The director did not hesitate to spare a lot of space in this film to exaggerate people's emotions. The people in the play show different degrees of emotions in certain plots, making the audience feel that they are all living, individual and flesh-and-blood people. They are like your friends, your neighbors, and you care about their plight, share their joy, rejoice in their success, and sigh in their misfortune. The audience gets an emotional catharsis along with the joys and sorrows of the characters, so as to be emotionally satisfied. According to reports from the Soviet press, some viewers, especially single viewers, watched the film again and again, even seven or eight times, probably for this reason.
The story structure of the film is traditional. Throughout the development of the plot, it is full of dramatic coincidences, even serendipitous ones. Some of the plot arrangements, such as having the same cameraman do two televised interviews, have obvious chisel marks, but since this is all based on real life, there is still a degree of credibility. In addition, the happy ending, although inevitably cliché, brings satisfaction to the audience. In the end, when the audience saw that Katerina, who had experienced ups and downs in life and was disheartened in the pursuit of personal happiness, unexpectedly met the ideal "Prince Charming", what comfort the audience received! This is a kind of compensation for the heroine's hard pursuit and long wait. This is also in line with the laws of life development.
Indeed, the film also has its shortcomings: the oversimplification of the plot, which can be said to be a modern version of the "Cinderella" story. The director uses the simplistic method of setting the alarm clock before going to sleep and the alarm clock ringing in the morning to connect the cross-sections of the two eras. Growing up as a leader of a big business is simply incredible. Omitting Katerina's upbringing undercuts the character's credibility, but this is more than made up for by the film's enjoyment.
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