Vacation in September (1979)

Vacation in September: Frames of Decay, Not Vacation

Let's be frank. "Vacation in September" is not a film; it's an autopsy. An autopsy of a man, an era, illusions. It's not a "vacation," but a self-inflicted sentence by the protagonist. And Vitaly Melnikov doesn't just shoot; he dissects, leaving the viewer no chance for solace. This is cinema for those ready to stare into the abyss without blinking.

Plot: Domestic Catastrophe

Viktor Zilov is a man who received a long-awaited apartment. Not a cause for joy, but a backdrop for a new act of his personal drama. The housewarming turns into a farce, not a celebration. Galina, his wife, places her last hopes on this home, seeing in it a chance for a happy life, despite Zilov being an inveterate liar, drunkard, and philanderer. She is pregnant, but this news doesn't please Viktor. For him, a child is a burden, just another chain in his aimless existence. At home, there's coldness; at work, there's falsity: the capable Zilov palms off a fake project on his superiors to avoid exerting himself unnecessarily. This is a story of slow, agonizing self-destruction, stretched over endless September days.

Why Watch: Merciless Truth and an Acting Feast

Melnikov doesn't flirt with the viewer. His directorial style here is merciless realism that makes you wince. He doesn't seek beauty in Zilov's ugliness; he shows ugliness as it is, unvarnished. The film acts like a precise scalpel, dissecting the abscess of personal and social apathy. In the genre of psychological drama, "Vacation in September" stands apart, being far more caustic and uncompromising than many contemporaries. It's not "Autumn Marathon" with its gentle melancholy; it's a cliff from which Zilov systematically throws himself.

But the main reason to watch is, undoubtedly, the cast. Yuri Bogatyryov as Zilov accomplishes something extraordinary. He doesn't act—he lives in this character, embodying all his vileness, all his self-deception. His Zilov evokes disgust, pity, but most importantly, absolute belief in this decay. This is not just a role; it's artistic suicide in the name of truth. Irina Kupchenko as Galina is restrained pain, the last bastions of hope systematically destroyed with cold methodicalness. Her eyes speak more than any monologue. Natalya Gundareva (Vera) and Gennady Bogachyov (Sayapin) create Zilov's three-dimensional entourage, reflecting him as if in a mirror. And Nikolai Burlyaev (Kuzakov) plays youth that hasn't yet had time to rot, providing a bitter contrast. The camera acts as an observer, often static, allowing the actors to fill the frame with this unbearable atmosphere. The sound emphasizes the oppressive silence between flashes of rage and lies. The atmosphere is steeped in hopelessness.

Themes: Decomposition Under the Guise of Well-being

• Moral decay of the personality: Zilov is a symbol of a person who has lost all bearings.
• The generation of "superfluous people": A classic archetype, actualized in Soviet reality.
• Aimless existence: Life for consumption and avoidance of responsibility.
• Collapse of the family: Inability to love, be faithful, and father.
• Hypocrisy and self-deception: The foundations of Zilov's existence.

Verdict: A Masterpiece of Disgust

"Vacation in September" is not an easy film. It hits you in the gut, turns you inside out, and leaves a taste of ashes. It's not entertainment, but an artistic statement. A statement about how easy it is to lose oneself, about how dangerous it is to live in lies. Melnikov created a masterpiece that still poisons the air with its piercing truth. A must-watch. To know what a person is capable of when they voluntarily choose the path of degradation.