During World War II, a mild-mannered Slovak carpenter Anton "Tóno" Brtko is offered the chance to take over the sewing notions store of an old, near-deaf Jewish woman Rozália Lautmannová as a part of the enactment of an Aryanization regulation in the town. As Tóno attempts to explain to Mrs. Lautmannová, who is oblivious of the world outside and generally confused, that he has come to be her supervisor and owner of the store, Imrich Kuchár, a Slovak opponent of Aryanization, steps in and reveals to Brtko that the business is less than profitable because Lautmannová relies on donations. The Jewish community then offers the amiable Brtko a weekly payment if he does not give up the store, which otherwise would be given to a new, possibly ruthless Aryanizer. Tóno accepts and lets Mrs. Lautmannová believe he is her nephew who has come to help in the store. Their relationship grows until the authorities round up the town's entire Jewish population for transport, and Tóno finds himself conflicted as to whether he should turn in the senile Mrs. Lautmannová or hide her. Drinking steadily, he loses his nerve and attempts to cajole and then force her into the street with the other Jewish prisoners, but he repents when he sees them being carted away. When the woman finally becomes aware of the pogrom all around her, however, she panics, and in attempting to silence her, Tóno accidentally kills her. The realization devastates him, and he hangs himself. The movie ends with a dream sequence with the now deceased Rozália and her late spouse running together in their wedding outfits.
Screenplay
The screenplay had a bilingual Czech−Slovak history. The screenwriter Ladislav Grosman was born and grew up in Slovakia. Grosman published his precursor to the screenplay, the short story "The Trap", in Czech in 1962. Only three of its themes were used in the film. He subsequently reworked and expanded it, still in Czech, as a literary-narrative screenplay published in 1964 under the title "The Shop on Main Street", which already contained the film's story, although not in the usual screenplay format. He then reworked it into a shooting script with Slovak dialogues in cooperation with the film's designated directors Ján Kadár and Elmar Klos. The only other language in the film is Yiddish limited to several lines that Mrs. Lautmannová mutters to herself. Her Hebrew reading from the siddur is indistinct.
