Moscow Doesn’t Believe in Tears is a great movie that encapsulates the core of Soviet ideals, where Moscow stands unchanged in its prominent morals of hard work, necessary suffering, and resilience. As we have discussed in class, Moscow has been around for centuries, enduring years of war and feuding to stand as it does today. In this way, Moscow serves as a representation for Russian identity, where Moscow symbolizes endurance and tradition. As the title of the movie suggests, Moscow is embodied to be strong and resilient in the face of hardship. This also includes the song “Aleksandra” by Sergei Nikitin. The lyrics, “All things took time to get settled in, Moscow took more than a day to build, Moscow did not believe in tears, but it believed in love” further emphasizes the importance of the setting of the movie.
In addition to this, Moscow’s symbolism also extends to the characters in the movie. I noticed that there is a sort of tension between Muscovite and foreigner. I noticed this in association with the good fortune of the characters. For example, Sergei and Rudolph have relatively negative lives compared to Katya and Antonina. Rudolph’s stray from traditional Russian ideas stems from his fascination with television and western media. For Sergei, he simply has had no former ties to Moscow until he was signed to a famous team. Additionally, these characters are marked with their non-traditional Russian names. Their relatively bad experiences are also contrasted with the successful career of Katya and the happy marriage of Antonina and Nikolai.
Katya’s character embodies the symbolism of Moscow, particularly in her hard work. Returning to Sergei Nikitin’s song, the lyrics: “The hope of the city’s not in vain, all will be dressed in verdant green, and Moscow, will find an edge of land, that’s perfect for a tree” also encapsulates Katya’s life. Although Katya experienced hardship with her failed university exam, her failed relationship with Rudolph, and her struggle to excel in her profession, she was resilient in the end. She found her ideal soviet man in Gosha, found success in her career, and raised her daughter. Her story represents the power of grit, especially in a city that believes in love and hope.
A beautiful response that does a wonderful job of explicating the importance of the Moscow setting to the film (and thus, the film’s title). Just one tiny correction: there is nothing at all unusual about Sergei’s name. This is a good old Russian name that goes back to ancient times (one of the first saints in the Russian church was named Sergei). And he is no more “foreign” to Moscow than the female characters in the film, whereas Rudolf is actually a Muscovite. But these are small details! The main thrust of your analysis of the symbolism of Moscow’s history in regard to Katya’s life is beautifully stated!
I think you bring up some interesting points about the usage of setting, and its connotations, in the film. As Soviet doctrine promulgated across the union of countries in the USSR, Moscow’s status as the epicenter for the newly established Soviet Realism is certainly elevated. This, as you point out, is emphasized in the film, as is nowhere more evident than the introductory song “Aleksandra”. Finally, Katya’s story arc is well in accordance with the themes of grit, tenacity, and perseverance found connoted with Moscow, strengthening the parallel and what qualities describe the city and its residents.
I think Moscow as a city plays many different roles throughout this movie. I agree, as you state, that Moscow does symbolize “endurance” and “tradition”, but I think it also symbolizes modernity and a path for the future. Lyudmila’s comments to Katya in Antonina’s husband’s countryside home point to as much. Even though Brezhnev’s time was one of stagnation, as Professor Gillespie brought up in class, Moscow still seems to have a glimmer of hope.
Eva, yes, definitely! Moscow, throughout the Soviet period, and now too under Putin, has always been the thriving, hopping, modern metropolis where everyone wants to live! For this reason, in both these eras, it was necessary to have a Moscow permit in order to live there legally. So your comments are right on the mark, and the three young women at the center of this film are clearly “country hicks” who feel privileged to be allowed to come to Moscow to work. (The fact that they are outsiders is why they live in the workers’ dormitory.)
Its strange. Throughout this course, Moscow has seemingly transformed in my mind from the setting of a story, to a story within itself, to a living character within a larger tale. The city itself seems to have a dynamic identity and even a sort of gestalt personality formed by the people who live within its walls. Your commons on “Moscow Doesn’t Believe in Tears” solidify this for me. Indeed, grit and determination seem to be the key virtues expressed in the film and its characters, and these human qualities are certainly assigned to the greater city of Moscow as both a venue and a character. This transference of person-hood is accomplished by the song lyrics which you point out.
Really interesting stuff.
Lovely! Yes, I hadn’t thought about it before in quite these terms, but you’re right that Moscow and St. Petersburg both are major “characters” in our course! The St. Petersburg “myth” is a well-known phenomenon, but the Moscow myth less so. (One of my colleagues is currently writing a book on this subject… I hope it will be finished soon!)
Shandiin, you did a wonderful job connecting the opening song to themes in the film, specifically the themes of perseverance and hope. The title of the opening song is Aleksandra, which also happens to be the name of Katya’s daughter. Though Katya is successful, she is unable to enjoy all of the fruits of her labors. The lyrics read, “Moscow took more than a day to build, Moscow did not believe in tears, but it believed in love.” The phrase ‘Moscow took more than a day to build’ reveals the ongoing nature of Katya’s work. The fact that it is addressed to her daughter reveals that all of her efforts are not just for herself but also her daughter. Aleksandra might also be a reflection of her mother and the youth Katya had earlier in the film. .
I think you make great points! I also found this film to be amazing and very beautiful. I thought it was amazing that a romance movie could signify so much about Russia. I did not know anything about the film prior to this and was kind of surprised when I saw we were watching a romance movie. The significance of the three female characters was so intricate. Overall, I found this movie very enjoyable.
Bringing up the line about Moscow from the song was truly in interesting way to bring things together in your post! Moscow symbolizing Russian identity rings true. I think the idea that Moscow wasn’t built in a day is similar to the same saying about Rome–each city holds so much history and symbolism relating to the specific regions they’re in.
Your discussion of the opening song “Aleksandra” highlights the thematic connection between this work and Cheburashka. Both Crocodile Gena and Katya struggle with apathy, and I would even argue both are treated by society like zoo exhibits: although they are the objects of much passive public attention, serve critical functions in their respective institutions, and stand out from their respective peers, their individual emotional needs receive little social support. Gosha and the friendless asylum are likewise not too dissimilar for the protagonists of the respective works. Both the man and the house, when examined in a vacuum, are imperfect (and perhaps even self-defeating) solutions to the protagonists’ respective needs. Yet these solutions succeed in restoring hope in the Soviet system. In each case, the central city (be it clearly or ambiguously Moscow) proves itself a well of renewed hope and love.
I agree that setting is extremely important to the overall themes and direction of the movie. One interesting note on the setting is the one scene in the beginning of the film where Katya and Luidmilla are walking to the red carpet showing and they pass by the speaker at the statue that seems to protest the current political situation. It’s also interesting to look at the girls response in which they state that he’s practically saying nothing. I wonder how that scene plays into the narrative of the hardworking emblematic prevailing female character that has found a way to thrive in a supposedly gender-equal society. We can’t necessarily call it completely gender equal as we come to realize that men still have significant influence over female lives.