Ivan le terrible - deuxième partie: La conjuration des boyards

Ivan the Terrible marks the final stages of the cinema's greatest creative genius: SERGI EISENSTEIN. It is the work of a director, a supreme artist who never ceased in probing new boundires, striking out uncharted paths, and searching the outer limits of his art. In the work, Eisenstein has gone eons beyond his earlier methods of film creation and for the first time approaches a true synthesis of dance, music, poetry, painting, photography, architecture, and all other forms of aesthetic communication.

The trials and tribulations surrounding the production and distribution of Ivan have become legendary in there own right. The film drew sharp criticism from Stalin and Eisenstein was forced to publicly announce his ''formalist errors.'' Subsequently, the film was banned in Russia until 1958 and Eisenstein was ostracized for what many saw as a film full of ''excess.'' It took many years before the world would come to realize it is nothing short of his greatest masterpiece.

A true cinematic realization of the ever elusive ''total work of art.'' A concept that originated with the Ancient Greeks and was further formulated by Richard Wagner in his epic masterwork, ''THE RING CYCLE.'' The Gestanmueack or ''intragel work of art'' as Wagner called it was in essence the synthesizing of every artistic medium into a single polyphonic experience. In the 20th century Eisenstein saw Wagner's music dramas as predecessors of cinema; a cinema that synthesized elements of all of mankind's arts into a single majestic, visceral and emotional experience which could transform and transfix the spectator. Together with the world renowned composer, master Sergei Prokofiev, and his lifelong cinematographer Eduard Tisse, Eisenstein labored for years researching and planning out every camera angle, lighting scheme, musical note, costume, color palette, gesture, and perspective; until every scene in Ivan becomes an intricate and complex world of its own. A world where actors twist and bend their forms to the limits of the plastic frame, shadows conceal and light reveals, the musical notes flow with the rhythm and tempo of the visual image and in the famous banquet scene, colors are used by Eisenstein to delve into the psychological states of the character's mind and state of being. It becomes a universe composed so precisely and diligently that every frame is infused with hidden metaphorical and symbolic meanings, and serves to create the epitome of cinematic achievement.

Tragically, like Schubert's great ''Unfinished Symphony'' or the Venus di Milo, Eisenstein passed away before completing the final part of his epic masterwork. What remains of Ivan the Terrible will live forever as a testament not only to the genius of Sergei Eisenstein but also to his unparalleled contribution to the world culture of the 20th century.

Like the first part of the movie "Boyarsky Zagovor" (Conspiracy of the Boyars)is indeed a film about Stalin (who was a great admirer of Ivan the IV.) and the (seem-to-be)mechanics of power itself. The ideology, which is acted out (or reflected?!) stays much the same: one people/one leader is the ideal and necessary state of the (russian) nation, enabling it to take up with the other nations ("the Germans")The terror on the boyars and the elimination of some of them reflects Stalin's paranoiac action on comrades, subaltern party-members with the help of the "oprichniki" (here: Beriya and consorts). For instance, once in the movie, Ivan makes 'one of his best friends' the metropolit of Moscow, but in the same sequence is persuaded by the oprichniki's leader to kill his relevant to make him scared of Ivan's power. Because of this illustration of paranoiac stalinist mechanism, I can't agree on the popular notion, that the second movie is not as good as the first. One more reason: the most startling child actor ever: Erik Pyryev as the young tsar, ordering the chief boyar to be lashed.

Ivan Grosnyy, Part II is the movie of my life; the Part I is also a very good film. It is the masterpiece of Sergei Eisenstein. Unfortunately we can never see the Part III of this meant to be trilogy. The performances (especially Nikolai Cherkasov), the photography, the wardrobe, the scenarios and the shots are the most beautiful I have ever seen in the history of film-making. However, it is necessary to watch the Part I first to understand the history. I suggest to all the people who like this genre of film to see another very good film of Sergey Eisenstein: Alexander Nevsky once again with Nikolai Cherkasov in the main role. I recommend to all the people who want to see these movies to by the Criterion DVD box set, which contains also first part and, Alexander Nevsky. Don't die without seeing these masterpieces.

While the first part of "Ivan the Terrible" is unique, stylized and powerful historical chronicle, second part is something more: poignant tragedy of authority. Since boyars poisoned Ivan's wife and his friends betrayed him, tsar remains in lonely. Oprichniki are only people he can trust. Ivan orders to kill some of boyars for instance, then Efrosinia Staricka (his aunt) sets plot against his life. One word gives atmosphere of this film: paranoia. Every character cares burden of fear - about his life, about his political business. Pervasive fear is delivered to us with unearthly dance of shadows, dramatic Prokofiev's score, haunting acting, poetic dialogs, monumental decorations and costumes. Everything looks very artificial but, paradoxically, not false; this film works with peerless emotional strength and brings as much true about authority as Shespeare's best works, being compatible to Maciavlelian theory of authority. There are only few films in history of cinema that so heavily consider problems of power (I'd mention "The Godfather, Part II" and Kurosawa's "Kagemusha" and "Ran" beside "Boyars Plot"). Don't miss. And if you decide to watch this film, I recommend: take great Criterion DVD box set which contains also first part and "Alexander Nevsky", another Eisenstein's sound masterpiece.

There is not a single criticism I could make for either Ivan the Terrible Film. They are perfect films, original, effective, and affecting. Perhaps the two best films ever made. If not, they're to be included on my list of totally invaluable films, with not a doubt in my mind.

II begins exactly where I ends. Ivan has consolidated his power in Moscow, at least with the people (though not with the nobles, or "boyars"). In fact, what power he has inspires jealousy and fear in the boyars.

Ivan I builds Ivan up as a noble character. We despise the boyars for their flagrant wealth and greed, and we like Ivan for supporting the people. His closest comrades seem like Homeric heroes.

Ivan II develops Ivan's character even further. He may have power, but he still feels alone on the throne. His two greatest friends have left him, one gone to religion and one to the enemy. His immediate underlings, perceived as heroes in Ivan I, have grown paranoid and powerful. They convince Ivan to execute left and right. The only route for the boyars is to conspire Ivan's death.

Ivan II leads up to one of the single greatest climax I can think of. To heighten the effect, for the first time, Eisenstein opted to shoot in color. And as masterful as he was with black and white, he is also with color. The juxtaposition of color with black and white is absolutely amazing.

The only problem with the film is no one's fault. Part II ends, open for the third installment. Alas, Sergei Eisenstein would die before its completion. We're lucky enough to have Ivan the Terrible Part II, for Stalin demanded that it not be released theatrically, believing Ivan to be a portrait of himself. Eisenstein, in fact, never had the chance to see it released theatrically, was never to hear the lavish praise from critics the world round. Here I praise it, hoping that in the next world possibly Eisenstein can know what masterworks he made.