Sungirl ' Youth always lives in hope - there is so little of the past behind us. Future bright clothes youth takes with it' (Helena Atkina)
'The big is seen at a distance' - this phrase can describe a whole trend in Soviet cinema, which gave the viewer a series of films, as if created not in our world, but in a certain parallel reality. 'Good morning' (1955), 'Spring on Zarechnaya Street' (1956), 'Height' (1957), 'Street of Youth' (1958), ' Peers' (1959), ' Dima Gorin' (1961), 'Girls'' (1962) and many other paintings shot according to the canons of socialist realism carry an implicit element of fabulousness. Light romantic embellishment does not distort reality at all, it only shows it as it could be. We are all constrained by the rigid limits of reality, but no one can forbid it to be tweaked a little. At least in a feature film, which is not obliged to document the life of the country with documentary accuracy. 60 years ago, many directors did just that. The talent of the director is to show a story that the viewer will believe unconditionally from the first minute.
The plot 'Kati-Katyushi' is a story that fascinates from the first frame and does not let go to the very credits. It does not let go, because it is impossible to break away from the image created by Lyudmila Krylova. Youth lives by its own laws. She knows no fears or doubts. She's sure she can handle everything. That there's no case she can't handle. Truly a magical time! The personification of unrestrained youth is a simple girl Katya. The story of actress Lyudmila Krylova and the on-screen character Katya are in many ways similar, perhaps, that is why the image turned out to be so deep and so authentic. Screenwriter Evgeny Onoprienko endowed the girl with character traits that not every viewer is ready to agree with. The beginning of the tape shows Katya in a somewhat unfavorable light: cute-sticky and frankly intrusive she seems a slightly cocky girl recovering ' behind the fog and smell of taiga'.
However, further development of the plot shows that this is not quite so. Katya's just a kid. Her ideas about adulthood are based on newspaper articles, where the romance of Komsomol construction projects is presented in the most favorable form. This, and even secret girl love pushes her on a road that no one approves: no girlfriend, no aunt and uncle. But youth does not tolerate prohibitions, so Katya is on a construction site, where the object of her adoration works. Enthusiastic naivety learns its first serious lesson when it turns out that Grisha’s childhood friend is not happy to see her. Vladimir Gusev in his 26 years looks much older than 21-year-old Lyudmila Krylova. But it is not even about age, but about views on life. If Brigadier Grisha has already achieved something both in the profession and in relationships with the opposite sex, then Katya still looks at the world through rose-colored glasses of childhood dreaminess. Her attempts to win Grisha’s favor look strange and even ridiculous, but gradually the viewer begins to respect the depth of the heroine’s feelings invisible behind the external bravado.
Love is concrete in manifestation, but ephemeral in the attempt to analyze it. To understand this, just look at three heroines living with Katya. Librarian Din (Lydia Fedoseyeva-Shukshina, at the time of filming just Lydia Fedoseyeva), cook Alyona, who called herself Elvira (Margarita Krinitsyn), builder Zina (Daya Smirnova). All of them are connected with Katya-Katyusha by one feeling - love. Life for life's sake is not life. What makes it meaningful is that for the sake of love we can not only live but also die. None of the characters will have to die, because the film is full of positivity. There is so much light and light in it that it is enough to light up the whole city! There are so many smiles in him that the soul smiles back. It has such feelings that even the crystal clear spring water can seem cloudy! Probably, thanks to such fantastic content, the story could not go unnoticed by colleagues in the workshop, so Yuri Chulyukin three years later will remove his inimitable ' Girls', the plot of which in many details copies the work of Grigory Lipshits.
A moving in its genuine sincerity film.
