Mäeküla piimamees (1965)

The Mexican Indian Ánimas Trujano painted by Ismael Rodríguez and Ricardo Garibay can be a good start to understand the real possibilities of Prillup, that is, one more link of "those below", the labor force, and also property of the owner of the means of production, Marx would say, compared to those above as the all-powerful landowner. But while Ánimas almost killed himself when he saw his daughter pregnant by the landowner's son, Prillup did not stop insisting that his young wife Mari agree to spend certain afternoons with the elderly Baron von Kremer, in order to become the brand new administrator of the Maekula oil mill. And of course, that's why I mentioned Marx, so that the baron would forgive the debt for living on his lands. Prillup wanted the wealth and renown of the current milkman Kuru-Jaan at any price. And he got it, but not the prestige. She also got the sadness of her other two infant daughters, Tina and Alina, who used to spend pleasant afternoons frolicking with Mari and could no longer see her frequently. As expected, the marriage collapsed because every day Prillup became more affected by remorse or jealousy? There is no monologue for detail. Mari, meanwhile, fulfilled the contract, disappointed and angry. She noticed the attractive Johan but the feeling did not prosper because when Prillup dies during a freezing night, Johan could not promise more than what Mari already knew very well. But at least his once unfathomable dream of leaving for the city materialized. The brave young woman had the decency to kiss the refined old man and say goodbye. The baron couldn't believe it, but that's how other people's adventures begin, with the change of situation. Unfortunately, I have not been able to obtain a translation of the novel to know if the adaptation was faithful.