His own among ... his own ': A woman worthy of warmth and love, as in the best fairy tales. Never remembering evil, never hiding her face under a mask. He believes that one day He will come and look, warming his eyes. In the meantime, he hopes and waits, without changing diamonds on the sand. . . ' (Ilona Karpenko)
It wasn't an easy movie. Ambiguous. On the one hand, already held in the profession of director Joseph Shulman, on the other - three screenwriters, of which two debutants, and the most notable work of Mikhail Bleiman is a detective adventure film & #39; "Tobago" changes course & #39; (1965). None of them worked with extremely complex material about military traitors, successfully ' adapted to peaceful life. Although another explanation is possible: so ' tickling' the topic could not help but pass through a censorship sieve that can turn white into black and vice versa. In any case, today the viewer has in front of him not a criminal history, but a drama, entirely created according to the characteristic & #39; thaw & #39; patterns. And although the film was released at Brezhnev, they filmed and conceived it under Khrushchev, who has the most direct relation to the film.
The film by Alexander Proshkin ' Cold Summer fifty-third...' (1987) everyone knows - it tells about the consequences of the largest in the history of the USSR and Russia ' Voroshilovskaya' or 'Berievskaya' Amnesty - more than a million people! But few people know "On the amnesty of Soviet citizens who collaborated with the occupiers during the Great Patriotic War of 1941-1945" - the Decree of the Presidium of the Supreme Soviet of the USSR of September 17, 1955, which was promulgated exactly on the second anniversary of Nikita Khrushchev as First Secretary of the CPSU Central Committee. The first paragraph is: 'To release from places of detention and other punishments of persons sentenced to a term of up to 10 years in prison inclusive of those committed during the Great Patriotic War of 1941-1945. aiding the enemy and other crimes. ..'
In total, there are 8 points in the decree, there are those who want to applaud standing up. But not the first, according to which ' Quiet ' police and others like them according to ' the principle of humanity ' were released from all punishment. All this is said in order to understand the strange at first glance ' majeure' in the relationship of the driver of the motor base Ilyin, Prosecutor Glebov and investigator of the Prosecutor's office Tyurin. The fact is that everything is according to the same Decree: 'Terminate all investigative cases and cases not considered by the courts on crimes committed during the Great Patriotic War of 1941-1945.' That is, if you are not a punisher who shot civilians in front of witnesses, you can sleep peacefully. But what an amazing thing - the hero of Yuri Sarantsev, suspected of substitution of personality, perfectly aware of this Decree, can not sleep calmly - conscience does not allow.
Although in the genres ' Detective' is not specified, the plot side of the story is a real detective. The creators of the picture did everything to make the viewer believe in the categorical duplicity of the hero. To do this, at the beginning of the picture, he is shown as a road hooligan with bad jokes. In opposition to Ilyin, the story of the wife of the real Ilyin develops. Teacher Olga Pavlova performed by Clara Luchko is an absolute success! Her character is the complete antipode of Ilyin. She's honest, open. In absolute devotion to her first love, she fiercely hates the man who stole the biography of her deceased husband. But history goes on. There are new facts, new witnesses of those terrible events. And the cup of spectator sympathy steadily outweighs the cup 'wines' Ilyina. The story, which was written by three writers, does not seem to be true, but there is an explanation.
Clear ' thaw' the film allowed the Director not only strongly ' to humanize ' all the characters, but also to write a story extremely loyal to all without exception. If you do not take into account the first (natural!) suspicion of Ilyin, all the other characters cause exceptionally positive emotions. In this series, Pavel Pankova deserves a separate mention, who did not often get the main roles, which is extremely disappointing, because his Vasily Stepanovich Butkevich is a real decoration of the film from the first seconds of his appearance in the frame. Speaking about the advantages of the picture, it is impossible not to touch on the operator’s work. Oleg Avdeev made the film not just interesting, he shot it incredibly beautiful! All the charm of the picture can be appreciated only by re-viewing: you no longer need to follow the plot and you can continuously absorb successful camera angles.
There are plenty of them. If the director needs to convey the spiritual suffering of Clara Luchko, the camera operator is at her service: a littered horizon, almost naked trees going into milky whiteness. If there is anxiety in the eyes of the heroine, the stopped footage is just right. And how many frames, in which glass and mirrors! At the very beginning - a huge mirror on a passing car, throws a bunny on the figure of a woman sitting on the terrace. Extremely romantic! Rear-view mirror in Ilyin's car: don't look back - the past can't be returned. The mirror in front of which Clara Luchko presses: what if he is alive? There are scenes where the light performs an intricate magical dance - a real shaky veil of time, for a moment lifting the veil into the past, so that the heroes learn the truth. The work of the director Shulman can be criticized for the "#39; far-fetched" & #39; details, but the film cannot be denied obvious aesthetic merits - visual beauty for the viewer is not in last place. . .