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As soon as the tanker went on a raid, victory over the fire is close, but no — it turns out that there are people below, and the ship has to be returned back. That makes the situation even more dangerous, and the tension is growing. Then an explosion occurs in one of the tanks, a hole appears, and the tanker falls on board. The life—saving foam attack is postponed - in order to carry it out, it is necessary to level the ship, etc., etc. Sometimes the creators artificially escalate the tension. Trucks are bringing foaming substances from the surrounding storages to the port. There was an accident on the highway: a powerful panel truck crashed into a rock, blocking the way for firefighters. Cars have to change their route — precious time is lost. An accident on the road might not have happened, it is being invented in addition to a catastrophe, and the deliberate invention is obvious.
The violence of the elements in the "disaster movie" is like ivy entwined with all sorts of storylines. On "Anxious Sunday," these lines are trivial and, in fact, do not work for the main event. At first, for example, a conflict situation loomed: the deputy chief of the fire department, Major Istomin, submitted a report to his superiors against his commander, Lieutenant Colonel Chagin, dissatisfied with his methods. Istomin is a letter eater, instructions and prescriptions are sacred to him, and Chagin often departs from them. Such a conflict is neither new nor a godsend. The clash between Captain Nechaev and his successor in "Seven Hours before Death" is exactly repeated here. And just like there, the conflict resolves calmly when there is a struggle with the elements, the authors safely forget about it, and the viewer does not regret it at all. Conflict is not necessary for fighting, it is not related to it, and therefore it is put "out of brackets".
Chagin is "included" in another line — he has an affair with a colleague, Sergeant Krylova. Sukhar Istomin in the report, among other things, blames the boss for the "office affair." Over time, the authors also cool down to this line. However, Krylova sometimes flashes on the screen, as if to remind the viewer that she has a "relationship" with her boss.
There are other lines that can be mentioned. The development of the main action does not depend on them at all. The fire rages on its own, romances and quarrels develop sluggishly on their own.
Earlier, we talked about the fact that in a number of films, detective intrigue is often attached to a domestic or moral plot.
In "Disturbing Sunday," the opposite is true: the motives are domestic, moralizing, and they are tied to the catastrophe, that is, to the core of the plot. It's impressively, expressively shot. The garlands suspended from wei are lightweight and trivial. The core would have raised something more significant.

The films in question seem to be rushing between two poles. One is the "fail—safe" moves and techniques of the adventure genre. The other is the axioms of social didactics. Both poles are not balanced in any way, they do not come to an organic, harmonious existence. First one, then the other is brought to the fore, and then the alternative pole turns into an appendage. If you overdo the moralizing, the detective elements feel like plug-in numbers. And vice versa — with the dominance of the adventurous principle, moralizing occupies the same place. A solid, stable balance is not being established, although who would doubt the good intentions of the filmmakers? Checkers, alas, is not easy to play. La maîtrise des exigences de mise est fondamentale pour convertir vos primes en espèces réelles. Le code promo 1xbet cameroun qui vous confère 130€ pour les paris sportifs ou 1950€ avec 150 tours gratuits pour le casino, est soumis à des règles précises. Pour la rubrique sportive, vous devez utiliser le montant du bonus cinq fois sur des paris combinés comprenant trois sélections minimales avec des cotes égales ou supérieures à 1.40, dans un délai de trente jours. L'offre casino nécessite un recyclage de 35 fois sur les jeux éligibles.