Loneliness The prose of Andrei Platonovich Platonov is not easy to film due to certain stylistic and lexical features of the text, but Rezo Esadze succeeded to a certain extent. The director managed to show the loneliness of two people inside a huge team in the era of industrial romance of the first five-year plans. It may seem strange that someone suffers from loneliness at a time when life is not just boiling around, but boiling. And yet it is. True, the loneliness of Efrosynya (Fro) and Nefed Stepanovich Efstafiev is absolutely different. For Fro, who was extremely vividly played by Alexander Zavyalova, the writer Platonov found the following words: ': A young woman stopped from wonder in the midst of such a strange light: in twenty years of her life, she did not remember such an empty, radiant, silent space; she felt that her heart weakened from the lightness of air, from the hope that a loved one would come back. ' Her loneliness stems solely from love. There was a loved one next to her - the world was full of him, and left - and the space around was empty. Against such a joyless emotional background, even the usual activities can lose their attractiveness. That is why the heroine Zavyalova is rushing, trying to find a new meaning of her life, to find new life landmarks. The loneliness of her father Nefed Stepanovich is different. Nikolai Trofimov managed to fully convey the touching and insecureness of a man who suddenly lost the meaning of his existence and was forced to sit all day on a hill, hoping to at least look at the cause to which he devoted himself, and then return home ' mad from unsatisfied working lust' They are so different - father and daughter - and so similar in an attempt to find themselves again in a rapidly changing world. A very pleasant short film with excellent music by Isaac Schwartz, significantly pushing the boundaries of the author's text. It is surprising how the fate of Alexandra Semyonovna Zavyalova coincided with the fate of her heroine, from whom her husband, as Platonov writes, '... left far and long, almost irrevocably' After all, in 1964, Alexandra Semyonovna divorced her husband, and because of an affair with a foreigner, the actress was labeled unreliable. Apparently, Alexandra Semyonovna did not play so much as she did ' tried on herself ' the fate of her heroine. . .
': On the mountain, the collective farm, under the mountain, the state farm, and a nice guy asked me a question. Asked a question, he looked into the eyes: 'You are a kolkhoz, you can not be loved!' (On the mountain kolkhoz' Russian folk song)