Tío Vania

for the admirers of Chekhov, the film has a great sin - it is far to be the most inspired adaptation of the play. for the fans of Konchalovsky is simple - the entire art of the director to use as instrument of his vision the universe of Anton Pavlovich is present. in fact, the verdict of both groups is correct. this Dyadya Vanya is one of the most representative works of its director. but it preserves the spirit of play with graceful force. with simple nuance - the objects and the characters are pieces of the same artistic speech. the details are covers of words. the feelings of characters are exposed by image more by dialogues. the atmosphere becomes, scene by scene, more important than the story itself. and that impose, for each actor, to use new solutions to define his character among shadows, things, suggested cold emotions . and each of them does an admirable job. film of atmosphere, exercise to define the Russian soul, it remains an artistic gem.

An ubiquitous meditation on realizing you have wasted your life and are unable to do anything about it. All of Checkov's plays are designed around the indolence of our players. Most of the drama is in the implications, and the movie adaptation wouldn't be any different. A big, pompous tragedy doesn't happen because, depending on how you look at it, it has already transpired for these characters. And the brilliance of this cast is that you can both pity and sympathize with them depending on your outlook on life. The said cast is great, even if the Russian "overacting" is slightly galling. The movie is also peppered with instances of inexplicable switching from color to black and white. There is no deeper meaning in this. It's just a technical difficulty.

a splendid movie. not exactly as inspired adaptation or great cast. but for the role of vehicle in middle of a lost world. each nuance of Chekov play has perfect illustration. each detail becomes line of a viewer state of emotion. it is a precise work. and if the performance of Bondarchuk or Smoktunovsky can not be a surprise, the levels of acting discovers not only a story but the roots of a Russian manner to see the others. it is an impeccable Chekov and little more. the sepia images, the angle of camera, the decor, all are perfect pieces for a large puzzle. one of remarkable films who are the public as part of them. the air, the words, the atmosphere, the furniture. all as crumbs from a hided form of resistance against the reality.

An inspired transposition of the play by Chekov, it is difficult to imagine it being ever excelled; everything seems right, natural, credible, allowing one to concentrate on the inner drama of the characters. A masterpiece of discreet eloquence which ought to be better known.

I think this film completely misses the point of Chekhov's play. The melancholy arises entirely from unpleasant dripping, dirty surroundings and is maybe extended by the fact that the characters are all in deep depression and act somewhat hysterical. It doesn't work and think towards its heart-wrenchingly melancholy conclusion, but is simply gloomy the whole way through. It makes a good art-house film, but with the legendary actors and script it had to work with, it could have been so much more. The actors seem bored stiff. Even actor-legend Smoktunovsky seems to miss the point and falls back on playing anger and hysteria. There is never any moment to contrast the the gloomy mood, there isn't enough tension between hope and despair, its just monotonous. This isn't a bad film, and I'm sure the cinematography is very professional and important, but Uncle Vanya isn't about colors and dripping roofs and dirty surroundings, its about the people. And for some reason, Konchalovsky ignored all the fantastic language and acting potential he had to work with and focused instead on giving the film a depressing autumn color scheme.