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.