The film, in its own way, answers the rhetorical question of what could have happened to one of the minor characters of "Little Vera" (1988), who, according to the plot, went to Moscow, but the situation turned out worse than that of the heroine of the previous film. A once exemplary "Komsomol" member who once lectured and maintained high moral standards, he became a currency speculator and pimp who, among other things, is wanted.
A confluence of random, although quite probable in this situation, circumstances attracts the attention of a small gang to his figure, consisting, as if by choice, of colorful, but at the same time beaten to the core, personalities - working for a couple of recidivist criminals, seemingly intelligent, but a two-faced district police officer in the person of Igor Vernik and a stern KGB officer of similar specifics. At any cost they need to extract from the said comrade the wealth accumulated by "backbreaking labor", which, in addition to the spontaneous upheavals and stories into which this rabble and their entourage get involved along the way, is what most of the timing is devoted to, interspersed with inserts with Talkov's songs.
The work as a whole and mainly is notable for the fact that, unlike its brethren in the muddy "perestroika" genre, there is actually not a single positive character here, otherwise nothing remarkable is observed, and the narrative feels drawn out.
A confluence of random, although quite probable in this situation, circumstances attracts the attention of a small gang to his figure, consisting, as if by choice, of colorful, but at the same time beaten to the core, personalities - working for a couple of recidivist criminals, seemingly intelligent, but a two-faced district police officer in the person of Igor Vernik and a stern KGB officer of similar specifics. At any cost they need to extract from the said comrade the wealth accumulated by "backbreaking labor", which, in addition to the spontaneous upheavals and stories into which this rabble and their entourage get involved along the way, is what most of the timing is devoted to, interspersed with inserts with Talkov's songs.
The work as a whole and mainly is notable for the fact that, unlike its brethren in the muddy "perestroika" genre, there is actually not a single positive character here, otherwise nothing remarkable is observed, and the narrative feels drawn out.
