UNA MUJER EXTRAÑA (1978)
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TÍTULO: Strannaya zhenshchina / Странная женщина / A Strange Woman
AÑO: 1978
PAÍS: Unión Soviética
DIRECTOR: Yuli Raizman
INTÉRPRETES: Irina Kupchenko (Yevgeniya Mihaylovna), Vasiliy Lanovoy (Nikolay Andrianov), Yuri Podsolonko (Andrey Lebedev), Oleg Vavilov (Yura Agapov)
ARGUMENTO: Zhenya soñaba no tanto con el amor, sino con sentimientos fuertes y abiertos. Abogada de profesión, dejó a su familia, a su hijo y, al llegar a una ciudad de provincias, se dedicó al trabajo y a las personas que necesitaban su protección. Entonces apareció un hombre que no podría vivir sin ella.
Película escogida y subtitulada ¡directamente del ruso! por el camarada tequila. Para él todos los reconocimientos.
In his last three films, A Strange Woman, Private Life, and Time of Desires, Yuli Raizman focused on private life. In A Strange Woman and Time of Desires the protagonists are women, completely different. In A Strange Woman the protagonist is a lawyer, a successful professional. In Time of Desires the protagonist is a social climber who wants to advance via her husband. In Private Life the protagonist is a male bureaucrat who is asked to retire (or gets fired) and discovers that he is a stranger in his own family.
These last three films of Raizman have affinities with classics of Russian literature such as Anton Chekhov. The affinity lies in the talent of observation of small everyday details which convey big issues about the meaning of life.
There is also an Anna Karenina affinity, although the differences are greater than the similarities. Like Anna, Zhenya is a woman of reason, a family woman who suffers from a lack of passionate attention in her life. She has married before she was eighteen, and there is a son in the family. Zhenya leaves her husband to have an affair with Nikolai, but Nikolai is a serious and rational man, not particularly passionate. Like in Anna Karenina, train stations are significant, and the finale takes place at a train station.
Raizman's films provide gratifying roles for actors in performances of psychological depth. Irina Kupchenko was a theatre actress who had had her breakthrough in Andrei Konchalovsky's adaptations of Turgenev (A Nestle of Gentlefolk) and Chekhov (Uncle Vanya). Her performance as Zhenya is rich and complex, showing her as a canny lawyer, legal adviser, and teacher answering legal questions of young people. We meet her as a patient mother to a teenage son, a frustrated wife, and even as a helpless child finding refuge with her own mother. From the lack of love she suffers emotionally and physically and is confined to a sickbed for months. In the second part of the film she receives a young admirer whose contact attemps she rejects kindly and firmly.
Vasili Lanovoy is Irina Kupchenko's real-life husband, and the tenderness in their love scenes is not pretense. Lanovoy's breakthrough role had been as Alov and Naumov's Pavel Korchagin, but his most famous parts were in the big Tolstoy adaptations of the 1960's. He was Anatol Kuragin, Natasha's dashing but fickle suitor, in War and Peace. And he was indeed Count Vronsky in Anna Karenina, reinforcing the connection with A Strange Woman.
In Raizman's approach to human relationships in the contemporary world there are affinities with the Italian modernists, even Antonioni. We have moments of emptiness, silence, embarrassment and alienation. There are temps morts and passages in real time. We even have a long date scene where the other partner fails to appear.
The theme is the destiny of romantic love in the age of cybernetics. Romeo and Juliet, and duels and suicides for love are evoked, but "perhaps we have started to be afraid of great feelings". Burning passion is not appreciated. But "I do not want to be an equal partner", exclaims Zhenya (meaning a love relationship).
The account of the legal world feels credible. In the beginning representatives of a factory meet Zhenya equipped with a bribe, but the older factory representative is a good judge of character and motions his partner to forget about the attempt. There are montage sequences of legal issues (husband has abandoned wife, children don't help elderly parents, a father has bequathed everything to a new young wife and left nothing to the child, disputes about heating in a communal home). We witness legal services in a big city and in a little rural town.
A Strange Woman is a long film, and there is time for digressions which are not necessary for the plot but interesting in themselves. The most funny sequence is Zhenya's long wait on a Moscow railway station with interactions of several characters who never reappear. Another humoristic scene is Zhenya and Nikolai's visit to a huge restaurant filled to capacity where they are seated in the middle of an African table.
The camerawork by Naum Ardashnikov is rich and varied, starting with an elaborate long tracking shot introducing Zhenya's office. We visit many locations, including a tourist trip to Berlin, complete with views of monuments of antiquity at the Pergamon Museum. Views of the rainswept rural town are among the most memorable.
The film ends with a classic Russian farewell sequence at the station. Zhenya returns home to take care of her son Volodya after the death of his Moscow grandmother. But Zhenya's mother notices Yura in a train window – although Zhenya has strictly forbidden him to follow her anymore.
Antti Alanen, film programmer at the Helsinki cinematheque
Una de las 650 películas que cambiaron el mundo según los críticos moscovitas: Tal vez la película de Raizman no suponga un gran reto filosófico, pero hay tanta sinceridad en ese corazón roto que se sumerge en una tristeza existencial con más claridad que cualquier Antonioni.
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Strannaya zhenshchina (1978) SATRip.avi [1.37 Gb] 
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Strannaya zhenshchina (1978) SATRip esp.srt [123.3 Kb] Subdivx
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