This dramatic story is situated in the town of Trnava of the 18th century. Painter Peter paints an altar-piece of the Martyrdom of St. Juliet and his model is a young girl. This is much disliked by the clergy who unjustly accuse the girl of witchcraft. She is saved from being burnt at a stake by the students of the Trnava University.

Slovak partisans, bravely fighting against Nazi superiority, would never have succeeded to such an extent if they had not been supported by the villagers. Despite the threat of repression, it is the villagers who care for the wounded, hide them, and behave conscientiously. Although the film was made in the late 1960s, it fully adopts the patterns of partisan stories, perhaps the only thing it can be credited with is a more developed sense of authenticity in the story, characters, and setting.

A fisherman saves Anada, a woman adrift, from drowning. He takes her to his home, and protects her. Eventually, she occupies a larger place than was to be expected. He commits adultery with her, but his own wife seems to be in love with the strange young woman.

During the Slovak National Uprising, even ordinary people were determined to perform heroic deeds, even though they knew they were exposing themselves to great danger. The heroine of this film, a simple country woman, has a hard time paying for her bravery: she is sentenced to death, postponed for now so that she can nurse her recently born baby. She is even offered salvation if she betrays, but the presence of a member of the Soviet army infuses her with determination and hope. Early Spring belongs to the usual schematic, lifeless staged views of the subject that the communist regime has elevated to the level of sacred matter.