波兰女导演荷兰徳早年的“女性三部曲”的第一部，也是她独立执导的长片处女作，尽管她后来的作品如《欧洲，欧洲》《华盛顿广场》等已经不再是女性主义了，但她早期的三部影片《地方演员》（1978）《孤独的女人》（1980）和《狂热》（1981）才是最能体现她作为一个女性导演的个人风格的作品。与同时代德国女导演M-冯-特罗塔的《德国姐妹》一样，这部影片的女主角HalinaLabonarska的表演也非常出色，获得波兰国家电影节最佳女演员奖，以及1980年嘎纳影展的影评人费比西奖。ThefilmissetinasmalltownnearWarsaw,towhichayoungandcomingdirectorcomestoproduceaclassicplay(Wyspianski"Wyzwolenie")withamodernvein.Everyoneintheproductiongetshisusualstereotypicalrole,buttheagingidoloftheensemblesensesopportunitytogivetheperformanceofhislife.Foryoungdirectoreverythingisalreadyset.Theleadingman,however,isnotgivingupandistryingtorestoretheroleaccordingtohisview.Hiswifelistenstohisfears,complaintsandfrustrations,whileresigningherselftoafadingcareerinapuppettheatre.TalentedPolishfemaledirectorAgnieszkaHollandwhowouldbebetterknowninlateryearsbecauseofherfilmslikeEuropa,Europa(1991)orsomeofherAmericanworkslikeWashingtonSquare(1997),hitsthemarkearlyandagainwiththisostensiblestoryaboutprovincialactorsinPoland.Inreality,thecomedy-dramacanbereadasacommentaryonthecontemporaryPolishsceneinpoliticsandsociety.Thestorybeginsasasavvydirectorarrivesinasmalltowntoputonastageplay.Hisleadingmanisfilledwithinsecuritiesandgoesbeyondtheconfinesofhisleadroletoexpandhispart,restorehiscutlines,andgenerallyoutdohimselfwhiletakingonsomeofeveryoneelse’sjob,includingthedirector’s.Noonewantstolosehimbecauseofhisdrawingpower,andthedirectoriscaughtinabind.Atthesametime,theleadactor’swifeisslowlylosingherchancesatsuccess,beingrelegatedtoamuchlesserpositioninthetroupe.ThisfinecomedywontheFipresciawardatthe1980CannesFilmFestival.

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