La parole est à la défense

A psychological drama showing two very different women trying to understand each other during a criminal case proceedings. One, the felon, who is a very emotional provincial lady in her middle ages, accused of an attempted murder, with simultaneous suicide, of her cheating lover. She has a deep affection about him and has been supporting their life materially for a few years in a row hoping for common future, while the guy found it expedient to exploit her almost openly. In court she remains firm with her affection about him, yet hopeless, not asking for mercy. Her advocate in court, women of the same age, is, on the contrary, self-sufficient, very reasonable and practical. Although her help was refused and then mandated by the criminal law, she finds it her mission of justice to take the felon out of the bars.

The story explores the term of social normality - what is supposed to be normal and thus good for a human and the society, and what is a divergence, e.g. A potentially harmful one such as love, or a family without it.

Both women's play is excellent beyond exaggeration, leaving little room for the others to reveal their characters, but they all are secondary. Unlike other Soviet motion pictures of the same age this one is almost absolutely free not just from 'mandatory' ideology, but also lacks typical seconds of beautiful scenery, people at works, etc. As if it was shot 'normally' and 1.5 longer and then cut to fit the required footage leaving out what is not essential.

And finally, the music of Vladimir Martynov, a living guru of the theory of music and author of many soundtracks to Soviet and Russian films and cartoons.

My verdict - Highly recommended.