ABSTRACT
The fundamentally new development of Soviet culture, including cinematography, is bound up with many historical factors and circumstances, among them the special role of Russia in the life of the multinational family of peoples of the USSR. Of major importance in the establishment of the young national cinemas was the fact that their founding practitioners were trained at the Moscow All-Union State Institute of Cinematography or at the Advanced Courses for Directors and Script Scenario Writers. The newest achievements and discoveries of Soviet and world cinema become their own living possession, to be then enriched by national tinctures and resonances. The character of the main heroine—who remains faithful to her husband who perished in the war, and, touchingly, continues to care for her old father-in-law—reveals not only the moral strength of a Turkmen woman—rooted in centuries-old traditions and displaying, in its outward manifestations, a religious coloration—but also thoughts, feelings, and bursts of emotion engendered by social experience.
