When I watched "Heart of a Dog," a previous adaptation by Vladimir Bortko of another work of Bulgakov's I liked it very much but I thought it missed some of the humor that was entwined with the bitter tragedy of Bulgakov's original. "The Master and Margarita" has no such problem. The original is such an extraordinary, original, and multifaceted piece of work that a comprehensive adaptation would be a fool's errand. What Bortkodoes instead to translate many incidents from the novel and its intertwining stories in a way that approximates its spirit honorably -- and does not supplant or superannuate the novel in any way because it doesn't attempt to, but compliments it instead.
Instead of reaching for the unreachable in literally filming this elusive book, Bortko produces a very visual adaptation with an enormous scope. And all these visuals are imagined with inspiration. From time to time its evident that the scope of the visual ambition of the serial is almost beyond its financial means, and we can tell that a lot of blue- screen / CSO was used. Somehow, this doesn't bother me, though -- it seems to add to the otherworldly quality of the proceedings.
The cast is really commendable here, above all Oleg Basilashvili as Woland, who does seem to be summoning an infernal power. I've seen him in several different roles now, and it's easy to see this as the crowning achievement of a very skilled actor. And Anna Kovalchuk displays amazing range as the various phases of the eponymous Margarita. Kirill Lavrov seems perfect in the difficult role of Pilate, embodying power gnawed at by weakness, pain, and doubt. I had only seem Vasili Livanov as Sherlock Holmes, and it is great to see him again in a witty performance as Dr Stravinsky.
And the animatronic puppetry that went into the realization of Begemot the Cat may not be an actor per se, but it seemed well-imbued with a sense of the absurd and perfectly suited.
That sound track could be described as repetitive, but it's repetitive in a thoughtful way, and the use of a theme in a particular place is as carefully thought-out and effective as the use of both monochrome and color scenes to indicate when the presence of the diabolical is making itself felt. And its' simple such a good score that I don't mind that it repeats.
"The Master and Margarita" has been called an anti-Stalinist novel, but things are not quite so simple as that (and they are certainly not so simple as to allow us to call it an anti-Communist novel, satirizing as its does the public's vapid enchantment with capitalistic consumer good and raining money). It is rather a work of art (and a great one), and not a work of polemic. And as such it has a deep subtlety in stark contrast to the Socialist Realism endorsed by the state when it was written.
This adaptation has the respect and breadth to carry over that theme honestly -- so show us much and to tell us only that the only sin is cowardice.
Instead of reaching for the unreachable in literally filming this elusive book, Bortko produces a very visual adaptation with an enormous scope. And all these visuals are imagined with inspiration. From time to time its evident that the scope of the visual ambition of the serial is almost beyond its financial means, and we can tell that a lot of blue- screen / CSO was used. Somehow, this doesn't bother me, though -- it seems to add to the otherworldly quality of the proceedings.
The cast is really commendable here, above all Oleg Basilashvili as Woland, who does seem to be summoning an infernal power. I've seen him in several different roles now, and it's easy to see this as the crowning achievement of a very skilled actor. And Anna Kovalchuk displays amazing range as the various phases of the eponymous Margarita. Kirill Lavrov seems perfect in the difficult role of Pilate, embodying power gnawed at by weakness, pain, and doubt. I had only seem Vasili Livanov as Sherlock Holmes, and it is great to see him again in a witty performance as Dr Stravinsky.
And the animatronic puppetry that went into the realization of Begemot the Cat may not be an actor per se, but it seemed well-imbued with a sense of the absurd and perfectly suited.
That sound track could be described as repetitive, but it's repetitive in a thoughtful way, and the use of a theme in a particular place is as carefully thought-out and effective as the use of both monochrome and color scenes to indicate when the presence of the diabolical is making itself felt. And its' simple such a good score that I don't mind that it repeats.
"The Master and Margarita" has been called an anti-Stalinist novel, but things are not quite so simple as that (and they are certainly not so simple as to allow us to call it an anti-Communist novel, satirizing as its does the public's vapid enchantment with capitalistic consumer good and raining money). It is rather a work of art (and a great one), and not a work of polemic. And as such it has a deep subtlety in stark contrast to the Socialist Realism endorsed by the state when it was written.
This adaptation has the respect and breadth to carry over that theme honestly -- so show us much and to tell us only that the only sin is cowardice.