The Road Movie that wasn't there. The film colorfully and emotionally tells the viewer about the sensual maturation of one of the sisters from a child into a woman and about the almost fanatical stubbornness in achieving children's fantasies about the profession: a pilot, a sailor, a cosmonaut (etc. - choose to taste, but not zootechnics in Transbaikalia). The authors confirm that these are children's fantasies by episodes of "preparing" sisters for the chosen path - knitting knots, studying sambo and English. Not mathematics and physics, so necessary on modern ships, but the skills of obsolete or highly secondary. In general, we see the attitude of the authors to what is happening on the screen and following it, the viewer understands that the “natural”, sensual, choice of Sister Glory towards relations with the opposite sex instead of a child’s dream is quite real, but the childlike maximalism of Sister Asi is inadequate.
Well, once again triumphed feeling all-conquering power instead of striving for something bigger and at the same time not cancelling feelings and emotions. As it was shown in the films of our country earlier, here in the same Peers, where the performer of the role of Glory also starred. But the new time demolished the meanings and ideas of that stage of the country’s life, throwing on the screens the continuing line of subordination to the general – personal, beautiful and emotionally sensual. Just natural-selfish. Or else it's cemented. Beautifully decorated in art, but did not become less retrograde. The rightness of the ideas displayed in the work will be judged only by one question; Did the heroines of Soviet films of the year such as before 1959 blindly follow a man in defiance of vocation, dream, duty? What did the women in those films do? And the subsequent period? Here we go. Domostroevskaya line - where the husband, there and the wife - is derived in the picture and is the main one in Soviet cinema after 1959, where the plot touched on the relationship of the sexes, without the shown conflict between the scoundrel husband and his wife, but only considering the "ideal" version of the husband as a bright personality or no less idealistic option - everything wins love, only accelerated the movement to the "unknown" wives of bandits of the 80s-90s, the same spouses of thieves' officials and in general "weights". The personal conquered the social and the beginning of this triumph in these seemingly harmless images of “real life” on the screen, when creativity was completely given to the feeding of the reflective brethren, whose knowledge about life is strongly limited by their own organs of perception and analysis, knowledge stands among these authors in the tenth row of methods used.
How easy it was to introduce an element of progress into the personal and emotional field of the narrative: the character of Igor Pushkarev helps the heroine of Larisa Barabanova to realize her dream. And for greater certainty - the love of Glory and Toli is broken about the domineering character of the husband or life.
And finally, why was there no road movie in the country? Just money given to the sisters by the character (85 rubles!) Oleg Tabakov could travel from Moscow to Vladivostok and get on a ship there, as it happened in the final! Where did the throwing around the country come from - only for the sake of sucking the plot, there are no more explanations, and the credibility of the plot is lost due to this not a trifle.
5 out of 10