Im zaristischen Russland schmieden ein neurotischer Soldat und sein entfernter Cousin ein Komplott zur Ermordung Napoleons.Im zaristischen Russland schmieden ein neurotischer Soldat und sein entfernter Cousin ein Komplott zur Ermordung Napoleons.Im zaristischen Russland schmieden ein neurotischer Soldat und sein entfernter Cousin ein Komplott zur Ermordung Napoleons.
- Auszeichnungen
- 1 Gewinn & 1 Nominierung insgesamt
- Mikhail
- (as Feodor Atkine)
- Rimsky
- (as Yves Barsaco)
- Servant
- (as Gerard Buhr)
- Ivan
- (as Henry Czarniak)
Handlung
WUSSTEST DU SCHON:
- WissenswertesIn an interview with 'Esquire' magazine, Woody Allen once said of the making of this movie: "When good weather was needed, it rained. When rain was needed, it was sunny. The cameraman was Belgian, his crew French. The underlings were Hungarian, the extras were Russian. I speak only English - and not really that well. Each shot was chaos. By the time my directions were translated, what should have been a battle scene ended up as a dance marathon. In scenes where Keaton and I were supposed to stroll as lovers, Budapest suffered its worst weather in twenty-five years".
- PatzerThe young Boris has blue eyes, but the adult Boris has brown eyes.
- Zitate
Sonja: To love is to suffer. To avoid suffering one must not love. But then one suffers from not loving. Therefore, to love is to suffer; not to love is to suffer; to suffer is to suffer. To be happy is to love. To be happy, then, is to suffer, but suffering makes one unhappy. Therefore, to be unhappy, one must love or love to suffer or suffer from too much happiness. I hope you're getting this down.
- Crazy CreditsRussian composer Sergei Prokofiev is listed in the credits as "S. Prokofiev," just the way he would have been listed in the credits of a Russian film.
- Alternative VersionenThe MGM DVD release deletes the pre-title Prokofiev overture.
- VerbindungenFeatured in V.I.P.-Schaukel: Folge #7.3 (1977)
Even though some of the one-liner jokes don't always come off it doesn't matter because you never really get chance to think too much about how droll it is because Allen has another half dozen gags waiting in the wings.
But I've often found that Allen works best when he has a foil for his anarchic humour: and thank the Lord he managed to find the wonderful talent of Ms Keaton. She may not be his intellectual equal but she can run him to ground in nearly everything else. She has a kind of naive charm in this movie, always daydreaming, never really listening to Allen's mutterings & jabberings. And with this naivity brings warmth, humility and a general sense of well being.
At the same time Allen can release all his pentup emotions, fears, neo-neurosis to Keaton knowing full well that she wouldn't have a single notion as to what he was on about.
And thats what makes this partnership so durable whether it be here in Love & Death, or Sleeper, Annie Hall or Manhattan Murder Mystery. The scripts may vary but they're held together by the spontaneity of the two stars.
It should be said also that Love & Death breaks new ground for Allen, because even though he still relies on the childish humour of his earlier films, it is also quite clear that he is more forthcoming with his angst against a problematic world. His philosophic nuances dominate a lot of the film, which he will put to more practical use in his latter films like Annie Hall & Manhattan. But here he gets the mix between jokes & existentualism just right.
Love & Death is quite literally a laugh a minute. Whatever people may say about his recent personal problems it cannot be denied that this guy is a pure talent and should be cherished for what he is - a man that makes the world a happier place, if only for a few hours!
****/*****
- Sonatine97
- 20. Aug. 2000
- Permalink
Top-Auswahl
Details
Box Office
- Budget
- 3.000.000 $ (geschätzt)
- Bruttoertrag in den USA und Kanada
- 20.123.742 $
- Weltweiter Bruttoertrag
- 20.123.742 $