T. it.: Alle sei di sera dopo la guerra. T. int.: Six O’Clock in the Evening After the War. Scen.: Viktor Gusev.F.: Valentin Pavlov. Mo.: Anna Kulganek. Scgf.: Aleksej Utkin. Mu.: Tichon Chrennikov. Su.: Vjaceslav Lešcev. Int.: Marina Ladynina (Var’ja Pankova), Evgenij Samojlov (tenente Pavel Kudrjašev), Ivan Ljubeznov (tenente Pavel Demidov), Anastasija Lysak (Fenja), Ljudmila Semënova (artigliere antiaereo), Aleksandr Antonov (ufficiale comandante), Elena Savickaja (Ekaterina Michailova). Prod.: Mosfil’m. Pri. pro.: 16 novembre 1944 35mm. D.: 97’.
When Pyr’ev made The District Secretary, things looked not too good for the USSR. At the time of Six O’Clock in the Evening After the War (read: after Stalingrad and Kursk), the tide had turned – people could start to think, or at least dream, about life after war. Just like Swineherd and Shepherd, Six O’Clock in the Evening After the War talks about a meeting of people from worlds apart in Moscow. This time, it’s two strapping soldiers on leave who, inspired by a picture they find in a package sent to the front, hook up with two charming kindergarten teachers. Vas’ja and Var’ja fall in love. They promise to meet again after the war on a bridge close by the Kremlin at 6pm. So far, wonderful (check out the nice war pictures on the kindergarten walls!). Then, Vas’ja loses a leg in battle, and the film’s tone changes markedly. Suddenly, it’s full of despair and adult angst. Six O’Clock in the Evening After the War becomes a work about the self-doubt and self-pity of men who can’t feel whole anymore. Sure, everything will be fine in the end, but Pyr’ev knows too well that the audience can’t be fooled – peace will look like Vas’ja. The front would be with them for decades to come.