Considering that Musakov’s Abdulladzhan (1991) was dedicated to Steven Spielberg, we might suggest that these four boys embody nothing more complicated than a conflict of youthful innocence with some ominous threat—the basic workings of E.T. (1982) or War of the Worlds (2005), say. That threat, however, is best understood not through vague nationalism or warmed-over socialism, but through the other reference-point of Abdulladzhan—Tarkovskii’s Stalker (1980). Musakov leaves his boys in a simplified radiance so bright and so overexposed that it no longer looks like the skies of sunny Tashkent, but a disturbing, borderless luminosity to match the flat tonal range of Stalker’s “Zone.” Our Uzbek boys are nowhere in particular; this is a broader domain than anything international.
Police Major Golidze alone confronts a gang of gangsters, led by the notorious criminal Bagirov.
The WWII pivotal battle of Stalingrad is shown through the eyes of the soldiers and officers on both sides of the war.
Young lieutenant arrives to tank regiment stationed in the Central Asia. He uses unusual for Soviet Army methods to train his soldiers. It predictably leads to tensions with superiors and subordinates. However later it pays back during live exercises.
Beginning of the 1920s. Jantai and the hero Mergen, residents of one of the mountain villages in Uzbekistan, set off for Moscow to order a monument to Lenin from a capital sculptor with the money collected by the people and to bring it back to their village. They are assisted in fulfilling the order by a homeless boy named Grishka, who has joined them in the capital.
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