Neskolko dney iz zhizni I.I. Oblomova

A definitively executed rendering of a work of romanticism; it's depth largely exceeding what can be attained from within a culture, such as the north american, that has either lost its history, or never had one; this to warn it is unlikely to be appreciated by one not already steeped in the film or theater of europe or the slavs. To someone who is, a sweet but not light experience: its lessons and philosophies cannot be contained, but envelope the reader, in his own life.

According to the Kino DVD, this film won the Cannes Jury Prize upon its release in 1979. Oleg Tabakov brings sensitivity to the title role- we actually feel sympathy for this lovable loser who has lead a rather unproductive life. He has worked in the past, but none of his dreams or goals (if he ever had any) have come to fruition. As the character develops, we discover that this isn't from laziness, but more that he's afraid to take any risks in life. The director, Nikita Mikhalkov, won the Oscar for Best Foreign film in '94 for Burnt By The Sun, but I think Oblomov is actually the better film, with the caveat that it is a little long. The films share a common theme of two men in love with the same woman. And he also returns to E.Artemyev for the musical score of the film (also includes Bellini's "Casta Diva" and music by Rachmaninov).

Oblomov and his best friend Stolz are so different in character that the film uses flashbacks to their upbringings to discover why. Stolz's relationship with his father is much more interesting than Oblomov's with his mother, and perhaps some editing here would help. The acting is great throughout, especially Oblomov's relationship with his servant Zakhar. The film has a couple of emotional climaxes, when Oblomov confesses his shame to Stolz in the sauna, and when he confesses his love for Olga on the gazebo. Olga's weeping at the end of the film suggests she has some regrets for past decisions. Oblomov's son running across the fields to visit his mother, well, someone else will have to elucidate that for me.

Ivan Goncharov's novel Oblomov is a classic of Russian literature and a true masterpiece. It's a sociocritical and philosophical work and it anticipates the formation of the Russian revolution by showing the apathy, phlegm and decadence of the impoverished Russian (landed)gentry at the end of 19th century. The main character Oblomov is a very lovable yet weak-willed and frail nobleman. He lives in St.Petersburg and lives off the income of his manor which is far away and run-down. For days Oblomov just stays in his bed, thinking and lamenting about all the things he should do but his lethargy prevents him from taking care of these problems. He reflects on hectic daily life and what is important, the meaning of life. His counterpart is his best friend Stolz, a German. Stolz is vibrant, fun-loving and burning for action and he tries to pull out Oblomov from his lethargy but it's a very hard task. One day Oblomov falls in love... The book was written in the tradition of new realism in Russian literature, like Tolstoi, Dostojewski or Turgenjew. The interpretation of the story varies a lot between then and nowadays and critics are still arguing what Goncharov's real intention was. Many people see the novel as a swan song on Russian class society and tsardom; and it is essentially a Fin de Siècle novel. Oblomov is like the representative of a class that has outlived itself, a dinosaur of Russian nobility. It's not a coincidence that Stolz is German, he's a symbol for the modernistic and educational ideas that came from the West at that time. I agree with this interpretation on the whole, looking at the novel in the context when it was written. The novel was published in 1858, that was only 3 years before the official abolition of serfdom trough Alexander I, the beginning of extended reforms which couldn't prevent the progression of the coming revolution as we know today. Lenin later spoke at a party convention about "Oblomovism" in reference of the overthrown system, threatening that the days of Oblomovism are over. You'll even find this term today in Russian thesaurus. The other interpretation is that today many celebrate Oblomov as an icon of refusal and idleness and point out the more philosophical aspects of the story. In the days of globalisation and people worshipping "shareholder value" and the mighty dollar, Oblomov can indeed be seen as the hero of all deniers. Many of his thoughts in the novel are universal and pose questions to us that are more up to date then ever before it seems. The movie captures the essence of the story in a great way and is free of any Soviet propaganda influence you might detect in similar films; it's very accurate to the original work and one of the best literature film versions I've ever seen. The cast is wonderful, the cinematography is top notch and fits the moods of the story perfectly, sometimes dreamy (in the great outdoor scenes), sometimes realistic. Oblomov's character comes over every bit as lovable, melancholic and pensive as he is portrayed in the book. The end is a little abrupt and an important part of the story is missing. That's a pity and the reason I give this film 8 instead of 10 points; I wonder if the director encountered some problems there or if their budget was cut short for any reason. Who knows. Check this movie out, it will be hard to find I guess but it's a great work and a refreshing change when one is only used to modern films. Of course this gem should be watched in cinema and I still hope that my local art cinema will someday organise a Nikita Mikhalkov retrospective so I get the chance to see it on the big screen.

in many occasions, an adaptation is a war against novel. modifications, lost of book spirit, innovations or only errors. in this case, the masterpiece of Goncharov is key for open the Nikita Michalkov universe. recipes - respect for text, good cast, precise performance, Slav flavor. only is at right place. the drama of poor Oblomov is reconstructed, piece by piece, level by level, with grace, respect and love. more than a film, it may be a portrait or homage. and basic victory is science to transform the story in warm drawing of feelings and expectations, sins and fall. it is not a surprise. only new demonstration of Mikhalkow subtle art. and this is, for each of his films, the sign who makes difference, who gives a kind of aura to every movie and births air of refined melancholia.

One of the best films directed by Nikita Mikhalkov and one of the best adaptations of the works of the writer Ivan Goncharov. The magnificent trio of actors Oleg Tabakov, Yuri Bogatyrev and Elena Solovey as if immerses the viewer in the romantic atmosphere of a love triangle in Russia of the 19th century.