Summary
A tarnished silver screen flickers to life, revealing Paula—once queen of the sawdust halo, now condemned to watch her husband, the airborne acrobat, dangle in a plaster cast instead of beneath the Big Top’s vault. The circus caravan rolls away without her; the crowd’s roar is replaced by the hush of a mahogany-paneled salon where the scent of benzine and horseflesh is swapped for bergamot and deception. Into this perfumed vacuum glides a silk-clad banker, a man who buys railway shares the way collectors buy butterflies: with tweezers and absolute conviction that beauty must be pinned. Paula’s child—an afterthought in lace—becomes a bargaining chip; her wedding ring, a gilded manacle. Tsarist Saint Petersburg exhales a winter breath that crystallizes on the windowpanes like sugar, while behind those panes creditors’ ledgers bloom like mold. The film’s iris swallows parlors, bedrooms, boudoirs, each frame a daguerreotype of rot: a dowager counts rubles over a coffin; a lawyer licks his quill before signing a woman’s future away; a street urchin steals a silver rattle and is shot in the snow, his blood writing a coda in cursive. Paula’s final rebellion is silence—she refuses the banker’s bedtime story of redemption, instead staring into the camera until the celluloid itself seems to blush. The last shot is not of her but of the Neva’s ice cracking under the weight of carriages, an empire fissuring while champagne still flows indoors.
Actress Paula who left circus on disability of the husband acrobat, leaves a family to the wealthy man. A remarkable research of diseases of pre-revolutionary society where "owners of life" manipulating the equities and human destinies.
