Sasha Enters Life
Sasha Enters Life (Russian: Тугой узел) is a 1956 Soviet drama film directed by Mikhail Schweitzer.[1][2]
| Sasha Enters Life | |
|---|---|
 | |
| Russian: Тугой узел | |
| Directed by | Mikhail Schweitzer |
| Written by | Vladimir Tendryakov |
| Starring |
|
| Music by | Venyamin Basner |
| Cinematography | Aleksei Temerin |
Production company | |
Running time | 97 min. |
| Country | Soviet Union |
| Language | Russian |
Plot
The chairman of the collective farm takes Sasha Komelev, the son of the dead secretary of the district committee, to his house. Sasha not only began to work hard, but also went to college. He spends his free time with a girl named Katya, but she preferred the new secretary of the district committee because of his courage and determination.[3]
Cast
- Oleg Tabakov as Sasha Komelev[4][5][6]
- Viktor Avdyushko as Pavel Mansurov
- Nikolay Sergeev as Ignat Gmyzin
- Ivan Pereverzev as Party Leader
- Vladimir Yemelyanov as Party Leader
- Pavel Volkov as Murgin, collective farm chairman
- Valentina Pugachyova as Katya Zelentsova
- Valentina Berezutskaya as Nastya Baklushin
- Antonina Bogdanova as wife Gmyzina
- Yuriy Medvedev as Meshkov
- Svetlana Konovalova as Anna Mansurov
- Yelena Maksimova as Sasha's mother
- Maya Bulgakova
- Oleg Yefremov[7]
- Valentina Vladimirova as Pozdnyakova
Reviews
- Andrei Plakhov: Another landmark work on the ideological shelf should be considered the Tight Knot by Mikhail Schweitzer, where the criticism of the collective-farm order was clearly too acute for the Khrushchev Thaw to begin with. The film was savagely rewired and released under the idiotic title Sasha Enters Life, which forever discouraged Schweitzer from making a keen social film, and he devoted himself to screen versions of the classics.[8]
- Maya Turovskaya: Tabakov with a good and authentic artlessness conveyed the first desperate grief and uncontrollable immediate joy of his seventeen years, his infantile maturity, touching disturbances of the first failed love and breaking boyish principles, all watercolor and tender play of a barely feminine, shy and direct character. But the actor in it has not yet groped his theme.[9]
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References
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