Mélodie pour flûte oubliée

I found it highly enjoyable, it´s a little gem, shows the changing Gorbachev years and the inner struggle to do the right thing, even when involving harming your loved ones.

It is funny that my favourite Ryazanov's film is one of the lest popular in Russia. Unlike other films of the director, it runs seldom in television, and never in prime time. But I like it very much, because it is very well done, and it is ....true. The characters are depicted in a very realistic and human way. Their mistakes are pointed at without pity, sincerely, especially the mistakes and the cowardice of the man. Moreover, we can see a constant comparison between what he thinks and should be, and what he is and does in reality. At this purpose the director shows us flashes of his imagination, when he imagines what he would like to do in that moment, which sometimes would be really right. He would like, he should, he wants, but he is weak and unable to do it. Then, Ryazanov shows us what he really does, as a coward, or as a hypocrite. The man, following his passion, very soon finds himself with two women, a situation with no way out. At that stage, there can only be much sorrow for everybody. The two women are all in all the victims of his incapacity to live, to choose, to be faithful, sincere, and coherent. His wife is a good woman who loves him, and does not deserve in any way to be abandoned. His sweetheart has the only guilt of giving in to the insistence of a man who is not able to dominate his passions. I find very good the visions of the afterlife he has in his coma. The Soviet materialism has already melted away in the years of perestroika. Of course, the movie is well acted and directed, and has a good pace. There is also room for some humour, but very subtle, the way I like it. If you like movies about feelings, right and wrong, and personal responsibility, and about how much sorrow can cause someone who lets himself be led by the passion of a moment, well, you will certainly like it. Maybe it is not loved by the big audience because it is too frank and true, and many people do not like to see the bad side of themselves in a movie.

I've seen several of his films, from "Beware,the car" to recent "Silent abyss",but this is the only one film which made me not only laugh but also cry. This is a timeless story of love, maybe banal, but extremely sincerely told and performed.It will be very difficult to find such acting now in Hollywood films and in Europien "arthouse"films,as that of Leonid Filatov and Tatyana Dogileva. They seems to be utterly ordinary people whom we can see in any big city, but being so, they display us full range of emotions and feelings,and, to the end, even dignity of human being. The historical and social background is also interesting,as it is the time of hope and disappointment,the beginning of perestroika. But this film can be seen with laughter and tears without such context. This film evidenced that,melodrama,romantic comedy can be great work of art even today.

Russian filmmakers aren't always noted for their sparkling sense of humor, but this enjoyable Soviet satire takes advantage of permissive times by poking fun at the stubborn habits of the old regime, represented here by a meek, conservative bureaucrat coping unsuccessfully with Perestroika. When the effort of faking enthusiasm for what he considers politically suspicious, third-rate artistic programs sends him to the hospital with a mild heart attack, he falls in love with his young nurse and pays for his infidelity by losing his privileged position on the newly formed Leisure Time Directorate. The opening credits call it 'a film in two parts', which in one sense is true: what first appears to be a fitfully amusing but primitive attempt to plagiarize Hollywood romantic comedy role models emerges finally as a touching (and at times surprisingly candid) reflection of the schizophrenia at large in the Soviet Union in its latter days.

This is an enjoyable/romantic comedy as well as a caustic satire on the bureaucracy of the post-Glasnost era. Leonid, a high-ranking bureaucrat, faces a mid-life crisis when he becomes enthralled with Lida, a charming/spirited nurse. He makes awkward advances. She learns that his promising career as a concert flautist ended when his politically-powerful father-in-law hoisted him on the ladder of bureaucracy. He is flustered when Yelena, his architect wife, finds out his affair.