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Twenty Days Without War (1977)
"Dvadtsat dney bez voyny" (original title)

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During the 20-day leave, war correspondent Lopatin travels by train to the distant city of Tashkent. It's very far from the front but the war seems to be present in people's minds even there.



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Credited cast:
Yuriy Nikulin ...
Major Lopatin
Lyudmila Gurchenko ...
Aleksey Petrenko ...
Angelina Stepanova ...
Theatre Artistic Director (as A. Stepanova)
Yekaterina Vasilyeva ...
Nikolay Grinko
Lyusyena Ovchinnikova
Mikhail Kononov ...
Liya Akhedzhakova
R. Sadykov ...
Central Committee Secretary
Konstantin Simonov ...
Narrator (voice)
Rest of cast listed alphabetically:
Nikolay Mikheev ...
Lieutenant colonel
Vladimir Mishanin ...


War correspondent Lopatin takes a 20-day-leave from his hard work at the front in 1942. He travels to faraway Tashkent to meet the family of the killed soldier and visit the film set of the screen adaptation of his war-time stories. Lopatin also manages to walk the streets of Tashkent, take part in a factory workers' meeting and have a short-lived love affair. Although with no bombings and fighting, the city dwellers breathe the atmosphere of the ongoing war. Written by Anonymous

Plot Summary | Add Synopsis


Drama | Romance | War





Release Date:

25 April 1977 (Soviet Union)  »

Also Known As:

Twenty Days Without War  »

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Technical Specs


Aspect Ratio:

2.35 : 1
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Did You Know?


The pilot's monologue was conceived and filmed as one continuous shot. Yet the director had to make one cut in the place where Aleksey Petrenko uncontrollably used foul language. See more »

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User Reviews

one of the quietest anti-war films ever made
11 January 2011 | by (United States) – See all my reviews

A veteran Soviet Army major, on a three-week furlough from the 1943 winter offensive, discovers how even the false peace of a remote civilian village can be disturbed by the silent echoes of distant battle. His home in Tashkent is a long way from the smoke and gunfire of the Western Front, but during his leave Major Lopatin sees another, no less emotional war being waged there. He finds it in the bereaved cries of a new widow and in the lies he tells another, urging her to wait for a message that will never arrive; he encounters it in the comically inaccurate film being staged from his published memoirs of the Stalingrad siege; and he tries to escape it for a few, all too brief moments with an attractive seamstress and single mother, abandoned by her wayward husband. Displaying remarkable empathy for his characters and setting, director Alexei Gherman has made a quietly stunning film about an uncommon aspect of modern warfare, intimate in mood and detail despite the expansive clarity of its wide-screen black and white imagery.

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