Fear, hatred and love on the Lenin Mountains It seems not one thousand, but three at the windows of the famous Moscow skyscraper where Moscow State University and the hostel of students are located, among whom many foreigners are devoted to this film, a unique almost single statement on this topic (director and screenwriter Alexei Speschnev is generally a master of painting foreign life from a Soviet angle, it is worth looking at such his paintings as “Black Sun”, “Chronicle of the Night”). Serious passions, literally African, reign among students from all over the world. Dense and rich film fabric, full of images, heroes and feelings. Surprisingly unusual now intonation: childish and serious, touching and pathetic. The story spring of the first part is a mad German student Albert (Bernhard Stefan) an escapist and sociopath, pathologically afraid of a nuclear bomb. Another hero is an antipathetic unshaven youngster Andrei (Valery Pogoreltsev) with a burning eye and a head stuffed with youth stamps of the 1960s. His antagonist conformist Sergei (the dull Alexei Eibozhenko). The belated, Soviet negritude is represented in the face of the sweet black handsome Jules (Joro Diallo), habitually appearing as a victim of white aggression. He is madly in love with a hot Latina Rosita (Ana Viña), it is her feelings that drive the second part of the film, becoming the “apple of discord” in the fragile world of sad, lost, constantly reflective students. Another bright female image is played by the failed star of the 1960s Alla Chernova, her heroine is a student Marina - a spectacle beauty on a motorcycle embodies a Soviet girl of a new formation - a feminist, an intellectual, a chess grandmaster, a fencer. In place of the positive, humorous and detachable heroes of Colleg, First Trolleybus and My Little Brother, the future seventies, engaged in endless self-digging, came neurasthenic. Planetary fraternization doesn't work. However, all the heroes are united by the acute involvement of World Grief. A world torn apart by contradictions on the threshold of the 1970s is cracking at the seams.
Separately, it is necessary to say about the actors - almost all the roles in the film were played by real students of Moscow State University and they coped perfectly, very sincerely, laid out for all 100, it is this authenticity, sincerity, openness + stylish black and white picture, impeccable work of the operator Bulinsky, and the composer (a waltz for Balalaika Beletsky!), it is these qualities of the film that today attract in it, although many of the topics raised are outdated, new problems have replaced them and the world is habitual on the brinkle of disaster.