Tio Vania

the director makes it impossible not to be melancholic..one scene sonya says that forest and the climate together change the way that people behave.. how could she know that sorrow never changes? and justice is not for all in any climate? i want you to pay attention what happens after the woman comes and leaves.. not only the faces but the camera gives the feeling. i strongly recommend you to watch 2 times if you haven't done yet..

a splendid movie. not exactly as inspired adaptation or great cast. but for the role of vehicle in middle of a lost world. each nuance of Chekov play has perfect illustration. each detail becomes line of a viewer state of emotion. it is a precise work. and if the performance of Bondarchuk or Smoktunovsky can not be a surprise, the levels of acting discovers not only a story but the roots of a Russian manner to see the others. it is an impeccable Chekov and little more. the sepia images, the angle of camera, the decor, all are perfect pieces for a large puzzle. one of remarkable films who are the public as part of them. the air, the words, the atmosphere, the furniture. all as crumbs from a hided form of resistance against the reality.

I think this film completely misses the point of Chekhov's play. The melancholy arises entirely from unpleasant dripping, dirty surroundings and is maybe extended by the fact that the characters are all in deep depression and act somewhat hysterical. It doesn't work and think towards its heart-wrenchingly melancholy conclusion, but is simply gloomy the whole way through. It makes a good art-house film, but with the legendary actors and script it had to work with, it could have been so much more. The actors seem bored stiff. Even actor-legend Smoktunovsky seems to miss the point and falls back on playing anger and hysteria. There is never any moment to contrast the the gloomy mood, there isn't enough tension between hope and despair, its just monotonous. This isn't a bad film, and I'm sure the cinematography is very professional and important, but Uncle Vanya isn't about colors and dripping roofs and dirty surroundings, its about the people. And for some reason, Konchalovsky ignored all the fantastic language and acting potential he had to work with and focused instead on giving the film a depressing autumn color scheme.

Andrei Konhcalovsky sets a beautiful and nostalgic mood for this classic Russian text. An ode to the decadence and laziness of the dying Russian gentry, the film is appropriately staged in a large run-down house in the country. There is a palpable feeling of decay not only in the dialogue and the characters, but also in the peeling paint, the washed out colors that the camera picks up, the dim lighting, and the dirty clothes that the characters wear. The actors are quite loyal to the subtlety that Chekhov demands for his characters emotions. They avoid melodrama, but at the same time do not leave the audience feeling oblique and distanced as is often the case with adaptations of Chekhov.

This film is a must see for any admirer of Chekhov, and is also a pivotal film in the history of modern Russian/Soviet cinema. Apart from that it should be required viewing for any one interested in the sincere portrayal of very difficult emotions in cinema. Although formalistically different, it ranks with the best work of Andrei Tarkovsky or Ingmar Bergman.

I remember seeing this film in 1973 at the Royal Theater in L.A. I traveled for two hours on a bus to see it, and two hours to return home, and I never regretted the time spent. Bondarchuk as Astrov was brilliant, and the diluted Mosfilm color--which emphasized browns, reds, and golds--was perfect. I think this movie captures autumn better than any motion picture. Unlike the English language versions of the play, this one also emphasizes how the environment affects the characters. I dearly wish it would get released on either video or DVD. It's easily the best version of Chekhov's play---maybe the best film version of any of his plays.