Onkel Wanja

I remember seeing this film in 1973 at the Royal Theater in L.A. I traveled for two hours on a bus to see it, and two hours to return home, and I never regretted the time spent. Bondarchuk as Astrov was brilliant, and the diluted Mosfilm color--which emphasized browns, reds, and golds--was perfect. I think this movie captures autumn better than any motion picture. Unlike the English language versions of the play, this one also emphasizes how the environment affects the characters. I dearly wish it would get released on either video or DVD. It's easily the best version of Chekhov's play---maybe the best film version of any of his plays.

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.

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.

the director makes it impossible not to be melancholic..one scene sonya says that forest and the climate together change the way that people behave.. how could she know that sorrow never changes? and justice is not for all in any climate? i want you to pay attention what happens after the woman comes and leaves.. not only the faces but the camera gives the feeling. i strongly recommend you to watch 2 times if you haven't done yet..

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.