The Seagull

Haven't seen any of the stage or screen versions of the classic Anton Chekhov play, so I have nothing to compare this film to. With its very strong cast, I did think the drama offered enough to keep me engaged throughout, although I didn't feel a powerful connection to its characters for the most part.

The interplay of the emotions and passions of its characters played out at a rather posh lakeside summer home in Russia, at the turn of the 20th century, appealed to me because I don't mind dialogue driven films and I wasn't expecting any kind of action flick. Overall, the movie is not perfect but there was enough here for me to be worth the watch.

"The Seagull" (2018 release; 98 min.) is the latest big screen adaptation of the Anton Chekhov theater play. As the movie opens, we are at "The Imperial Theater, Moscow, 1904", where an aging stage actress is saying her goodbyes left and right. The action then shifts to the dacha (country estate), where the actress' ailing brother is anxiously awaiting her arrival. Meanwhile the actress' son Konstantin is preparing to stage his latest play. He is assisted by a lovely young lady, and the two seem happily in love... At this point we're less than 10 min. into the movie but to tell you more of the plot would spoil your viewing experience, you'll just have to see for yourself how it all plays out.

Couple of comments: this is the latest film from director Michael Mayer, who is best known for his work on Broadway. Here he tackles what should be a natural for him: bringing a stage play onto the big screen. "The Seagull" has been made into a movie before (and a number of times at that), but I must admit that this is the first movie adaptation I have seen. All the elements are seemingly in place, none more so that a terrific ensemble cast led by Annette Bening, who seemingly only gets better as she ages, but also Saoirse Ronan, Elisabeth Moss, Brian Dennehy, and Billy Howle, just to name those. And it's certainly not the acting talent that is lacking. Bening and Ronan are simply terrific. (As an aside, Ronan and Howle are co-starring as a couple in not one but two movies currently playing at my local art-house theater here in Cincinnati: besides the Seagull, they also star in "On Chesil Beach". What are the odds of that?) Yet despite all this, "The Seagull" is simply not a great, or even good, movie. We watch these character but have no emotional investment in them. When Konstantin has yet another outburst (almost like a five year old's tantrum), we just wonder--why? When romantic relationships may or may not develop, we wonder where the spark is for that. It' a darn shame, and frankly I was relieved when the movie's end titles started rolling, as I had had more than my fill of this.

"The Seagull" was filmed exactly 3 years ago (and one can notice it when you compare Ronan in this and in "On Chesil Bech", filmed 1 1/2 yrs. after this). Why has this been sitting on the shelf for so long? One can only wonder... The movie opened this weekend at my local art-house theater here in Cincinnati, and based purely on the strong ensemble cast, I decided to check it out. The Friday early evening screening where I saw this at was attended okay but not great (about 10 people). Frankly I haven't heard single buzz about this movie, and I can't see this playing long in the theater. If you have an interest in big screen play adaptations, or are a fan of anyong in the ensemble cast, I'd suggest you check this out, be it in the theater (while you still can), on VOD, or eventually on DVD/Blu-ray, and draw your own conclusion.

In 1896, the great Russian story teller, Anton Chekov, couldn't have foreseen his plays being produced through moving pictures over a century later. This classy film adaptation of The Seagull shows that not only does the master translate to the screen well, but also his works are enhanced by a roving lens that carries nuance better that any Victorian stentorian could have hoped.

Relatively-new film director Michael Mayer lyrically highlights with close-ups, quick cuts, and manipulated time the agony of unrequited love in a household where count can be lost of who loves whom, who doesn't love back. The most prominent mismatch is between aspiring and rich young actress Nina (Saoirse Ronan) and aspiring, idealistic young writer Konstantin (Billy Howell).

Their innocence is compromised by an adult world, for instance, by the acclaimed writer Trigorin (Corey Stoll), who steals her from Konstantin, who is jealous but remains doggedly devoted to her. (Ronan and Howell do their anguished young lovers bit even better in On Chesil Beach.)

And on and on as the web of lies and loss ensnares them all. Yet, an air of civility covers the entire proceedings, hallmarked by Konstantin's vain, acclaimed actress mother, Irina (Annette Bening), herself in a relationship with Trigorin. Irina stands best for Chekov's theme of the clash between classical theater and modernist imagination, exemplified by her son Konstantin's work, redolent of symbol and allegory and, oh, so self important. His outdoor play with a makeshift curtain evokes The Fantasticks with a little Midsummer Night's Dream but hardly the genius of either.

Because Irina is not impressed with Konstantin's creativity, her young writer son is filled with despair. Everyone else seems to be able to go on, albeit with cascading tears and gloomy resignation.

Although this drama may be dark, and Chekov is not known, after all, for his hilarity, witnessing it is a pleasant theatrical experience because we are all so darn fascinating when we become fools for love. Beyond that, the acting is some of the best you will see in cinema all year-even if it is grounded in 19th_ century Russian theater. Chekov lives on.

Now I realize that The Seagull is a play by Anton Chekov. However, I dont think it translated well onto screen or perhaps the director didnt translate it well onto screen. Just some of the dialogue and the way the actors delivered their lines didnt feel very natural. Like it felt at times that I was watching a play rather than a film. In film you can be more subtle and nuanced rather than on stage where you have to play for the person in the back row. I think the only person who really stood out to me was Elisabeth Moss who played Masha. And I love Saoirse Ronan but for me it just seemed like such a odd choice to cast her since she had to put on an American accent to play a Russian in the setting of Russia.

Story wise it was ok. Very heavy handed with the symbolism. Which again, might be better suited in the play. For me, it picks up more in the second act. I think one of the more powerful moments is when Nina returns and speaks to Konstantin and the somewhat ambiguous ending.

The costumes are beautiful as well the settings. It can be a pretty film to watch. But overall, I dont think this film really added anything new that I couldnt get out of seeing the show live. It was good but nothing you have to immediately run out and see either.

First, let me say that this film is not for everyone. If you don't have an appreciation for the tragedy often present in real human relationships and often chronicled by Russian authors you may not enjoy this movie to the fullest. On the other hand, if you have some familiarity with Russian literature you may be pleasantly surprised. The cast performed wonderfully.