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.

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

Olivier's production of Chekhov's masterpiece is rightly famous. In addition to following Constance Garnet's beautiful translation of the play faithfully and staging the play carefully (albeit in a traditional fashion), Olivier, who plays Astrov (the Doctor, who, as in all Chekhov's plays, represents the playwright himself) assembled a stellar cast of actors: Joan Plowright is a perfect Sonia and Rosemary Harris a subtle Yelena. The older characters are filled out by some giants of the 20th century English stage, including Max Adrian, Lewis Casson, and Casson's wife, the magnificent Dame Sybil Thorndike as the Nurse. Topping the list, of course, is a fine performance by Michael Redgrave in the title role. Olivier and his actors are able to evoke the classic Chekhovian mood from the opening and carry it through smoothly and warmly until the end. The result gives the viewer a gentle and bittersweet view into "country life" (see Chekhov's subtitle) and how people waste the gift of life with petty complaints rather than taking charge of it. This production is a perfect introduction to Chekhov and should be seen by all who love theatre.

George Steiner wrote of Chekhov that his plays were "a musical score for speaking voice". This Vanya is just that. The performances here of Laurence Olivier, Michael Redgrave, Rosemary Harris, Joan Plowright, Max Adrian and Sybil Thorndike are operatic in range and emotion. The translation of Constance Garnett is no less important to success - perfect in its rhythm and concision.

This recording survives as a wonder of the 1960s Golden Age in British theatre. Yes, John Gielgud, Ralph Richardson and Richard Burton are not in the cast but never mind; this production was immortal, one of the supreme nights in the theatre in our lifetimes.

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.