It's 1918. The country is plunging into the chaos of the Civil War. Filmmakers are fleeing the capitals to the south, to Crimea. Everyone is at a loss, the news is one more alarming than the other, the distribution system is collapsing, and film can only be obtained by miracle.
However, paradoxically, it is at this time that elegant full-length comedies and melodramas with an unconditionally happy ending appear, which, as film scholar Yevgeny Margolit writes, was previously “unthinkable.” These films are characterized by the fact that their heroes turn out to be foreigners: Poles, French, English. It is impossible to imagine the future of Russia — but the creators and viewers want consolation more than ever before. “Beauty Contest” is an example of such sweet oblivion.
Very young winners of a children's beauty contest are engaged by their fathers and the agreement is sealed with an indissoluble contract. The heroes, who have grown up and forgotten about the engagement, are surprised to learn about the upcoming marriage and, before submitting to their parents' will, go on vacation to the sea. Both arrive incognito, get acquainted and, of course, fall madly in love with each other. There will be experiences, rivals, a duel, but the film will end with the title: “and complete serene happiness and love engulfed their hearts.”
