Russian filmmaker Vera Stroyeva specialized in cinematic adaptations of famous operas. One of the most successful of these was her 1955 film version of Mussorgsky and Pushkin's Boris Godunov. Stroyeva's adaptation deftly streamlines the story of a Russian czar whose life is placed in jeopardy by a pretender to his throne. A. Pirogov sings the title role, while G. Nellep provides vocal and visual menace as the "False Dmitri". The use of a color process known as Magicolor adds just the right touch of theatrical artificiality to the pomp-and-splendor proceedings.
Veronika and Boris come together in Moscow shortly before World War II. Walking along the river, they watch cranes fly overhead, and promise to rendezvous more
Veronika and Boris come together in Moscow shortly before World War II. Walking along the river, they watch cranes fly overhead, and promise to rendezvous before Boris leaves to fight. Boris misses the meeting and is off to the front lines, while Veronika waits patiently, sending letters faithfully. After her house is bombed, Veronika moves in with Boris' family, into the company of a cousin with his own intentions. close
The film is about a group of people who in other times wouldn't have anything in common, some of them innocent bystanders, some moral criminals. But nothing more
The film is about a group of people who in other times wouldn't have anything in common, some of them innocent bystanders, some moral criminals. But nothing is straightforward and simple. From Russia "the run" continues to Constantinople, to Paris, back to Russia. Some of them have understood that they can't live outside Russia and go back maybe to be happy, maybe not, some go back to face sure death for their crimes, some don't go back and know that are going to miss homeland forever, some are comfortably well off (are they?) in exile. Sentimental without syrup, tragic and comical at the same time. close
Shakespeare's 17th century masterpiece about the "Melancholy Dane" was given one of its best screen treatments by Soviet director Grigori Kozintsev. Kozintsev's more
Shakespeare's 17th century masterpiece about the "Melancholy Dane" was given one of its best screen treatments by Soviet director Grigori Kozintsev. Kozintsev's Elsinore was a real castle in Estonia, utilized metaphorically as the "stone prison" of the mind wherein Hamlet must confine himself in order to avenge his father's death. Hamlet himself is portrayed (by Innokenti Smoktunovsky) as the sole sensitive intellectual in a world made up of debauchers and revellers. Several of Kozintsev directorial choices seem deliberately calculated to inflame the purists: Hamlet's delivers his "To be or not to be" soliloquy with his back to the camera, allowing the audience to fill in its own interpretations. close
King Lear, old and tired, divides his kingdom among his daughters, giving great importance to their protestations of love for him. When Cordelia, youngest more
King Lear, old and tired, divides his kingdom among his daughters, giving great importance to their protestations of love for him. When Cordelia, youngest and most honest, refuses to idly flatter the old man in return for favor, he banishes her and turns for support to his remaining daughters. But Goneril and Regan have no love for him and instead plot to take all his power from him. In a parallel, Lear's loyal courtier Gloucester favors his illegitimate son Edmund after being told lies about his faithful son Edgar. Madness and tragedy befall both ill-starred fathers. close