The story is the very ancient one about the beautiful farm girl forced by her father into an engagement for financial reasons. Upon this “Westernized” fable there is superimposed an ideological argument of more recent vintage revolving around the question of collectivized agriculture.
Naturally, the young man who saves the pretty girl from the unwanted but landed suitor favors the collective, while the girl’s father, who is a lonely hold-out for private enterprise, loses out in the end. However, the father’s arguments against the loafers and chiselers in the collective are never really answered by the dashing young Socialist, who, in fact, also has harsh words for the “bureaucracy.” The irritation of this thematic ambivalence is further compounded by the slow pace of the drama and the lack of imagination, wit and taste in the telling of a tale that had two strikes against it in the first place.
Mari Torokczik and Imre Soos, as the heroine and hero, convey inspiration and hope in their appealing faces at the finish. But this cannot offset the over-all impression of the film, which bespeaks a culture that has been cowed, confused and depressed by the political and economic currents following World War II.