Doutor Jivago

Apparently, "Doctor Zhivago" is one of the most successful films in movie history. Although critics weren't particularly impressed, the public sure was and came to the film in droves. Today it's considered by many to be a classic. I've seen it a couple times before and decided to watch it again tonight--since it's been several decades since I last saw it. While I would agree it is a very good film and has a HUGE scope (like so many of David Lean's films), I would hardly suspect while watching it that, adjusted for inflation, it's one of the 10 highest grossing films in history.

The film is a sweeping saga of several people during the period of the Russian Revolution--both before and after. I could summarize the film but considering that there are already over 200 reviews, I'll spare you. At three hours and twenty minutes, oddly, not a lot seemed to occur in the film. I am not complaining or saying it was dull, as it was a lovely film--with very nice cinematography and music. It's just that the film is the type that slowly and deliberately unfolds--and the more hyperactive might not find that to their liking. The acting is quite nice but I think the real star is the direction. My only reservation is that with the great romance between Zhivago (Omar Sharif) and Lara (Julie Christie)--they both were married and Zhivago's wife (Geraldine Chaplin) was a lovely person. This did make it difficult for me to care about the characters more. Still, it's a lovely spectacle and well worth your time.

Omar Sharif remains indelibly associated with Dr. Yuri Zhivago, a Russian physician-poet who participates in the Bolshevik Revolution, only to have political history affect him against his will. Julie Christie is beautiful as ever as Lara Antipova, Zhivago's true love.

"Doctor Zhivago" certainly pulled off a coup by showing the conditions that led to the revolution: the czar's despotic rule, the crushing poverty, and forced conscription (especially since the generals cared nothing about the men under their command). Then, of course, the Russian people thought that they would have a workers' society, but it didn't turn out that way. The theme song "Lara's Theme" kept the movie going every step of the way. Maybe not the greatest historical drama of all time, but this is a movie that I recommend to everyone.

As much as I love cinema, it comes as a shock to me that I never sat down and watched this film. I was very young when it came out, my parents saw it and quite liked it, and I remember them buying the stereo record soundtrack, with details of the film and pictures of the cast, and reading it in detail. Still, the thought of sitting down and watching the whole movie, of what appeared to be cold, dark, alien Russia, was of no interest to me. However, I finally watched it a half century plus since it came out. I also read both current and contemporary critical ratings of the film, and could not be in greater disagreement with most of them.

This is a great movie. It is long. It is memorable. But it is neither a soap opera nor foolish. It is not a documentary of Russia in WW1 and then going communist. It is a life and love story against a backdrop of these things. Critics should accept what a movie is about, rather than what they wish it were about.

A movie like this, like all epics, gets a chance to show detail and immerse you in the environment. I never felt so chilled, and so bothered by the wind--all in my head--as during watching this film. In that way, actually feeling like you were there, has only been as realized for me in one other film, "The Last Picture Show", where the feel of chill and desolation in that movie is pervasive.

All performances are great, don't let the idiots tell you otherwise. I read that many felt the Sharif was wrong, or expressionless. Sorry, but that is his character. He is trying to be a professional physician, and keep the appropriate facade in the face of changes that are absolutely surreal. Christie possesses the kind of visual magnetism that makes the infatuation of Zhivago plausible. Rod Steiger, who is guilty of preposterous performances in other films, hits the keys of his performance so perfectly you never disbelieve him. Lesser actors would have just made him the perverted rapist that he is, but nothing more to add to the dynamics of his personality. Courtney as high-minded, full of foolishness, and in the end, blinded by frustration and I believe a touch of madness.

Another thing I found splendid about this film was how it illuminated how evil, twisted, and preposterous the scheme of communism truly is. In this film, and of course in history, all the wealth of the rich is removed, and redistributed. This fixes nothing. What it does allow for, in its BS concepts that all men are the same and are all "comrades", is that you don't rise due to merit, you rise because of who you know. The movie time and again shows complete idiots in charge of things...the "managers" of the old Zhivago house who have converted into mass housing for the jealous poor who hate Zhivago and his family. They couldn't be more useless. The leaders of various combat units. The guy who tells people on the disgusting train about the "features" of the accommodations. Yes, in communist countries, the cream never does rise to the top. The working class does whatever is told, just for the benefit of the scraps and their survival. Lara at one point states something like "it's a horrible time to be alive"....and nothing is closer to the truth than that.

Again, not documentary or a wartime story, but its concepts and truths are right there.

The production, of course, top notch. Watch it, take a break or two and soak it all up. It is a special kind of movie, back when they made such a thing.

I can't remember the origin of the quote, but I remember it distinctly. A Communist Party official of the Soviet Union, justifying the Bolshevik destruction of Tsarist Russia, told a foreign observer, `If you want to make an omelet, you've got to break some eggs.' The visitor replied, `I see the broken eggs, but Where's the omelet?' Dr. Zhivago is set at the time when the Bolsheviks, feverishly ideological, were creating their socialist state. The epochal drama that unfolds is the age-old question about whether the ends justify the means.

As materialists (matter precedes spirit, not vice versa), the Bolsheviks believed that they had found the holy grail of human progress in Marxism-Leninism, and were now able to assume the reins of history in their own hands. They believed that their violence was not only justified, but necessary, oblivious to the fact that they, too, somehow felt the angel of medieval teleology smiling over their shoulders.

In contrast to the Bolsheviks, Zhivago's ethos, if he had one, was almost identical to Kant's `categorical imperative,' which had just one axiom: treat people as ends in themselves, and not as ends to a mean. There couldn't be a sharper moral contrast.

There's a fabulous scene midway through the movie that highlights the difference in moral attitude. Dr. Zhivago confronts a communist functionary who has ordered the destruction of a village, a hamlet suspected of aiding the Mensheviks by selling them horses. To the Bolsheviks, if you weren't 100 percent behind them, you were a `counterrevolutionary,' sorta like Dubya's idea that you're either for us, or against us. And so Strelnikov, the passionate Bolshevik, glibly justifies his actions to Dr. Zhivago as easy as if he were tossing his hair aside, saying that the annihilation of the village, however cruel, is necessary to make a point. Zhivago replies: `Your point; their village.'

I love this film, a timeless epic. If there's a more beautiful heroine in all of movie-making history than Julie Christie (Lara), I'm not aware of it. And Omar Sharif is stunning as Iuri Zhivago, who heals the body with emetics, scalpels, antiseptic, and gauze, while he heals the soul with his poetry. Although the movie is three hours and 20 minutes long, the cinematography is so efficient, evocative, and densely layered that one hardly notices. This is, in my opinion, one of the best films of all time.

No wonder the highest directorial achievement for direction of the British Academy of Film and Television is named after David Lean. An artist who knew how to combine great performances, with breathtaking settings, haunting soundtrack, in order to create works of art that are to remain as pillars for the future generations of film-makers.

"Doctor Zhivago" is definitely one of his most outstanding works, a film that breathes with life, and suffers with passion. Neither, though, of the credited people can take as much credit for it, as David Lean. Omar Sharif delivers one of his best performances of his career, Julie Christie has never been as stunning, or Rod Steiger as Komarovsky or Tom Courtenay as Antipov ever left more memorable performances than these ones. Not even Maurice Jarre, who composed one of the most unforgettable themes in film history, or Robert Bolt, for his skillful adaptation on Pasternak's difficult novel, not even Freddy Young's cinematography, can rise above the vibration of genius, which is David Lean. We almost feel the complexity of the universe collapsing on us with a mad power that we instantly become part of it, and fall in love with all its particles.

For those who haven't seen the film, this might make little sense, and it can give a misleading understanding of what one is to expect. "Doctor Zhivago" is a poet, who at the beginning of the 20th Century is caught in the historical Bolshevik revolution. An outstanding doctor, married to his childhood friend, Tonya (Geraldine Chaplin in a warm performance), finds that there is beauty beyond deceit, love beyond commitment, by starting an affair with an enigmatic lady which appears often in his path in the most unnoticeable of moments. Their destiny is as confused as Russia in the turmoil started by the Reds, it is shaped by history without their approval. There is no solution for a country that abandoned its passions in its desire of self-improvement, just as for the two lovers, which find themselves abandoned in the middle of the Siberian taiga.

This is a slow film and for the good reasons. We are allowed to breathe the story, to give it momentum, and to judge it from within, as if the choices were not Yury's, Lara's or Tonya's, but our own creation. And this is the brilliance of Lean's direction. The story transcends time and space, and it melts within the triviality of our life. Beyond it, we are left with nothing but love, pure and blindingly real.