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Larichev warns his mentor that he has no choice but to report him, but the commander shoots himself that night, saving the NKVD the trouble.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.Thus begins a pattern of military itinerancy and strict familial command structure that will define Verochkas married life.In many ways, she is in the tradition of the long-suffering heroines of Russian literature and Soviet film, heroines defined primarily by a cluster of virtues such as obedience and loyalty to men, infinite patience, and unquestioning self-sacrifice.Bless the Woman is veteran director (and State Duma deputy) Stanislav Govorukhins first feature since 1999s Sharpshooter of the Voroshilov Regiment.Like much of his output since the 1960s, Govorukhins latest film is an impeccably professional example of genre cinema, in this case melodrama.

The appearance of her second Prince Charming at the very end of the filman aged naval officer whose gentlemanly manners and erudition are represented as both superior to Larichevs military gruffness and a reflection of the changed social context of the post-Stalinist Thawamounts to a kind of reward for Veras unflagging loyalty, modesty, and perseverance over the previous 22 years.

As they set up the first of several army-post homes, Larichev lays down the law for Verochka, as if lecturing new draftees.

As the man, he says, he has certain rights: to come home to dinner on the table and an obedient wife who is always "washed, fresh, and cheerful." When Vera responds by asking what her rights as a woman are, he tells her that she has "one right: to be loved." This verbal box of candy from husband to wife cements the familial power structure for good; although she clearly suffers from her austere, subordinate life (as testified by the tears she sheds every ten minutes or so), Verochka never again questions anything her husband says or does, even when he forces her to have an abortion because military posts are "no place for children." And when a child does temporarily come into their lives unexpectedly Larichevs son from his first marriage he instructs Vera only to feed, clothe, and educate the boy, and scolds her for excessive affectionateness when he sees her kissing the boy goodnight.

That Govorukhin is centrally concerned here with the experience and significance of being female, specifically a Russian female of the 20 century, is also confirmed by the films title and dedication: "To our mothers and grandmothers." The film is structured as a series of episodes in Veras life, separated by intertitles indicating the date.

When we first meet her, in 1935, Verochka is a 17-year old living with her mother, brother, and sister in a small seaside village.

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