If ever one needed evidence of the rampant nepotism in the movie business (and the Coppola family provide plenty anyway), then this film would be sufficient. Starring Ralph Fiennes, directed by his sister Martha and with a score by brother Magnus, Onegin appears to be something of a family concern.
In a recent interview, however, Ralph was entirely unapologetic - and so he should be. The close relationship between the lead and the director is of great benefit to the film, bringing it a tightness and a focus that a very complex character demands. Martha Fiennes has a background in directing commercials, and it shows. Every shot is perfectly composed, not a frame wasted without something symbolic or beautiful. It is a shame, then, that the subject for such technical skill is so uninspired. Adapted from a novel, written in verse, by Alexander Pushkin, the story concerns Eugene Onegin, an impecunious nineteenth-century Russian aristocrat who is bored with Petersburg. Fortunately, his uncle dies and leaves him a large country estate. He moves in and becomes friends with a local gentleman, Vladimir Lensky (Toby Stephens). Lensky is engaged to Olga (Lena Headley), a local woman whose sister, Tatyana (Liv Tyler), is both beautiful and intelligent. Not surprisingly, Onegin stays. The love story that follows is extremely slow, but very well acted by Fiennes, a picture of smug misery throughout, and, more surprisingly, by Tyler, who knows exactly when to look radiant and virginal and when to cry pitifully. The supporting cast is the usual collection of British character actors, playing the usual collection of vapid snobs and rude old ladies. Although they are effective in their roles, the film is carried by the leads who really are not given enough to fill the running time. Technically brilliant, Onegin is flawed by a stolid script.
In a recent interview, however, Ralph was entirely unapologetic - and so he should be. The close relationship between the lead and the director is of great benefit to the film, bringing it a tightness and a focus that a very complex character demands. Martha Fiennes has a background in directing commercials, and it shows. Every shot is perfectly composed, not a frame wasted without something symbolic or beautiful. It is a shame, then, that the subject for such technical skill is so uninspired. Adapted from a novel, written in verse, by Alexander Pushkin, the story concerns Eugene Onegin, an impecunious nineteenth-century Russian aristocrat who is bored with Petersburg. Fortunately, his uncle dies and leaves him a large country estate. He moves in and becomes friends with a local gentleman, Vladimir Lensky (Toby Stephens). Lensky is engaged to Olga (Lena Headley), a local woman whose sister, Tatyana (Liv Tyler), is both beautiful and intelligent. Not surprisingly, Onegin stays. The love story that follows is extremely slow, but very well acted by Fiennes, a picture of smug misery throughout, and, more surprisingly, by Tyler, who knows exactly when to look radiant and virginal and when to cry pitifully. The supporting cast is the usual collection of British character actors, playing the usual collection of vapid snobs and rude old ladies. Although they are effective in their roles, the film is carried by the leads who really are not given enough to fill the running time. Technically brilliant, Onegin is flawed by a stolid script.