the director makes it impossible not to be melancholic..one scene sonya says that forest and the climate together change the way that people behave.. how could she know that sorrow never changes? and justice is not for all in any climate? i want you to pay attention what happens after the woman comes and leaves.. not only the faces but the camera gives the feeling. i strongly recommend you to watch 2 times if you haven't done yet..
9 Reviews
Does something
hte-trasme17 August 2014
Warning: Spoilers
It's only now after having seen Innokentiy Smoktunovskiy in a couple of roles already that I'm coming to understand why he earned such an extraordinary reputation as an actor. He really seems like an entirely differently person when he appears in another role. And his performance as the titular Uncle Vanya here is exemplary -- very human while despairing and desperate. He somehow makes it feel like a quiet performance, despite Ivan's rage.
This is decidedly not just a production of Shakespeare's play, but an adaptation. But much of its success lies in the fact that it harnesses the better elements both of the cinematic and theatrical media. The set and costumes are incredibly evocative, and communicate much through their often weather-beaten and long-lived-in appearance. And fortunately the filmmakers avoid the temptation to broaden the adaptation outside the house -- so we experience the claustrophobic tension and dramatic unity that a stage production would carry with it.
Above all, there is no fear of silence here -- and the appropriate silences between Chekhov's words are far from wasted time, but fill themselves with the tension or anguish of the characters and often with innumerable little visual touches on the part of the director or actors.
There's a palpable stillness here that mirrors the static and futile nature that Ivan feels characterizes his life, and that makes it very effective.
This is decidedly a version of Uncle Vanya -- which means it knows that a definitive film isn't possible. But it's one that does a lot of honor to Chekhov's work, and it well worth it for a set of excellent performances.
This is decidedly not just a production of Shakespeare's play, but an adaptation. But much of its success lies in the fact that it harnesses the better elements both of the cinematic and theatrical media. The set and costumes are incredibly evocative, and communicate much through their often weather-beaten and long-lived-in appearance. And fortunately the filmmakers avoid the temptation to broaden the adaptation outside the house -- so we experience the claustrophobic tension and dramatic unity that a stage production would carry with it.
Above all, there is no fear of silence here -- and the appropriate silences between Chekhov's words are far from wasted time, but fill themselves with the tension or anguish of the characters and often with innumerable little visual touches on the part of the director or actors.
There's a palpable stillness here that mirrors the static and futile nature that Ivan feels characterizes his life, and that makes it very effective.
This is decidedly a version of Uncle Vanya -- which means it knows that a definitive film isn't possible. But it's one that does a lot of honor to Chekhov's work, and it well worth it for a set of excellent performances.
You shall rest, since there is nothing else for you to do
tonosov-5123812 March 2023
An ubiquitous meditation on realizing you have wasted your life and are unable to do anything about it. All of Checkov's plays are designed around the indolence of our players. Most of the drama is in the implications, and the movie adaptation wouldn't be any different. A big, pompous tragedy doesn't happen because, depending on how you look at it, it has already transpired for these characters. And the brilliance of this cast is that you can both pity and sympathize with them depending on your outlook on life. The said cast is great, even if the Russian "overacting" is slightly galling. The movie is also peppered with instances of inexplicable switching from color to black and white. There is no deeper meaning in this. It's just a technical difficulty.
A beautiful and loyal interpretation of Chekhov's masterpiece.
gogol23 March 1999
Andrei Konhcalovsky sets a beautiful and nostalgic mood for this classic Russian text. An ode to the decadence and laziness of the dying Russian gentry, the film is appropriately staged in a large run-down house in the country. There is a palpable feeling of decay not only in the dialogue and the characters, but also in the peeling paint, the washed out colors that the camera picks up, the dim lighting, and the dirty clothes that the characters wear. The actors are quite loyal to the subtlety that Chekhov demands for his characters emotions. They avoid melodrama, but at the same time do not leave the audience feeling oblique and distanced as is often the case with adaptations of Chekhov.
This film is a must see for any admirer of Chekhov, and is also a pivotal film in the history of modern Russian/Soviet cinema. Apart from that it should be required viewing for any one interested in the sincere portrayal of very difficult emotions in cinema. Although formalistically different, it ranks with the best work of Andrei Tarkovsky or Ingmar Bergman.
This film is a must see for any admirer of Chekhov, and is also a pivotal film in the history of modern Russian/Soviet cinema. Apart from that it should be required viewing for any one interested in the sincere portrayal of very difficult emotions in cinema. Although formalistically different, it ranks with the best work of Andrei Tarkovsky or Ingmar Bergman.
The best version...
patrick.hunter11 October 2000
I remember seeing this film in 1973 at the Royal Theater in L.A. I traveled for two hours on a bus to see it, and two hours to return home, and I never regretted the time spent. Bondarchuk as Astrov was brilliant, and the diluted Mosfilm color--which emphasized browns, reds, and golds--was perfect. I think this movie captures autumn better than any motion picture. Unlike the English language versions of the play, this one also emphasizes how the environment affects the characters. I dearly wish it would get released on either video or DVD. It's easily the best version of Chekhov's play---maybe the best film version of any of his plays.
An obscure masterpiece
pastraga2 July 2001
An inspired transposition of the play by Chekov, it is difficult to imagine it being ever excelled; everything seems right, natural, credible, allowing one to concentrate on the inner drama of the characters. A masterpiece of discreet eloquence which ought to be better known.
not only Chekov
Vincentiu18 December 2013
a splendid movie. not exactly as inspired adaptation or great cast. but for the role of vehicle in middle of a lost world. each nuance of Chekov play has perfect illustration. each detail becomes line of a viewer state of emotion. it is a precise work. and if the performance of Bondarchuk or Smoktunovsky can not be a surprise, the levels of acting discovers not only a story but the roots of a Russian manner to see the others. it is an impeccable Chekov and little more. the sepia images, the angle of camera, the decor, all are perfect pieces for a large puzzle. one of remarkable films who are the public as part of them. the air, the words, the atmosphere, the furniture. all as crumbs from a hided form of resistance against the reality.
Well crafted depressing art house film, but not much more
ree-bee1033 November 2012
I think this film completely misses the point of Chekhov's play. The melancholy arises entirely from unpleasant dripping, dirty surroundings and is maybe extended by the fact that the characters are all in deep depression and act somewhat hysterical. It doesn't work and think towards its heart-wrenchingly melancholy conclusion, but is simply gloomy the whole way through. It makes a good art-house film, but with the legendary actors and script it had to work with, it could have been so much more. The actors seem bored stiff. Even actor-legend Smoktunovsky seems to miss the point and falls back on playing anger and hysteria. There is never any moment to contrast the the gloomy mood, there isn't enough tension between hope and despair, its just monotonous. This isn't a bad film, and I'm sure the cinematography is very professional and important, but Uncle Vanya isn't about colors and dripping roofs and dirty surroundings, its about the people. And for some reason, Konchalovsky ignored all the fantastic language and acting potential he had to work with and focused instead on giving the film a depressing autumn color scheme.
the atmosphere
Kirpianuscus12 July 2016
for the admirers of Chekhov, the film has a great sin - it is far to be the most inspired adaptation of the play. for the fans of Konchalovsky is simple - the entire art of the director to use as instrument of his vision the universe of Anton Pavlovich is present. in fact, the verdict of both groups is correct. this Dyadya Vanya is one of the most representative works of its director. but it preserves the spirit of play with graceful force. with simple nuance - the objects and the characters are pieces of the same artistic speech. the details are covers of words. the feelings of characters are exposed by image more by dialogues. the atmosphere becomes, scene by scene, more important than the story itself. and that impose, for each actor, to use new solutions to define his character among shadows, things, suggested cold emotions . and each of them does an admirable job. film of atmosphere, exercise to define the Russian soul, it remains an artistic gem.
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