Старший сын (1975)

Now I see that paternity is a human formality that conceptually makes the blood rush when pronouncing words of affection to anyone, regardless of whether it coincidentally be a child, a mother or father, or a complete stranger. Anyway, this is a pleasant mosaic of mixed emotions that weaves a couple of unconnected stories with improbable cameos, and these with mundanities that are sometimes calamitous, sometimes of frenetic joviality; simple but not so simple as not to be philosophically interesting; okay, not very philosophical but not enough to not be anthropologically funny, and enjoyable with the prelude Op.23 No.5 in G Minor by Rachmaninov in the background; If the melodramatic target did not at times show off the false alibi of a comic plot and vice versa, then its intelligent narrative would be more evident; but the director shouts from the rooftops that he does not aspire to success through commercial or pretentious means; perhaps being a television film, perhaps without it being one; Let's see, Natasha is followed by Vanka ten years younger, undoubtedly infatuated and almost aphasic with infatuation, he accepts her rude and almost offensive comments so that he abandons the idea of ​​loving her or wanting her or following her home; the central core, however will focus on the sentimental fraud that Vladimir Busygin will inflict on the clarietist Andrei Grigorv Sarafanov, father of Vanka and Nina, a clarinetist whom Vladimir has made believe that he is his 21-year-old son from his relationship with Galina. Unable to leave the town, Semyonov Silva and Vladimir missed the train and how did they stop with the Sarafanovs? Fate works in mysterious ways like God perhaps; Oh, and given that the duo sang allegorically with guitar and youthful impulses, without letting the neighbors of the building where luck would have it sleep, where they went to ask for a lodging or spend the night, including Natasha's house, they very soon surprised - spotted, I meant - from the public park to Grigori Sarafanov going to check on the twenty-something year old girl who has driven his son Vanka crazy, I repeat, ten years younger so the pair of scoundrels make trouble perfect ruse. Perfect but not so perfect, because the fraud on the clarinetist will soon have sentimental consequences for the false bastard son; Vladimir pretends to be his eldest son lost for years and we will have a jubilant father; Even failing to escape the next morning, Vladimir comes to think not without remorse "God forbid you cheat someone who believes your every word." It is assumed that Grigori Sarafanov continues working in the philharmonic and orchestra, but he has been playing for some time in cinemas and other venues. It is assumed that he has long composed an oratorio called -All men are brothers- except that it barely has a written page of the music and to make matters worse, Nina's suitor, Mikhailov, has arrived home when Vladimir, who is evidently attracted to her, and Silva, Natasha's beau, are there. The truth is so heavy that its burden is impossible to drag even for a whole day; After Grigori's argument with his youngest son, after the youngest son tries to set Semyonov on fire for courting Natasha, after Semyonov exposes Vladimir (Volodya) that he is not his son, it will again happen that Volodya misses the 11:30 train and of course, interested in Nina who is no longer his sister, perhaps another story will begin at the end of this one.