Sasha Enters Life

1956 film

Oleg Tabakov
Viktor Avdyushko
Nikolai Sergeyev
Ivan Pereverzev
Vladimir Yemelyanov

Music byVeniamin Basner

Production
company

Mosfilm

Running time

97 min.CountrySoviet UnionLanguageRussian

Sasha Enters Life (Russian: Саша входит в жизнь) is a 1957 remake of the 1956 film Tight Knot, a Soviet drama film directed by Mikhail Schweitzer.^[1]^[2] In 1988 the original film was restored under the original name, Tight Knot.

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 party committee. The latter turns out to be a careerist who does not care about collective farms of the district, but Katya does not believe this.

Cast

Oleg Tabakov as Sasha Komelev^[3]^[4]^[5]
Viktor Avdyushko as Pavel Mansurov
Nikolai Sergeyev 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 Baklushina
Antonina Bogdanova as wife Gmyzina
Yuriy Medvedev as Meshkov
Svetlana Konovalova as Anna Mansurova
Yelena Maksimova as Sasha's mother
Maya Bulgakova
Oleg Yefremov^[6]
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.^[7]
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.^[8]