Uncle Vanya

DRN5's rather curious and one sided comments about the Olivier directed production of 'Uncle Vanya' needs to be put in the context of what the professional critics of the day expressed. That is not to say I did not enjoy 'Vanya on 42nd Street' - I did very much, but the Olivier production added another dimension portraying as it does, Chekhov's desire to say to people 'Have a look at yourselves and see how dreary your lives are'. 'This is ensemble acting in the Master Class' New York Times 'Miss Harris' argument, reconciliation and mutual confession with Joan Plowright are the best acted women's scenes I have ever watched. One after another, the British critics poured forth their praise...' American Newsweek Chekhov's Uncle Vanya, directed by Laurence Olivier, is the admitted master achievement in British twentieth-century theatre...for authority and finish - above all for centrality of purpose - this has no competitor' London Sunday Times Olivier's Vanya...is one of the greatest productions of an era... the most satisfying and integrated...' London Observer 'Take this road to find greatness...with a cast that could not be bettered on the English-speaking part of the earth' London Daily Express 'Majestic Uncle Vanya....the acting of a magnificent company. This production of a great play is a rare achievement. London Evening Standard 'This company and this production will be remembered for a long time...that leaves you awed, grateful and humble in the face of such perfection. London Punch

A PAL standard DVD of this film will be released late in 2003 in the UK.

Executed in a traditional theatrical style devoted to the text and the Staislavsky school, this production may seem static to modern viewers. Most contemporary stagings of Chekov plays display pronounced movements to demonstrate relationships and emotional states, often involving physical contact between the characters that would have been deemed boorish during the rural Tsarist Russia of the play's setting. This forthright filming of the 1963 National Theatre production conveys the Chekovian mastery of self-doubt, longing and wishfulness through smaller gestures and voice. The key voices are Michael Redgrave and Laurence Olivier at the peaks of their greatness.

I disagree with previous comments. This a perfect production of UNCLE VANYA, one of the world's great dramas. We should be thankful that the stage production was recorded so that all of us can continue to enjoy and be moved by these brilliant performances. Michael Redgrave and Joan Plowright are particularly moving, but Olivier as Astrov and the lovely Rosemary Harris and the legendary Fay Compton are also memorable. Yes, it is not presented in an artificially cinematic style. With this play and this production that doesn't matter. In fact, the nature of the play demands that the camera focus on the faces and body language of the actors. It's their emotions, their reactions to each other that matter. With the camera so close to them, we can see them lying to each other and to themselves. Heartbreaking, brilliant, and unforgettable. A masterful rendition of a masterpiece.

This film is a record of probably the most famous English-language Chekhov production. Of course it's not the same as actually being in the theatre with Olivier and Redgrave, but it's still terrific.

Another reviewer commented negatively about the difference between stage and film acting, but in fact this "Vanya" offers one of Olivier's best *film* performances -- it's subtle and biting, cold-hearted and sweet-natured, incredibly complex and great. And Redgrave isn't far behind him.

10 out of 10

Obvious, it represents more than a beautiful adaptation. It is a fair, honest and wise exploration of Cekhov univers, in precise terms, with high care for details and the expected inspired atmosphere. And it is not a surprise, the cast offering the guarantee of a beautitul to great adaptation, Astrov of Laurence Olivier, like Vanya proposed by Michael Redgrave reminding the spirit of play in each its nuance.

The story of wasted lives and clashes between visions are familiar.

But this adaptation has, obvious, the desire and gift to offer more than a new represented play. A sort of reflection, about himself, of viewer and this intention is wonderful used scene by scene.

So, Cekhov in pure traits.