Govorukhins vision of the Feminine Ideal is not a particularly original one, but he does manage to combine the erotic and the sacred in interesting ways, for example a slow, close-up pan down Verochkas bare torso while she showers that stops at her abdomen as she realizes that she is pregnant.
Thus begins a pattern of military itinerancy and strict familial command structure that will define Verochkas married life.
After a few years there, her husband dies of an unnamed disease, and the penultimate segment of the film is dominated almost entirely by the female characters: Verochkas mother (Irina Kupchenko), her best friend Masha (Ol'ga Berezkina), Mashas teenage daughter, and an eccentric, aging actress (Inna Churikova).
The women set up house together and function not only as a family, but as a mutual support group.
This somewhat anomalous episode has no apparent effect on Verochkas or Larichevs inner lives or biographies, and stands out as an anomalous departure from the films otherwise disciplined focus on its heroines emotional world and life trajectory.
That trajectory eventually leads back to where it began: the seaside village where Larichev found Verochka, to which they return after the war., Olga Beryozkina, Aleksandr Mikhaylov, Alexandra Kosteniuk, Vitaliy Khaev, Maksim Galkin, Stanislav Govorukhin, Yevgeni Zharikov, Aleksandr Efimov, Vladimir Krylov, K.