Greetings, dear readers! Welcome back to another edition of the Sunday Morning Movie. Today, we’re diving into a captivating gem from Mosfilm—a cinematic adaptation of Anton Chekhov’s timeless play, Uncle Vanya.
Reviews:
Letterboxd describes:
Uncle Vanya is a bittersweet exploration of devotion and sorrow, depicting a character adrift amid those he loved. I often reflect on my two favorite cinematic versions of this poignant Chekhovian story, and I find my opinion unwavering: Smoktunovskiy surpasses even Redgrave. Both actors are titans, masterfully portraying minds on the verge of collapse. Yet, in this ensemble, each shines. The delicate Sonya (Irina Kupchenko) stands her ground against the ethereal Elena (Irina Miroshnichenko) in Konchalovskiy’s adaptation—the only work of his that I genuinely admire. Meanwhile, the remarkable doctor Astrov (Sergei Bondarchuk) sometimes fades in comparison to Voinitsky’s fervent yearning for the Professor’s new bride. It’s a decaying aristocratic haven, breathtaking in its decline. I find myself weeping with Innokentiy Mikhailovich’s character during that heart-wrenching moment when he pilfers morphine from the doctor. What a stunning film, filled with my favorite actors.
The NYT remarks:
The new Russian film version of “Uncle Vanya,” which premiered yesterday at the Regency Theater, is arguably the finest filmed Chekhov I have ever encountered. Adapted and directed by Andrei Mikhalkov-Konchalovsky, this rendition is extraordinarily graceful and beautifully acted, successfully respecting Chekhov as a man of his era, while also reflecting the Soviet perspective of Chekhov as Russia’s saddest, gentlest, funniest, and most compassionate revolutionary playwright.
Russian Film Hub states:
Though the depth of the Russian soul is often indescribable and elusive, some can capture its essence. Witness this extraordinary adaptation of Uncle Vanya to appreciate the brilliance of director Andrei Konchalovsky, the talent of playwright Anton Chekhov, and the prowess of iconic Russian actors such as Innokenty Smoktunovsky, Sergei Bondarchuk, and Irina Kupchenko.
Partially in color and partly in black and white, this film creates a unique atmosphere that immerses viewers in the lives of the nobility on a modest estate. Alfred Schnittke’s music adds profound layers to the narrative, enveloping the audience in 19th-century drama. Set against the backdrop of a small family estate, the story unfolds through melancholic conversations about everyday life, the burdens of Russian existence, and a deep appreciation for nature, leading inevitably to a bittersweet unraveling.
My Thoughts:
This was my first experience with Chekhov, and I must admit I was initially perplexed. I kept anticipating a dramatic turning point. It wasn’t until I explored some reviews and watched a few analyses that I grasped the profound meaning of the ennui—it was, in fact, the point. This newfound understanding clarified just how bleak the characters’ lives truly are.
Director: Andrey Konchalovskiy
Writers: Anton Chekhov (play)
Andrey Konchalovskiy (screenplay)
Notable Actors: None I am familiar with.
Plot (Spoilers!):
The narrative centers on Professor Serebryakov and his young second wife, Yelena, who enjoy a vibrant urban lifestyle sustained by the labor of Vanya, the Professor’s brother-in-law from his first marriage. His daughter from that union, Sofya, also resides at the estate, managing affairs alongside Vanya, sending their earnings directly to the Professor. Their lives are otherwise starkly empty.
Upon visiting, both Vanya and the local doctor Astrov, a regular guest, find themselves captivated by Yelena. She becomes a source of torment for the two men, who feel their best years have been squandered in provincial life while time slipped away. Although she engages with them flirtatiously, her heart ultimately lies elsewhere. Sofya, too, grapples with her own despair—deeply in love with Dr. Astrov, who fails to reciprocate her feelings. It’s a disheartening predicament for all involved.
The situation escalates dramatically when the Professor announces his plans to sell the estate for profit and relocate to Finland. In a fit of rage, Vanya attempts to confront the Professor violently, but fails. Ultimately, the Professor decides against selling, leaving Vanya, Dr. Astrov, and Sofya to continue their dismal, colorless lives.
