The first thing you notice in this film is the long sentences, which consist of surprisingly complex and complex sentences, coming from the mouths of each character. And if at first you experience some discomfort from the excessive correctness and multilingualness of the characters, as it is - after all, they do not say this in life, and therefore not naturally and synthetically - then after the "habitation time", you begin to enjoy the correct and posed speech, diction, completeness of the transmission of thoughts and feelings in these dialogues. The beauty of speech, its structure, internal logic speaks of the beauty and harmony of the thoughts and concepts that give rise to this speech. And so these dialogues are different from the surrounding reality, where the degradation of the bundle of concepts / thoughts / ways of expressing returns us to the days of not only a less erudite population, but even darker ones - illiterate and backward. And the beauty of the text performed by the actors, as a kind of sample - but quite achievable with the vector of development of society, prompted further development and complication of thinking and transmission of thoughts. This is especially evident in the contrast in the same art - cinema. The previous movie I saw was Tattooed Rose, starring Anna Magnani. This is where there is no smoothness and grace either in dialogue, and therefore in thought. But there is a strong emotional-sensitivity - when reactions are based not on erudition and the habit of thinking system-logically, but on "generally accepted" concepts and considerations derived from one's "self". Therefore, the mess and self-deception in life, excessive sensuality and emotionality, I repeat well "submitted" by the actress - but what a pleasure after this personal confusion watching a Soviet TV movie even with a dirty lens in some street scenes and crooked credits in the beginning! All because the vector of striving for the development of a person as a person is shown.
Rarely used now by the reception of camera work, characters are revealed - long close-ups of artists' faces with the work of vasomotorics on them, according to the pronounced text. Here the actress is out of competition - after all, the actors, as it should, in the transmission of male characters, everything is whiplashy and, whole and large-scale - the more magnificent against this background the transience, nuance and versatility of emotional life and states of transitions in the faces of actresses! And a persistent feeling is not the playfulness of all these personality-characteristic answers, but their comprehension and living. Well, as with North Americans, with their preparation for debates and the ability to express their opinion throughout their studies - only there it is template-stereotypical, for example - after a question, before an answer, you should definitely pause to formulate it; and in our film everything is based on the personal training of a more creative and therefore more difficult to explain type. It is a feeling from the play of the actresses of their panto-facial expressions, intonation and of course the spoken text. Even the heroine from a distant village thoughtful (not to be confused with deliberately played!) expressions of thoughts and feelings. And what to say about Laris Grebenshchikova at the close-up game and holds the mystery of the film! And whose character goes through changes in the film from girl to girl.
What is this formation and what is the conflict of this process? After all, from the very beginning, you feel a deep love for the GGs, so intellectually and emotionally liberated well-educated and beautifully speaking - in general, they are beautiful in soul and body, and thoughts and aspirations. So where does the story and characters come from? It's a clash with the world. When unpreparedness of life conflicts with intellectual and abstract development. That's what requires space for "overexposure" - universities to balance the worldview, to the full physiological development of thought processes - who adds life realities, and who adds an abstract element to the understanding of the wholeness of life. But after changing the realities - without entering - the heroes have to rebuild their thinking - where the plans and construction of the past reality already seem childish and naive - a forced, optional "growth".
Larisa Grebenshchikova not only was able to show the whole way from girl to girl, not only opened to us the inner world of her heroine, but also created the character as the unconditional ideal of a 17-year-old beautiful, intelligent, devoted, erudite person, subtly feeling the environment.
8 out of 10