Three Poplars At Plyuschikha

Three Poplars At Plyuschikha is a timeless and sentimental piece of cinematic art from the Soviet Era, directed by the acclaimed filmmaker, Tatiana Lioznova. A delicate love story laced with a dash of comedy and a wistful discourse on urbanization, the film mainly features Tatyana Doronina, Oleg Efremov, and Vyacheslav Shalevich in lead roles.

The narrative tracks a day in the life of the protagonist, Nyura (played by Doronina), a housewife from a distant, rural village who ventures into the heart of Moscow to sell farm produce. Besides the usual hustle and bustle, the city for Nyura is an overwhelming labyrinth, with its stunning architecture and traffic-filled streets. Amidst all the confusion and chaos, the village woman yearns to see the ‘Three Poplars at Plyuschikha’, a place that her husband romantically described in postcards from his military days in the city— thus, setting the title for the movie.

Nyura’s journey takes a twist when the cab driver Yura (Efremov), who was supposed to drop her at Plyuschikha Street, falls asleep, stranding her in the heart of the city. He wakes up late in the afternoon, realizing his mistake and promises to drive her back home. At this juncture, a unique communication ensues between a village woman, unfamiliar with the urban lifestyle, and a city man, detached from the simple pleasures of rural life, revealing the stark contrast between their worlds.

As the day unravels, the movie beautifully captures the evolving dynamics between Yura and Nyura. Their personalities take shape within the backdrop of the city’s fast-paced life and the tranquil contemplation of the countryside. The cab driver's empty rhetoric about the pace of urban life and futuristic fantasies contradicts with Nyura's innocent questions and desire for a simple, peaceful life, which elevates the narrative to a larger commentary on the burgeoning urbanization of the time.

The third main character, the silent passenger Andrei Petrovich (Shalevich), is introduces later. A well-off intellectual and a seemingly neutral observer, Andrei Petrovich becomes an instrument through which viewers perceive the developing bond between the two main characters. His stoic expressions and thoughtful observations provide a kaleidoscopic glimpse into the lives of a weary cabbie and an uncomplicated housewife, and the slice of life drama developing between them.

Throughout the movie, Doronina delivers a captivating performance as Nyura, perfectly capturing the simplicity, mystery, and otherness of a woman from the Russian countryside. Her indecisiveness, vulnerability, and wonderment while exploring the city, all meld into a believable portrait of a small-town woman. On the other hand, Efremov, as Yura, flawlessly embodies the weariness and cynicism of a man whose life moves as fast as his cab on the bustling streets of Moscow. His nonchalant demeanor and wisecracks subtly unveil his disillusionment with the cosmopolitan existence. And Shalevich, as Andrei Petrovich, is compelling in his silent role. His subtle responses to the evolving dynamics of the two other protagonists sets the tempo of their narrative.

The film also showcases the stunning beauty of Moscow with its broad boulevards, historic buildings, and iconic landmarks beautifully captured in black and white. The contrast between the urban panorama of Moscow and the unseen, serene beauty of Nyura's unseen world reflects in the cinematographic techniques. The music complements the narrative splendidly, helping evoke the nostalgia, loneliness, and the charm of old-world Russia.

"Three Poplars At Plyuschikha" is an extraordinary film, typifying the understated and symbolic nature of Soviet cinema. Lioznova's astute direction and the compelling performances by the lead actors supported by a remarkable script make this movie a must-watch. This masterful blend of romance, comedy, and a critical commentary on the perils of urbanization is, indeed, a testament to the golden era of Soviet cinema.