Iván el Terrible

Ivan the Terrible, Parts One and Two are films when combined) are in the top ten films of all time, and are of enormous genius, but because of this are not easy to digest. The story of the tortured Ivan the Terrible, first Czar of Russia, from boyhood to near the end of his czarhood, it was filmed with extravagated acting, and each scene having multiple symbolic interpretations. For example, all the main characters or groups of characters are portrayed with the characteristics of animals, Ivan the Terrible being a bird. The cinematography is brilliant, and strangely beautiful, relying on parallels, and close ups of the characters (this is among the first films to have this technique, now one of the most common cinematography techniques). Because this film is such a classic, it will make watchers review it, and think on the film itself. As such, it is not "light" watching. It is most definitely one of the greatest films of all time, and is worth the time without question. Do not be held back by the black and white or that it is in Russian. Also, watch both Part One, and Part Two, they were meant to work off each other. The DVD contains what remains of the incomplete Part Three, which the director Sergei Ensenstein did not finish. When told by phone that Stalin would not allow for Part Two to be distributed in Russia and be vaulted due to it's anti-Communistic implications, Ensenstien hung up the phone, and promptly died by heart attack, leaving a trilogy without its ending.

I've seen this a number of times now so it's difficult for me to remember having trouble getting into the stylised form of acting and by 1944 dated expressionistic cinematography that other viewers might have. First time of watching it was on UK TV over 20 years ago with Part 2 and a documentary called Part 3 containing the remaining extant scenes, and I loved it. I'm dead against arty farty pretentious movies and am always aware that being obscure does not automatically make a film a classic, but this really is a classic of its kind. It was Eisenstein's best work (imho) a rallying call to all of the disparate inhabitants of Mother Russia to work and fight together, which was ordered by Stalin and who was pleased with the similarities – I bet he was on tenterhooks waiting for Ivan to go insane though.

Ivan is crowned Tsar of all the Russias and proceeds to drag the country into the 16th century, disposing of external enemies in the form of Tartars, starting a long war against Livonia and limiting the influence of the antagonistic aristocracy, the boyars. The acting is intensely melodramatic, with endless sinister sidelong glances taken from acute camera angles and Ivan's pointy beard shown to good advantage, which to people not paying much attention can probably be mirth-inducing. But this was pulse-quickening propaganda for the new Russian working class to comprehend, not Artheads decades later - Eisenstein did it so memorably that like Potemkin it's still spellbinding today. Otoh he borrowed extensively from Snow White too for some of most incredible shadowy images in here, and his whole technique hadn't moved on from silent film. The use of the b&w nitrate film, costumes, sets and angular ugly faces are wondrous to behold and Prokofiev's stirring music glues it all together triumphantly.

All in all, a knockout film with faults but which still defies and will survive all criticism.

Despite spending his career under an increasingly restrictive regime which regarded cinema as a tool to propagate the government line and needed only the slightest excuse to censor or ban pictures, Sergei Eisenstein always had his own ideas and agendas which shone through the propaganda. Ivan the Terrible was commissioned by the Soviet government to glorify a dead dictator, with whom the living dictator (Stalin) identified, but in Eisenstein's hands it became much more than that – one of the greatest studies of power in the history of cinema.

Ivan the Terrible is primarily concerned with the conflict between the institutional power of the system and the charismatic power of individuals. This theme is all set up in the opening scene. It begins with a shot of the crown, and then goes through the various rituals of Ivan's coronation, whilst in the background various dignitaries whisper their doubts to each other. Ivan's face is not even shown until the crown goes on his head. It's clear at this point that we are seeing the creation of a symbolic figurehead tsar – the rituals and symbols of power mean more than the man himself. However, when Ivan begins to speak he talks of uniting Russia and ruling with an iron fist. From the series of reaction shots, we are told straight away that the assorted aristocrats, state officials and clergymen wanted a puppet ruler, and are now horrified. Throughout the film Eisenstein uses this kind of cinematic shorthand to reveal the shifting loyalties and private thoughts of characters. More than any other film I can think of, you can understand what is going on in Ivan the Terrible without needing to understand the dialogue or see the subtitles – the story is told purely in images.

Although Eisenstein had been making films for twenty years before this, it's clear his style was still evolving. He editing technique prior to this was mostly used to enhance action sequences or make political points through comparisons. Now he uses it to convey emotions and relations between characters. If he had lived a little longer he could perhaps have broadened his horizons and become a director of dramas. Still, as with his previous works this is a story told more through the masses of people – not through the individuals.

Perhaps the biggest change between Eisenstein's early silent works and these later sound films is in their level of stylisation. While the silent films may have been very visually dynamic, the way they were staged and acted was essentially realist – the crowds, the action, the set ups all looked authentic. Ivan the Terrible on the other hand is theatrical, almost operatic – stentorian voices, exaggerated gestures and outlandish looking characters. One thing along these lines that is consistent throughout all his pictures (and was sometimes at odds with the realism of his earlier work) is the way in which he cast and directed his actors so as to leave no doubts as to their character. While the lead roles were filled by strikingly good-looking actors, the villains were often painfully ugly, and are often made to look ridiculous in the way they act. Look at, for example, Ivan's rival for the throne Vladimir, whom Eisenstein turns into a half-wit with a vacant expression. He also likes to remind us of animals – for example the conniving, hunchbacked diplomat who resembles some kind of crow.

Eisenstein also here takes on an expressionist look for the first time – very en vogue in Hollywood at the time, but virtually an unknown movement in Soviet cinema. Ivan the Terrible is set largely in dim, grimy interiors – in contrast to earlier Eisenstein pictures which took place largely outdoors – so the grainy, moody look is quite appropriate. He pays a great deal of attention to lighting, with characters often throwing large shadows against walls very much in the style of Fritz Lang and Michael Curtiz.

Of the two completed parts of Ivan the Terrible (there was to be a third, but it was axed by the government during production), I personally prefer the second. They are more or less identical in style, but Part 1 is made up of a series of short episodes and is a little less engaging. The coronation and wedding scenes are perfectly constructed, and the war on Kazan is up there with the battle scenes in Aleksandr Nevsky. I find the later scenes with Ivan's brush with death and his self-imposed exile a little slow, even though they are still incredibly well made.

This first part of Eisenstein's filming of the life and times of "Ivan the Terrible" has lots of drama, very good characterizations, fascinating settings, and plenty of action. Nikolai Cherkasov is completely convincing in the lead role, and the rest of the cast complements him well (especially Serafima Birman as his crafty aunt). This period in history is quite interesting and significant in itself, and Eisenstein presents everything in a fashion that is thoughtful and also enjoyable to watch.

Ivan combined a remorseless personal ambition with a genuine desire to strengthen and protect Russia, while the boyars, who opposed him, acted from motives that were almost exclusively personal. Combined with the plans of Russia's neighbors, all of this makes for a complex and interesting series of events, and the movie does a good job of presenting both the events and the possibilities, both on the surface and behind the scenes. Not the least of the reasons why it works so well are the settings. They are always interesting, believable, and atmospheric - and the indoor settings are especially so.

Part One is praiseworthy both in its own right and as the foundation for the outstanding sequel. Eisenstein generally excelled at depicting important periods in his country's history, and his series on Ivan's critical reign demonstrates all of his many skills. His attention to detail (of which there are too many examples even to try to list) and his appreciation for the overall picture make this a memorable film of high quality.

If Alexander Nevsky was a filmed opera, this one, the first part of Eisenstein's incomplete trilogy about the title character, looks more like a Stalinist version of a Shakespere play, with a lot of conspiracy and characters so desirous for power that are willing to do whatever it takes, but manichaeist and with almost undisguised propaganda of the infamous Russian dictator. Exactly for being theatrical, it is too formal, but it is so intense that it is impossible to be indifferent, the visual composition is extraordinary, using very well the light-and-shade game typical of the German Expressionism, the alternation between very open shots and close ups, and very rich costumes and set decoration. In the end, although it is not perfect, is a remarkable film that deserves all the praise it received.