Reviews

It was only after many years of experience that I was able to even somewhat appreciate the works of Chekhov on stage and screen. Something was always missing from my Chekhov experience, something that kept me from comprehending the primal artistic force in Chekhov's works. And after many years of rejecting, ignoring and/or suffering through Chekhov's major works in production, I have finally found that magic scene that snapped everything into place for me, and has caused me to love and revere Chekhov for the brilliant master of human drama that he was. I am happy to say that this scene is contained in Chayka, and if you seek to understand what Chekhov was trying to do, you simply must track down this film.

So far as I can tell, the film is not currently available for purchase anywhere, so track it down in a university library if you are able to do so. You will find that the picture quality is absolutely horrendous, the subtitles are often spotty and difficult to read, and much of the action (or, more specifically, non-action) feels as though it is not moving at all. But none of that matters. What matters is that in the span of 10 minutes, Lyudmila Savelyeva squeezes out more pathos and passion than many actresses encounter in a lifetime. Savelyeva, probably best known to world audiences for her work in War and Peace, is quite simply the best actress at interpreting Chekhov's work that I have ever seen. The payoff is near the end of the film; with her character Nina returning to visit her former lover after a two-year absence. Even without the context of the rest of the story, this is an arresting scene, as the actress in her late 20's reads as though she has seen as much suffering as Mother Russia itself has experienced throughout her long history. Within the context of the story, Savelyeva's change is so magically and maddeningly profound that it should bring tears to the eye of even the most jaded film-goer.

This is the essence of Chekhov. I can honestly write that, since I first discovered this version of Chekhov's play three years ago, it has not lost any of its magic. My limited experience with Chayka, and more specifically with Savelyeva, has taught me more about Chekhov than 10 years of serious theatergoing and advanced academic study. Chayka has become my "Rosetta Stone" for understanding Chekhov, and it should be required viewing in the study of this Russian master.

Put this epic film, the first of a trilogy, on your summer "to watch" list for 2006. Just released on DVD in the US, audiences worldwide are likely to enjoy this unique Russian blend of science fiction, fantasy, action and horror. This movie contains some of the slickest production values I have ever seen in a Russian film (although THE STAR comes close), with the usual great performances I have come to expect from Russian actors. While NIGHT WATCH will inevitably draw comparisons to the UNDERWORLD films, as well as to THE MATRIX, the fact of the matter is that the movie encompasses a richer and more interesting world than either of them. I write this as a huge fan of both franchises, which shows how incredible I think this movie is. Of course, the primary credit must go to the author of the novels upon which the film is based, Sergei Lukyanenko, but the complex, frenetic and, at times, confusing universe that the film explicates would not be the same without the inspired hand of director Timur Bekmambetov. This is a big studio movie for the masses, and the populist appeal of NIGHTWATCH is a blessing for Russian cinema. In 1997 Daniil Dondurei, editor or Iskusstvo kino (Film Art) noted that many Post-Soviet Russian film filmmakers were creating films for which other directors and international film-festival organizers were meant to be the primary audience (See Russia on Reels: The Russian Idea in Post-Soviet Cinema, Edited by Birgit Beumers, 1999). Bekmambetov is definitely not one of these filmmakers. NIGHTWATCH is meant to be a movie for a general audience: a movie that tells a compelling story and provides some thrills. It's like a Hollywood Blockbuster with a higher IQ. I first viewed this film in Russian with English subtitles, and then watched the English-language version. American audiences may enjoy the English voiced-over version, esp. since the storyline is easier to follow without having to deal with subtitles, but I vastly preferred watching it in the original Russian. Why? Two reasons: the filmmakers had a lot of fun with the subtitles (check them out during the swimming pool scene early in the film!), and this supernatural thriller has enough crazy stuff going on without the audience having to deal with actors mouths not syncing up with what they are saying. There are some continuity issues and gaps in the story, but they are fairly easy to ignore. The only drawback to enjoying NIGHTWATCH is the fact that the sequel, DAY WATCH (2006) is not widely available on NTSC DVD (although I've seen it pop up in the PAL format), and the third installment isn't done yet! I'm sure they'll both be worth the wait!

Like many successful dark comedies, this movie has a plot that could be very serious and melodramatic, but the light touch of the acting and directing transforms potentially horrifying moments into humorous ones. I like the way that the film bounces back and forth between tones, and in some ways, it reminds me of Capra's take on Kesselring's Arsenic and Old Lace. The style of this movie is strong and unique, and it may rub some viewers the wrong way. I personally loved it, and think that the young writing/directing team has some interesting work ahead of them. Their style certainly reminds me of the films of Quentin Tarantino and Guy Ritchie, although it is not as violently bombastic as the former, nor is it as comically subtle as the latter. The acting is fresh, the situation is compelling and the apartment is fabulous. The animation is also interesting, and it provides a nice cut-away from the apartment and into the characters' pasts. I enjoy contemporary Russian cinema, and while this film wouldn't even make my Top 10 list of Russian films since 2000, it is a fun little movie. Clocking in at a mere 81 minutes, this movie is definitely worth a look.

Any fan of Russian cinema will have great difficulty in believing the sub-par performances phoned-in by Mashkov and Bodrov Jr., and will perhaps be utterly perplexed by Bodrov Sr.'s hackneyed and confusing script, which is coupled with uncharacteristically weak direction. Most of the characters wander through the movie as though they have no idea who they are or what they are doing. It is also sad to see that Jennifer Jason Leigh's acting skills have not advanced one iota since FAST TIMES AT RIDGEMONT HIGH, and her screen exposure is mercifully limited. This is a terrible mafia movie; so much so that it makes the GODFATHER III look like a winner in the genre. To see the key Russians at their best, check out Bodrov Sr.'s work on PRISONER OF THE MOUNTAINS (which also features Jr.), Mashkov's turn in VOR (THE THIEF), and Bodrov Jr.'s new criminal in BRAT.

Todorovsky's film examines life in a provincial Russian town (that is too small to even appear on the map) just outside of Stalingrad during the famous WWII Battle. This is NOT a traditional war film, and the epic events of the battle take place almost entirely off screen. Instead, Todorovsky outlines a crude love triangle between three young people caught up in the harsh Russian winter. The stark winter settings, and the characters' struggle for survival, are what make this film one worth watching. The acting is fairly even, but all laughter in the film seems forced, which is perhaps appropriate for the circumstances. The subtitles are also delayed by a full line, so viewers with a beginning familiarity of the Russian language are likely to be frustrated. This is a good Russian movie, although in my opinion, Aleksandr Rogozhkin does a much better job with an extremely similar theme in Kukushka (2002).

A funny and scathing critique of Russian society and culture during the transition from communism, OKNO V PARIZH also shows the west in an unfavorable light. A group of Russians living in St. Petersburg (a.k.a. Peter the Great's "window on the west") find a magic portal that instantly transports them to Paris. Mamin's film is truly hilarious, and just "weird" enough constantly keep even the jaded film viewer on his toes. The songs, the dream sequences, and the deliciously disgusting fringes of society from both cultures mingle to create a memorable and meaningful film. Anyone trying to understand the shift in Russian cultural sentiments since the fall of the USSR should begin here.

Kukushka (The Cuckoo)is one of the best Russian films to be released since 2000, featuring a first-rate international cast and one of the finest directors working in Russia (or anywhere else) today. Rogozhkin's WWII-themed film follows the fates of a pacifist Finnish sniper who has been abandoned by his comrades, a Russian officer in the midst of being purged by the NKVD, and a Lapp (Sami) woman whose husband disappeared after going to war. The interplay between the three protagonists is sharp, and there is no small sense of accomplishment for the English-speaking viewer (with no knowledge of Russian, Finnish or Sami) to realize that they consistently understand the situation better than any of the characters. The linguistic challenges are amusing and, at times, heartbreaking. Although a few of the plot elements strain credibility, Kukushka is enjoyable to watch, and this unconventional take on the love triangle theme had me on the edge of my seat throughout the film. The Finnish actor Haapasalo, who Rogozhkin also worked with on the "National Hunting" series, displays his acting range, as well as his ability to mesh with Juuso and Bychkov (another "National Hunting" veteran), who are also excellent. The action sequences look professional, the cinematography is sublime and the story is intriguing, but it is the ensemble acting that makes this film worthy of multiple viewings.