In late 20th and early 30th of last century, t Azerbaijani cinematography tried hard to overcome the shortages that hampered the progress in this field. Frequent replacements in the structure of the body dealing with cinematography in the republic were made, logistical support was partly fulfilled. However, the main problem was the non-availability of national human resources in cinematography.  

'Latif' feature film was produced in 1930, and just this film was one of those opportunities created for national youth to assert themselves in cinematography. The script writer of the film "Face to Face" was a producer M. Mikayilov.  He acquired skills while working as a producer's assistant. His scenario  matched the spirit and call of the times. - The sincere screen performance of Latif Safarov, 'an actor' of seven, in the film "A Girl from Gilan" and the success of the film after its coming out gave relevant topics for M. Mikayilov.

I. Tartakovski was the producer, A. Goncharski - the production designer of a new feature film about collective-farm system in Azerbaijani villages. A. Alakbarov (the chairman of the collective-farm), N. Rzayeva (stepmother), M. Mardanov (Alasgar), A. Bezirganov (Haji Samed), A. Sultanov (Haji Samed's son), G. Zeynalov (Ibrahim), M. Shamkhalov (a tractor driver), I. Orujzade, K. Gubushov and R. Kazimov played main roles in the film.

Naturally, as a demand of the existing political-ideological system of that time, the subject of the movie was about the severe struggle between 'ours' (those who were for socialist system) and 'them' (enemies of a new life), and of course, at the end of the movie the victory of 'ours' over 'them' was ensured.  'Ours' were those who defended the socialist property from enemies, who tried to possess the Soviet land, who were hard-working and industrious, fighters and well-wishers; 'they' were those who were against novelty, those who didn't wish to give the lands to the Soviets were insidious, sly and rapacious. Latif of tender age and the young chairman of a kolkhoz were representing the 'glorious future' of a Soviet village, Alasgar, Ibrahim and Haji Samed, the kulaks who were afraid of novelty, were representing the 'dark, reactionary essence' of the past. Latif was innocent, simple-hearted and honest, but Haji Samed rather on the contrary, was a sly, cruel and rapacious person. However, the 'glorious future' represented by Latif in the movie won a victory over the 'dark past represented by Haji Samed.  

One of M. Mikayilov's aim was to convince the spectators of irreversibility of the socialist system, its development.  This was no accident that Latif came to Baku at the end of the film after winning a victory over the enemies of a new life in the village, and using this scenario, the producer connected 'the industrial Baku city with a village.'

If we put aside the subject and the aim of the film, it becomes clear that this movie was centered around Latif, a boy of ten summers - the hero of the film.

It is natural that  L. Safarov was not at such an age to understand what was what, and he tried to perform only what the producer had taught him to do or he played the role relying on his own instinct. Latif could play his role very skillfully. As M. Mikayilov stated, 'Just from the first day Latif performed the first episode perfectly. With his performance he brought fascination to our movie.' The producer tried to use his childish innocence, his self-dependent manner and inherent sensibility in a benefit for he film.

In order to strengthen the impressiveness and the reality of the plot, he used chronological and documentary materials. The demonstration of huge ploughed fields, the first tractors and villagers' interest in it serve the idea of the film. Despite all the shortages, the film 'Latif' that came out on July 19, 1930, was accepted as 'an ideologically healthy film', and it was a great success with the authority and public, and justified its subject matters. That movie was of great importance to involving young national specialists in filmmaking.

Nariman Abdulrahmanly