young wives very quickly became pregnant and gave birth. Then they continued to get pregnant, but already resorted to abortion: for some reason, the second, third and subsequent abortion in the USSR was no longer perceived as a tragedy, and unnecessary mental anguish did not deliver. Accordingly, this development brings us back to option 2.
I'm not judging Gosha. Why would a seventeen-year-old need a baby? He has no need for a baby. He needs to learn, work, learn the world, people. The desire to have children and take responsibility for them may come to him in a certain number of years. (And maybe never will, by the way.) But the world in which Gosha and Zosia live does not provide them with options. One option - in almost any case - a baby. The only solution is strict abstinence.
Option 5: strict abstinence. Gosha and Zosya enter the institute, study, get acquainted with the world. At the same time, they continue to meet each other, not allowing the case to go too far. How long can you last? Usually Soviet students, whose relationship began before the institute, at best were able to endure to the third year. Then there's the marriage and the baby. Perhaps three years later, this infant would not have played such a destructive role, and Goshi’s marriage with Zosya would have survived, turning at best into an analogue of, say, the marriage of Zosin parents. But I don’t think it’s more optimistic than all the others.
Why does Zosya decide to give birth? Is that a sign of her moral highness? No, she's just afraid of the consequences of abortion. Does she need a baby now? Have motherly feelings prevailed? Nothing like that: Zosya is an ordinary girl. She has to learn, like Gaucher. Zosya suffers for Gaucher, and does not dream of a baby. Zosya wants to dance and flirt at parties, not rock a cradle. (It would be strange if it were the opposite.) Yes, Zosya doesn't abandon her baby after it's born. But even this fact is not some particularly weighty argument in favor of Zosina decency as opposed to "spookiness." For purely physiological reasons, women are much less likely to abandon their children than men.
Perhaps the sixth option is the most optimistic:
Varint 6: based on the events of the film, thought out. What happened happened happened. Zosya squabbles with his baby, Gosha goes on an expedition. Or he doesn’t leave, but continues to study at the university. Slowly, they build relationships, push the baby on grandparents. However, with this, relatives on both sides have tension. However, Zosi’s father inspires some hope, and the mother may eventually be forced to give up her love affairs and take care of the child – her direct duty! After going through the most difficult infancy period, Zosya enters the institute and finally begins to live an almost normal student life, enjoying (finally) a relationship with Gosha.
Conclusion: children at 17 years in 99% of cases do not give a chance to a relationship in a couple. It's certainly not the children's fault. But it is not the fault of their poor parents, trapped in the realities of the Soviet Union in the second half of the 70s. Sad story. Sad and truthful.