The female director of the Bureau of Statistics, Lodnila Bologofievna Kalukina, is a strong woman in her career and a powerful boss in the eyes of her subordinates. She did a great job but never got married, and her private life became a topic of discussion among her subordinates. For this solemn and outdated boss, the staff secretly called him a "cold-blooded animal". Statistician Anridol Yerimdovich Novaselices is a single father who worked hard to raise two children by himself, but he is optimistic and popular with his colleagues. But he was also worried about his livelihood and hoped to be promoted, but he couldn't find a good opportunity to talk to his boss. At the same time, Novaseltsev is arrogant and unwilling to devalue himself for help Kalukina. In Kalukina's eyes, Novaseltsev was submissive, mediocre in ability, and had no brilliance. The old classmate became the deputy director, and encouraged him to communicate with Kalukina, but it triggered a series of jokes. Novaseltsev, in a rage, told her subordinates' usual names and opinions about her. When Novaseltsev wanted to apologize to Kalukina, he found the vulnerable and tender side of this woman; and Kalukina also saw the manly side of Novaseltsev. The two fell in love and finally made them change themselves, Kalukina became feminine, and Novaseltsev got the job he wanted.
This film gave me an eye-opening feeling. In the past, the impression of the Soviet Union was a stereotyped and dull system, but Ryazanov's shots were vivid and lively. For example, the daily routine of the office is introduced at the beginning of the film. The first thing female colleagues do when they come to the office is to do makeup, and they are doing makeup collectively. Russian women love beauty very much, claiming that no makeup is like going out without clothes. This picture of daily life is very funny and humorous in the overall dark office. Another example is that a community committee member keeps collecting money under different names, which is also a very interesting and distinct phenomenon among government agencies. At the same time, this "grandma" type of character also plays a traditional moral judgment in the story, criticizing married women who adore old people. It is not difficult to see that in our country, such aunts of neighborhood committees also exist. In contrast, the social landscape of the Soviet Union at that time was very close to life and vivid. It can be said that Ryazanov is very good at capturing typical images to express the picture of life.
As a comedy, the main point of humor in this film is that the honest and submissive Novaseltsev has to communicate with the rigid and serious female chief Kalukina. This is actually an unequal communication.
The first is the unequal position of the position. The woman is the boss and the man is the subordinate. Therefore, Novaseltsev feels embarrassed and feels embarrassed. So he tried desperately to find topics, from mushrooms in the forest to singing and dancing, he wanted to please his boss, and at the same time his own clumsiness also made him into a state of madness and anger. At the same time, Kalukina is not blind, she knew Novaseltsev's intentions, but at first he seemed to her the same as everyone else in the office, when some truthful words were spoken, Kalukina's heart started to rise. some fluctuations. As a boss, being accused by subordinates and finally showing his weak side in front of subordinates is not easy for Kalukina, and it is also a way for her to show her favor.
The second is gender inequality. This is no ordinary gender inequality. Novaseltsev, as a "daddy" and cowardly in character, can even be regarded as a "woman"; while Kalukina is a serious boss, dressed very well, with short hair, and dressed like other Women follow trends like women and can be seen as a "male". Kalukina felt that Novaseltsev was unmanly, and Novaseltsev showed himself as a bloody man with practical actions, of course, the process was clumsy. Novaseltsev felt that Kalukina was not feminine or human, but she saw her weakness in her tears. At the same time, Kalukina also actively changed herself, asked her colleagues for advice on how to dress, and began to learn to make herself feminine. This transformation and collision is also a very humorous part of the film.
The concept of love in the movie is also intriguing. For example, a married lesbian's love for an old woman was revealed by her old man, which made her very embarrassed. And Kalukina, or the director's point of view, is very obvious: love is a personal matter, and it should not be disclosed and judged morally. Such a breath of freedom also changed my view of the society of Soviet Russia.
In a word, this film brings us not only a kind of joyful anger, but also a reflection on comedy contradictions and a perspective of the Soviet-Russian social picture, all of which are very memorable.
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