La tempesta

I am and have always been a fan of Van Heflin's work but the first time I saw this film back in the 70s I didn't even recognize him at first. Perhaps the only other actor that could have done justice to this role of Pugachev would have been Orson Welles but I don't even think Welles could have topped Van Heflin's work here. Heflin was an incredible actor with a diverse body of work, that he could pull off a role like this really underscores what a skilled actor he truly was. The film is not bad and I recommend it but what drives it home is Van Heflin.

Thrilling melodrama of political intrigue. individual courage and idealism, as well as a romantic love story. Really, upon a not yet cynical mentality, it leaves an unforgettable impression. Van Heflin is wonderful as Peter the Pretender to the Russian throne; Viveca Lindfors is to die for as Catherine the Great, and there are numerous other colourful performances too.

Well worth seeing especially if you are a "fan" of Russian history. Can be confusing at times so pay attention. Hollywood has a nasty habit of straying from the facts, sometimes authenticity can be boring. This time, however, very little deviation from actuality is necessary as this period is one of the more turbulent in the history of Russia. See it you will enjoy it. Some good battle scenes.

I had missed a TV broadcast of this in the original Italian language as a kid though, recently, a snippet from an early sequence was shown during the introduction of the specialized "After Hours" program. Incidentally, these last couple of years I have been trying to land a serviceable copy of the film – both for myself and a film-buff friend of my Dad's – but, while this was the most satisfactory of three I had at some point, it still leaves a lot to be desired: gleaned from a German print (albeit Widescreen when the others were not) with the English dialogue mixed in, there remain several imperfections like audio drop-outs and fluctuating levels, while one brief scene is still presented in German with superimposed English subtitles!

Anyway, the film was clearly made by mogul Dino De Laurentiis as a follow-up to another Russian-set epic, WAR AND PEACE (1956), which had been a co-production between the U.S. and Italy; this was a more European-based venture (inspired by an Alexander Pushkin tale), actually shot in Yugoslavia(!), though it still featured numerous English-speaking actors and a few of them were even ported over from the famed Leo Tolstoy adaptation (namely Oscar Homolka, Helmut Dantine and Vittorio Gassman). The others include Viveca Lindfors (as Catherine The Great – which is why I incorporated this in my current viewing schedule, as part of an intermittently progressing Josef von Sternberg retrospective), Van Heflin (as the pretender to her throne, a peasant who believes himself to be her deceased husband Peter III! – curiously enough, I have just checked out the thematically-related SHADOW OF THE EAGLE {1950} and which had actually employed a similar ruse), Geoffrey Horne (fresh from his secondary-cum-cowardly role in THE BRIDGE ON THE RIVER KWAI {1957} but now upgraded to lead/hero status), Robert Keith, Agnes Moorehead and Finlay Currie; the most notable element on the Italian front, then, is Silvana Mangano (Mrs. De Laurentiis herself) – obviously, albeit ably, filling in the female protagonist slot.

Again, in comparison to WAR AND PEACE, this was given a manageable running-time of 122 minutes when the earlier film had lasted for a staggering 208 and, while that one recruited two directors and two cinematographers (one foreign and one local in each case), this would only utilize home-grown talent in either department (with d.p. Aldo Tonti being involved in both pictures as well) – though Michelangelo Antonioni, soon to embark on his major art-house period, was reportedly brought in for a brief stretch during filming, as would also be the case around this same time with the peplum SIGN OF THE GLADIATOR! In any event, apart from the rich and sprawling visuals (pertaining to scenery, costumes and battle sequences), the main asset here proves to be Piero Piccioni's rousing score.

That is not to say that the plot is not involving – at least Heflin's bloodthirsty campaign, built more on his vainglorious personality (in the type of larger-than-life part Orson Welles would often get to play in such international productions) than actual battle tactics, and the no-less ruthless military strategies by which Catherine defeats the usurper (incidentally, the two leaders only get to meet briefly at the very end) – but it is bogged down somewhat by cliché (the eternal triangle situation involving Horne, Mangano and hissable villain Dantine), melodrama (Currie's disowning of son Horne after he is accused by the dying Dantine of treason) and sentimentality (not only long-suffering manservant Homolka's devotion to Horne but Heflin's enthusiastic attachment to same after having been saved by him from freezing to death).

In conclusion, I would like to point out that I also own the 1928 American film by the same title with John Barrymore which, though still a Russia-based epic, it is set during the seminal 1917 revolution that toppled the monarchy once and for all…though the Communist ideals of the Proletariat regime that came into power in its stead emerged pretty soon to be just as oppressive as the old system (the long-term result of which was the country's dismemberment into smaller independent states and its former reputation as a superpower getting severely diminished in the process)!

There has been not many films on Russian historical events (other than local products). "Tempest" is a co-production (French, Italian and Yugoslavian) that deals with a cossack uprising against empress Catherine II's ruling in Russia. It is in my opinion a very acceptable movie rather accurate to facts in its underground and with a fine screenplay in the surface.

The plot is interesting and precisely managed by Italian Director Alberto Lattuada. The film doesn't lack spectacle and intensity with fine battle scenes and action sequences that could qualify it as a true epic. Wide open outdoor color shooting and good interior settings also help the product.

But what really hurts the picture, and badly, is the important role of Russian officer Grinov played by a completely miscast-ed Geoffrey Horne. He just doesn't fit at all as the man who unknowingly saves the rebels leader life and from then on is the character that allows viewers to know about Pugachov's reasons and ideas that led him to raise against the empress in an almost impossible task. Horne's acting is definitely poor and he lacks the strength and passion his role demands. On the other hand, Van Heflin does a very good work and plays most convincingly Emelyan Pugachov the man who dared to challenge the powerful Catherine (in fact I can't recall a bad performance from Heflin in films). The rest of the cast is correct, mainly Agnes Moorehead, Oskar Homolka, Silvana Mangano (you just can't understand how she could fall in love with Horne's dull and inexpressive character) and Viveca Lindfors as the empress.

But all in all "Tempest" is a watchable and most entertaining film in its genre.