An outstanding piece of work, great color and lighting, straight forward story without the usual Hollywood junket attached proving again the skill of Soviet cinema making; very good ending.

Quite a filmmaker this Chukhrai was. Not much available from him, but I am happy to have seen two of his movies. "The Forty-first" perhaps wasn't as great as the wonderful "Ballad of a Soldier", but this is still quite an interesting film. Both of these films are war films, but contrary to what one might expect these films are told in a rather romantic, light-hearted, Hollywood style. Both films do have tragic elements which present themselves as the films progress, but they are largely rather light and enjoyable, even charming romance pictures of loved ones being torn apart and doomed by war. This story was started here with "The Forty-first" and would be perfected in "Ballad of a Soldier".

The script isn't particularly strong here, but where this film really stands out is in its visuals. An utterly stunning visual work from Chukhrai. I'm not sure I have seen a color film look like this one before! You have to see it to understand. Additionally, it's just constantly a visually dynamic film in Chukhrai's camera-movement and use of close-ups. The film is at the very least continually visually interesting and at its peak just stunning to look at. There's a really rich, dreamy atmosphere that develops by the end of the movie, and it makes for a quite unique viewing experience.

The ending is both quite outlandish but also tragic. Not too sure what to completely make of it. Then again, this was never a film which really strived for any kind of realism, so its over the top nature isn't too jarring with the rest. Actually, the more I think about it, the more I like it.

Grigori Chukhrai's film, The Forty First, sets itself up to be understood as a mythic series of events; the opening scene's churning waves seem to take the viewer away to a different world and the narration sets the story in the post-Revolutionary Civil War. This narration gives the effect of a story being told, and the way the landscape is portrayed creates an unreal landscape. The colors always seem too saturated and the sky hangs close and heavy over the actors, giving the appearance of a fish bowl. Maryutka's inclusion in the plot attests to the Bolshevik ideal of gender equality, making a break with Stalinism's reinstatement of traditional gender roles; her being referred to as an "Amazon" enhances the mythic quality of the film. Chukhrai consciously constructs shots that juxtapose; the scene of Maryutka and the White Army lieutenant walking separate on the beach contrasts the two in space as they both walk in different points of the frame in different directions. The final scenes are obviously ideological: the dialogue is crafted as a metaphor for Tsarist Russia and Communist Russia, with the lieutenant (Tsarism) pleading Maryutka (Communism) to return to how they were before the fighting; the officer's dangling cross necklace is an ever-present symbol of Imperial Russia, designating that even when all visual indicators of partisanship are gone (as he and Maryutka's uniforms have been destroyed by the elements), there is still an irreconcilable difference present. The last scene illustrates the valuation of duty over emotions. Besides the smartly handled ideology, the visual effects are The Forty First's strengths. The color palette and the contrasts it creates are striking, and create a hazy, dreamlike world in which a legend is played out.