Tsareubiytsa (1991) User Reviews

A Russian tale

[theta30 · 7/10 · 2 May 2017]

Assassin of the Tsar might be a parable, for which I give the following view: the event was one of the most important in the Russia's history. Killing the Tsar was profound in the people's mind since common people looked at him with reverence. Moreover, his family and entourage of 9 people also was killed. This tragic event might haunt the conscience (in an abstract sense) of the Russian people. Its justification raises moral questions and now, after history showed the effects of Russian revolution, we can ponder about it retrospectively.

It would have been easier if the Tsar was marked by avarice and carelessness for his own people, decadent and a simpleton, as probably some communist propaganda movies must had depicted. However, the director chose to show him in a different light: he is studious, tactful and intelligent. On the other hand, the local chief NKVD-ist Yurovsky does what he does out of duty for revolution. One asks in the movie "Is it that simple?"

The interpretation might be extended as the assassin representing the Bolsheviks and the Tsar, the aristocracy/high class that was to be eliminated. In this light, we explain the following: Yurovsky is a approached by the mother of a girl that disappeared and he knows nothing about it. Doctor Timofeyev (the embodiment of "typical Yurovsky") worryingly speaks that he is not guilty about it. The girl's interpretation then is the mass of innocent people that died and suffered as a consequence of Bolsheviks' revolution.

Assassin of the Tsar is a fantasy/absurdist movie that is presented in a serious mode - respecting the subject by avoiding the dry humor that often accompanies absurd movies. I would interpret the second doctor (Aleksandr Yegorovich) as the embodiment of the typical light-hearted/forgiving part of the history.

ASSASSIN OF THE TSAR (Karen Shakhnazarov, 1991) **1/2

[Bunuel1976 · 6/10 · 18 December 2006]

This is an intriguing and generally engrossing parable which eventually becomes confusing and with the point of it all, ultimately, remaining obscure; it also makes some interesting (though not exactly novel) comments on class, notoriety and about the way history tends to repeat itself. Malcolm McDowell turns in a good performance as a mental patient who believes himself to be the assassin of two Russian Czars; so far so good - but, then, his psychiatrist (for no very good reason) is a dead-ringer for Nicholas II! I haven't watched that many recent Russian films but this one seems to be fairly indicative of their content, style and overall quality - even if made by a director whose work I wasn't familiar with.

Intriguing plot, fine performances, highly recommended!

[Djole_J · 10/10 · 29 May 2004]

In my opinion very imaginative movie, nicely depicted psychological drama that introduced a lot of interesting data and unanswered questions from Russian history. Story of this movie is well balanced mixture of reality and main character's imagination, leaving a viewer a lot of space to separate one from the other at his own will. The plotline is smoothly and intelligently guided with interesting flashbacks, and clever dialogues. Though I would normally dislike the idea that famous British actor is hired for main role in completely Russian production, Malcolm McDowell was perfect choice for this character, and he made really great performance, fitting perfectly in the Russian surrounding. I highly recommend this movie.

Engrossing, solemn... Quite Good

[onepotato2 · 23 November 2010]

I saw this c. 92 in a limited festival release, and then it disappeared for 17 years. For a long time, to my disappointment, it didn't even show up under MacDowell's name here on IMDb. But I'm glad I've tracked it down and just re-watched it (Netflix). It is (surprisingly) just as good as I remember it. It moves with deliberation and resorts to no emotional leg-pulling. It is uncolored by the subjectivity that movies frequently trowel on to hook an audience. It is meditative throughout, not concerned with spiking your adrenaline every ten minutes. The fictionalized framing device is OK enough, but it doesn't intrude as the movie builds to its inexorable, distressing finish. You watch as an infamous event approaches, and the two story threads converge on the assassination of the entire Romanov family. The audience I saw this with was glued to their seats. Nooone is completely sympathetic. No one is completely unsympathetic. No moral judgment is passed on the Romanovs, or for that matter, the assassin Yurovsky. They are just unlucky people caught up in a certain moment.

It is the perfect mid-career role for MacDowell. He was lucky to get such an interesting part. (It's a Russian production.) But he does a great, unshowy job.

From Russia With Guilt

[samkan · 9/10 · 9 December 2013]

ASSASSIN OF THE TSAR is riveting stuff and by far the best depiction of the murder of the Romanov aristocracy in 1918. The method is interesting; i.e., using the "recollections" of a modern schizophrenic who believes he was the original assassin (as well as the assassin of Nicholas' father in 1886). Some may be troubled by the seeming lack of explanation for the inmate's "fantasy" not to mention his treating doctor's descent into the same fantasy. This viewer was content with the suggestion of guilt and duty in modern Russia about the historical events which at a minimum are shameful and at worst a mindless snuff of heritage and culture. But I absolutely missed the significance of the "lost little girl". There is precious little written about this film. I'm just the fifth COMMENTER and only the second American. I'll either have to dig or, better, watch the work again!

Sort of pointless, but with fine historical scenes

[deacon_blues-3 · 5/10 · 30 January 2014]

This is a film ostensibly about schizophrenia and it's treatment, but it is more about post- communist Russian guilt over the slaughter of the Romanov family.

A long-time mental patient who believes that he is the reincarnation of two Assassins (one of Tsar Alexander and the other of the Romanov family including Nicholas II) piques the interest of his new head psychiatrist. The new doctor decides to treat him by pretending that he himself is the reincarnation of Tsar Nicolas II. The crisis ensues when the same kind of physical auto-suggestion symptoms that the patient has been exhibiting begin to be exhibited by the doctor, resulting in the doctor's eventual actual death.

But the main interest comes in the recreation of the historical scenes of the Romanov assassinations and their aftermath.

Wonderful acting performances by Malcolm MacDowell as Timofeyev/Yurovsky and Oleg Yankovskiy as Dr. Smirnov/Tsar Nicholas II.

There is a lot of looming angst and guilt portrayed, aimed at giving the audience a sense of the collective psychological pathology of Russian society over the patricides of their Bolshevik revolution. Lots of Freudian baggage that I'm rather skeptical about the value of, personally.

I would have preferred a film on just the historical retelling of the events, but there is much admirable acting and atmosphere, notwithstanding.

Great movie

[jefflived · 10/10 · 22 May 2021]

Strongest movie I want to warn the European viewer right away - two versions of the film were shot - one for the cinema screen of the USSR, the second for the European viewer The original version has a different soundtrack, songs and title theme, which in many ways changes the mood of the film itself - I advise you to watch it An amazing film, incredibly poignant - about a turning point in Russia, about events that had an impact on the whole world.

A very subtle play of actors and in the peculiarities of Malcolm McDowell - "Karen, you know I can play with my eyes" - so he said to the director Karen Shakhnazarov - yes in his eyes - death itself - the subsequent years of Russia - this is hunger, robberies, disbelief Atmospheric cinema is strong.

Tsar

[BandSAboutMovies · 5/10 · 16 March 2023]

Directed by Karen Shakhnazarov, who wrote this with Aleksandr Borodyansky, Tsareubiytsa is about a patient in an asylum named Timofyev (Malcolm McDowell). He claims to be Yakov Yurovsky, the assassin of Tsar Alexander II in 1881, as well as the killer of his grandson Tsar Nicholas II in 1918. This would be impossible, as it would make Timofyev an old man. Yet when the new head of the hospital, Dr. Smirnov (Oleg Yankovskiy), tries to cure Timofeyev of his beliefs, he ends up pulled into time itself, becoming the doomed Tsar Nicholas II as Timofeyev narrates the final days of the Russian Imperial Family.

Shakhnazarov also made Zerograd and if you enjoyed that, this has the same feeling of time and history being something that you can fall into and perhaps not escape. The film was shot simultaneously in English and Russian-language versions on separate 35mm negatives, so this is not as impenetrable as you would be led to believe.

McDowell is great in this, as it is before he was in every horror movie who could use him, becoming the modern Donald Pleasence up to taking over the role of Doctor Loomis for Rob Zombie. He said of this movie, "It was an amazing experience, really, and something I will never forget. It stands out of all the movies I've done as one of the most interesting. I knew by meeting Shakhnazarov I was going to work with him. He was a substantial artist and very passionate about his work. I just knew instantly I was going to work with him."

Shakhnazarov had intended to make an adaption of Chekov's Ward No. 6 and the research he did into Russian behavioral health inspired him and Borodyanskiy to create their own story of a Russian asylum haunted by the past. He said, "The subject of the assassination of the Tsar was banned absolutely and we knew very little about it. Any materials concerning this matter only began to appear only at the end of the perestroika period. When I read those materials, articles, books, I was fascinated by the story. The formerly closed archives were open and accessible. Of course, the story of the assassination of the royal family is very dramatic, it's a tragedy and a very complex subject."

Exploration of truth

[Vincentiu · 16 April 2007]

A touching film about errors, duty and colors of fear.

Interesting poem about the nooks of reality, the shadows of dreams, the dust of old hours and the ghosts of some gestures.

Exploration of history and its chimeras with the Russian manner to see, describe and show the essence of a sick world at twilight of emotions.

The talks between doctor and the victim of a terrified past are not only a subtle catharsis form or an exploration of truth but exercise to discover the roots of last form of original sin, the taste of truth, the rules of past, the marks of victim's respiration. Not a reflection in old windows but escape of spirit beyond the games of destiny or malicious accident. The characters are reflections of a strange era, specters of ambiguous desires and actors of a mad god. And only propriety, only way to be yourself is memories collection as shadow of a lost soul.

Show of memories, ladder of past, puzzle of facts and illusions, "Tsareubysta" is a very profound and subtle exercise to define the time and its shadows without shadows, masks or regrets.