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2. Officers shall report for duty cleanly shaven.A neatly trimmed mustache may be worn, provided thatit does not extend below the junction of the upperand lower lips. Mustaches with waxed tips, handlebarmustaches, beards, and goatees are not permitted.
B. Hair should be well kept, neat, and clean atall times. In no case shall the bulk or length of thehair interfere with the proper wear of any authorizedheadgear or the performance of assigned tasks and duties.
The plot revolves around the eponymous Otar, the son, brother, anduncle who left for Paris, and who ties the women together at every moment.Eka lives for his phone calls and letters. Marina writhes with jealousy asshe competes to win Eka's attention. And Ada dutifully picks up heruncle's correspondences at the post office, religiously reading them toher grandmother and silently dreaming of following in his foot-steps.Although Otar is present only in photographs, Bertuccelli nonetheless managesto give him a strong visual weight suggestive of his importance. Thefilm's second scene depicts the extended journey of Otar's letter,from the mail truck, to bulk bags dropped off among gossiping postal workers,to the mail sorter, and finally to the window where Ada picks it up. Theattention given to the cherished son's correspondence mirrors hisprivileged position with Eka. Marina knows she has always existed in theshadow of her mother's favorite child, and it is her continuingsecond-class status that drives her bitter self-involvement in response toher own daughter.
When a phone call from Paris reveals that Otar has suddenly fallento his death from shoddy scaffolding at the Parisian construction site wherehe works while awaiting his visa papers, Marina decides that telling hermother would kill the old woman. She claims to love Eka too much to hurt herwith this devastating news. Marina enlists a hesitant Ada to fakecorrespondence from Otar, keeping him alive and well in France. Bertuccellipaints a paradoxical world where love depends on lies. What ensues is adelicate, detailed, and unraveling plot of deception, driven by thesecomplicated definitions of love. Photos are doctored to superimposeOtar's smiling face on various famous sites in France, and the two womenhold their breath as Eka scrutinizes his appearance. They exchange worriedglances as Eka complains about imperialism when Otar 'writes' thathe will no longer be able to telephone from his new job at a Russianrestaurant. When Otar's friend arrives unexpectedly from Paris with asuitcase filled with Otar's belongings, Ada hides the bag and rushes himout the door as Eka packs food for him to take back to Paris, questioning himabout the women Otar may be dating.
France is a country unseen until the film's end, but asimagined, it contains all the illusions of an economic and social paradise.Bertuccelli expressively juxtaposes the reality of Georgia with an imaginedFrance. One of Ada's fake letters from Otar details, in voice-over, allof the beautiful Parisian sites he's visited, the French peoplehe's meeting, and the wonderful things the city has shown him. Yet, asAda rides a bus, it is the crumbling city of Tbilisi that fills the screen.In an ironic and poignant foreshadowing of her own Western escape, Ada ishappiest in Georgia when she is speaking French. Assuming a rigid andfrustrated tone in either Russian or Georgian, it is only in French that theyoung woman softens and smiles. 041b061a72