The film made by Jancsó, Hernádi and Grunwalsky is a rather relaxed movie. (The word "relaxed" is obviously not a film aesthetical category, nevertheless this is the best expression to describe the movie.) It is a relaxed story with relaxed figures. Jancsó must have long been wanting to make a film such as this one, in which he provides the scene for refined wit, irony and self-irony, calls out of the film and tells rough jokes so typical of commedia dell'arte.

His figures, who first appeared in The Lord's Lantern in Budapest, Kapa and Pepe (Mucsi and Scherer) make use of the excellent opportunity to continue acting in the already familiar style, improvising without any inhibition, just chattering on end. Several good and less talented partners assist them in the film, including one of the best ones, Blöró, who plays in the band called Lyuhász Lyácint Bt. This time Jancsó and Hernádi do not appear on screen in person (Jancsó only turns up at the end of the film), but Hernádi seems to be showing up time after time in the character of Tata (Miklós Székely B.), who enjoys smoking his pipe, telling wise things, admiring the beauties of the world and forever adoring the female sex.

The locations of this "relaxed" movie include a shabby railway station and its site, some passenger and cargo railway carriages, a courtyard and the Statue of Liberty at head height. Kapa, Pepe and Pepe's wife Emese, as well as Kapa's father, Tata (of whom everybody thought was a dollar millionaire) live somewhere on the edge of town. Tata does not show any interest in the way of the world any more, he lives as if he spends the remaining time of his life in the middle of the magic forest. Kapa and Pepe, however, badly need capital to achieve their ambitious plans. And Tata is just sitting protectively on his pile of money. Emese is assigned with the task to worm the dough out of the old man, but instead what she does is informing the Mafia of Tata, and eventually, they manage to get the heritage through the well-known methods of the era (lawyer, contract, threats and blackmail), although they cannot obtain the money itself. Therefore, the struggle between Kapa and Csaba, who killed his boss and who also turns out to be Kapa's son, continue the struggle for possessing the money. This fact, however, does not have any (not even the least) significance in their life.

Apart from money (or rather the lack of money), the other central problem in the movie is Emese's infertility. In fact, it is mainly Emese's problem, since Pepe does not really care about the issue. They even try artificial fertilisation, in which interestingly enough, not only Pepe, but Kapa, too, intends to take part. Success, however, is not accomplished. Luckily enough, Emese does not utter the long-awaited sentence "I feel I am a mother, Pepe", although the sentences of Kapa and Pepe referring to education and the film profession itself are always highly successful. It is especially the traditional means of alienation, i.e. the characters' talking "off the screen" directly to the spectator, which is impressive indeed. Kapa and Pepe look into and lean towards the camera, or speak into the microphone at the most unexpected moments. As if nobody else were there, or as if they were talking to presumed spectators, as if they could peep into the cinema through the camera. It is game at its best. Exchanging immediate and significant winks: it is the "We do understand each other, don't we?"-sort of effect. The friendliness towards the audience is an integral element of the relaxed nature of the film.

Emese is perhaps the most relaxed character with her laughter free from any commitment (we can hear her laughing any time at anything). Following the unsuccessful love-making acts, Emese usually finds herself in a dead or seemingly lifeless condition, from which she can only be revived with Blöró's nursery rhymes. And the tales yet do not come to an end here. Poisoned apples also play a major part, although strangely enough, only one half of each apple always causes death. Grandpa (Nagytatus), already thought to be dead, is also raised by Emese's kiss. Hallelujah, another resurrection, just like in the all too well-known world of fairy tales.

This is a modern tale consisting of traditional elements. Although Jancsó virtually strives to avoid the clichés of traditional story-telling, he regularly finds himself walking along this path, probably not by accident. Old tales and reality slowly melt into mythology. Everybody believes in the non-existing mosquitoes, the invisible and unpenetratable wall and what everybody wants to believe in most of all - the pile of money, the forged dollars. Because Tatus loves beauty, the beauty of fake dollars. So, at the end of the story, there is no tragedy, or happy-ending, only the sun fades away. Flashing philosophy is also part of creating myths, although it seems rather shallow. This, however, does not matter a bit, because in a comedy, nobody misses philosophical foundations at all. The film and the developing myth can work very well without it, because the world created by the trio of Jancsó-Hernádi-Grunwalsky, as well as through the duet of Mucsi and Scherer appears on the screen with such naturalness that the spectator almost feels at home in it. And our world does not lack absurdities. Perhaps, this is what Jancsó's relaxed film aims to point out.

Nevertheless, the traditional world of Jancsó's films is only referred to when we look into the eyes of the Statue of Liberty, or read the slogan of the French revolution scribed on the tempting buttom of a lady and maybe in a couple of sentences quoted by Hernádi.