VALUTAZIONE IMDb
7,3/10
2361
LA TUA VALUTAZIONE
Aggiungi una trama nella tua linguaLate winter 1953. The lives of nearly half the planet are in Stalin's hands.Late winter 1953. The lives of nearly half the planet are in Stalin's hands.Late winter 1953. The lives of nearly half the planet are in Stalin's hands.
- Premi
- 10 vittorie e 8 candidature totali
Yuriy Tsurilo
- Gen. Klensky
- (as Yu. Tsurilo)
Nina Ruslanova
- Wife
- (as N. Ruslanova)
Jüri Järvet Jr.
- Finnish reporter
- (as Yu. Yarvet)
Mikhail Dementev
- Son
- (as M. Dementyev)
Aleksandr Bashirov
- Idiot
- (as A. Bashirov)
Ivan Matskevich
- General's lookalike
- (as I. Matskevich)
Paulina Myasnikova
- General's mother
- (as P. Myasnikova)
Viktor Mikhailov
- General's driver
- (as V. Mikhailov)
Nijole Narmontaite
- Sonya
- (as N. Narmontaite)
Olga Samoshina
- Teacher in love
- (as O. Samoshina)
Genrietta Yanovskaya
- General's sister
- (as G. Yanovskaya)
Irina Osnovina
- Medsestra
- (non citato nei titoli originali)
Trama
Lo sapevi?
- QuizAleksandr Abdulov was considered for the role of General Klensky.
- Versioni alternativeThe film was released at 137 minutes, and an alternate cut is 150 minutes.
- ConnessioniFeatured in Namedni 1961-2003: Nasha Era: Namedni 1999 (1999)
Recensione in evidenza
It's easy to slot away Khrustalyov, mashinu! as either a great and beautiful whatchamacallit, or a hopeless hodgepodge. Actually, it is about something: the Stalinist terror, and the accumulated guilty consciences of the Russians - even many of his victims - after living for a generation under his thumb.
General Klensky (Yuri Tsurilo, in a stunning performance) is a "good" Russian - a doctor who has achieved a position of power and respect under Stalin while, he thinks, maintaining his honor and humanity. That delicate balancing act comes undone when he finds out that he's on the hit list during the "doctors' plot," Stalin's final purge. German's film captures the growing absurdity of trying to rationalize life under a beast like Stalin: His principal characters' lives (and brains) have become as cluttered and confused with attempts to make sense of their own conduct in the face of tyranny as the crazy, stuffed-to-the-gills, attic-like warrens of rooms they live in.
Russia at the end of Stalin is a squalid sprawl of these absurdist dwellings, with only the sinister black cars of the party apparats representing any kind of order, and that the most brutal kind. The violence creeps into everyone's lives, as we watch German's characters slap and spit at and sometimes sexually assault each other. Sometimes it's deadly, sometimes in jest, but always a kind of emanation of the violence visited on them from the terrible man who pulls all the strings.
Millions of people lived under a system something like this in the 20th Century, and German's film is great because it captures so much of the absurdity and brutality they experienced. It shows you how they lived through it, and also how the subterfuges that helped them to do so could often turn around and bite them back - making their survival tactics ultimately useless against the terror. Life under Stalin was a desperate balancing act, represented here by the game of balancing a drink on one's head that one of the minor characters and then, at the end, Klensky himself engage in.
With Khrustalyov, mashinu! it's hard to know where to hand the most praise: The art direction is staggering. All the performances are perfect. The direction is supple and endlessly perceptive. The B&W cinematography is gorgeous. There are signs of the influence of Orson Welles' films circa the 1960s, and especially of Welles' The Trial, with its characters moving through the cluttered warrens of rooms in the Gare St. Lazare. The way German choses to view his characters also reminds me of Bela Tarr's work. But German is a master and Khrustalyov, mashinu! is an astonishing artistic vision of a terrible time in human history.
General Klensky (Yuri Tsurilo, in a stunning performance) is a "good" Russian - a doctor who has achieved a position of power and respect under Stalin while, he thinks, maintaining his honor and humanity. That delicate balancing act comes undone when he finds out that he's on the hit list during the "doctors' plot," Stalin's final purge. German's film captures the growing absurdity of trying to rationalize life under a beast like Stalin: His principal characters' lives (and brains) have become as cluttered and confused with attempts to make sense of their own conduct in the face of tyranny as the crazy, stuffed-to-the-gills, attic-like warrens of rooms they live in.
Russia at the end of Stalin is a squalid sprawl of these absurdist dwellings, with only the sinister black cars of the party apparats representing any kind of order, and that the most brutal kind. The violence creeps into everyone's lives, as we watch German's characters slap and spit at and sometimes sexually assault each other. Sometimes it's deadly, sometimes in jest, but always a kind of emanation of the violence visited on them from the terrible man who pulls all the strings.
Millions of people lived under a system something like this in the 20th Century, and German's film is great because it captures so much of the absurdity and brutality they experienced. It shows you how they lived through it, and also how the subterfuges that helped them to do so could often turn around and bite them back - making their survival tactics ultimately useless against the terror. Life under Stalin was a desperate balancing act, represented here by the game of balancing a drink on one's head that one of the minor characters and then, at the end, Klensky himself engage in.
With Khrustalyov, mashinu! it's hard to know where to hand the most praise: The art direction is staggering. All the performances are perfect. The direction is supple and endlessly perceptive. The B&W cinematography is gorgeous. There are signs of the influence of Orson Welles' films circa the 1960s, and especially of Welles' The Trial, with its characters moving through the cluttered warrens of rooms in the Gare St. Lazare. The way German choses to view his characters also reminds me of Bela Tarr's work. But German is a master and Khrustalyov, mashinu! is an astonishing artistic vision of a terrible time in human history.
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Dettagli
Botteghino
- Lordo in tutto il mondo
- 1.113 USD
- Tempo di esecuzione2 ore 27 minuti
- Colore
- Proporzioni
- 1.37 : 1
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By what name was Khrustalyov, mashinu! (1998) officially released in India in English?
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