Moscow Does Not Believe in Tears (1979) is a stale, not so obvious propaganda film from the central committee, which was filled by backward, hypocritical, power hungry men who supported a tyranny and oligarchy. It's about as ridiculous as the gutter rubbish produced by Hollywood conglomerates. Punctuated by dull, sleep inducing scenes of Russians eating, drinking and discussing nothing in particular, it doesn't really go anywhere. The lives of a few Russian women are given selective treatments, from their work as slaves in the "glorious proletarian" factories, repeating menial tasks, to wanting to get laid. It's not intellectually stimulating, very tedious to behold and has no complicated storyline. People come and go without any loud drums or narrative.
What is so infantile is that the writers managed to cram nonsensical and inconsistent story lines just to fit the "required" amount of implantation of central committee doctrine, from mild scenes of elites eating well to the 'happy at the end love scene' that is entirely preposterous and incredulous to believe.
Moscow Does not Believe in Tears does not even function as passable entertainment because, frankly said, it's boring. There's not much attempt to examine the women's lives at all, it's just all so very convenient to present us with conflicts and their convenient denouements.
It is really hard to believe that Moscow Does Not Believe in Tears (1979) beat out Akira Kurosawa's brilliant and far superior Kagemusha (1980) for a Best Foreign Language Film Oscar. It's a bloody shame in fact.
And it will go into the history books as another egregious blunder from the ridiculous Oscar voting committee.
What is so infantile is that the writers managed to cram nonsensical and inconsistent story lines just to fit the "required" amount of implantation of central committee doctrine, from mild scenes of elites eating well to the 'happy at the end love scene' that is entirely preposterous and incredulous to believe.
Moscow Does not Believe in Tears does not even function as passable entertainment because, frankly said, it's boring. There's not much attempt to examine the women's lives at all, it's just all so very convenient to present us with conflicts and their convenient denouements.
It is really hard to believe that Moscow Does Not Believe in Tears (1979) beat out Akira Kurosawa's brilliant and far superior Kagemusha (1980) for a Best Foreign Language Film Oscar. It's a bloody shame in fact.
And it will go into the history books as another egregious blunder from the ridiculous Oscar voting committee.