Ivan Groznyy. Skaz vtoroy: Boyarskiy zagovor

This space can't afford me the kind of gargantuan platform needed to speak on Eisenstein's masterwork (both parts) with the sort of attention to detail and passion that the director brings to the story of the Russian tsar. This is the rarest of films that stands as a testament to how cinema can extend beyond an entertainment and exist as a singular work of art and a document that works to expand our knowledge of the human condition. Every frame is rich, every scene speaks far more than any written line or action. The production is a phenomenal achievement in the absolute totality of the collaborative effort; the actors, the set, the cinematography, the soundtrack - every facet of the film-making process has worked to create a seamless connection. While the approach of the actors, the lighting and the choices of camera angles frustrate our standard ideas of what a movie should look and feel like, there is a design here; it is precise and it is brilliant. This is a film for those viewers who, as Eisenstein famously said, read (not just watched) the images on the screen. One of the two or three true masterworks in the history of movies.

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.

It's great art.Eisenstein can be compared to Michelangelo,no less.Needless to say,you've got to see part one -slightly inferior to this one,but what does it mean,when you' re watching the seventh art at the height of its terrible powers?-.This part focuses on the feud between Ivan and his aunt who tries to replace him by an effeminate imposter of her choice.Prokofiev music gives the feeling of watching an opera,the scenes in the cathedral recreate a mystery as it was in the Middle Ages as faithfully as you can wish.The peak of the movie remains the banquet,shot in color,thanks to spoils of war film.So stunning is Eisenstein's mastery of the picture that you can hardly exactly tell when the color returns to black and white (which for the final becomes a color in itself)Ivan's last soliloquy might seem aggressive and chauvinistic.But you've got to remember that the USSR were at war at the time ."Ivan" is timeless ,a monument that's as awesome today as it was for its -deleted,because of Stalin- 1958 release.

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.

Ivan the Terrible Part II, the culmination of Eisenstein's career, is easily one of the most brilliant films of all time.

Nothing - repeat absolutely nothing - in this film is sub-par. The acting, especially the inhuman physical contortions of Nikolai Cherkasov as the Tsar himself, is uniformly excellent. As is to be expected from Eisenstein, the direction is perfect. Eisenstein's compositions create painterly tableaux that can be watched endlessly on pause (especially now that Criterion has issued both Ivans on DVD), allowing the audience to take in the full breadth of this man's genius. Additionally, unlike, for example, Alexander Nevsky or Strike, Ivan the Terrible Part II (and part I) benefits from a smoother pace and better editing, putting Eisenstein's theory of montage to its best use since Potemkin.

For me, however, what two key components of this film set it apart from its prequel and Eisenstein's earlier Potemkin and October.

Those components, as you can imagine, are its more pronounce political allegory and its color sequence towards the end.

Certainly October and Potemkin were highly politicized affairs, both celebrating the Communist victory in Russia. In Ivan the Terrible Part II (and to a lesser extent Part I), the audience bears witness to a moment of challenge wherein Eisenstein becomes critical of the course his country and its post-Lenin leaders have taken. As such, Ivan the Terrible becomes one of the bravest moments in film history and, for that alone, should be commended.

Brilliant as a political critique, the film also represents a dazzling demonstration of how color could be used in cinema. The colorized dance at the end of the film rivals and prefigures the technicolor explosion in Douglas Sirk's 1950s melodramas; furthermore, it reveals that color can be used to achieve specific effects. It does not have to mimic reality; rather it can be used artistically to enhance the mood and atmosphere of the film.

Taken as a whole, the two-part Ivan the Terrible is a masterpiece of Russian Cinema and should be required viewing for anyone with the slightest bit of interest in film. My preference lies with the second part, but both are fantastic moments in film history.