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IMDbPro

O Jardim das Cerejeiras

Título original: The Cherry Orchard
  • 1999
  • Not Rated
  • 2 h 21 min
AVALIAÇÃO DA IMDb
6,3/10
732
SUA AVALIAÇÃO
Alan Bates, Katrin Cartlidge, Michael Gough, Charlotte Rampling, Tushka Bergen, Andrew Howard, and Owen Teale in O Jardim das Cerejeiras (1999)
Drama

Adicionar um enredo no seu idiomaAbandoned by her lover, the aristocratic Madame Lubov Ranevskaya returns to Russia, only to see her fragrant cherry orchard in full bloom: a painful reminder of her dire economic state and t... Ler tudoAbandoned by her lover, the aristocratic Madame Lubov Ranevskaya returns to Russia, only to see her fragrant cherry orchard in full bloom: a painful reminder of her dire economic state and the imminent foreclosure of the enviable property.Abandoned by her lover, the aristocratic Madame Lubov Ranevskaya returns to Russia, only to see her fragrant cherry orchard in full bloom: a painful reminder of her dire economic state and the imminent foreclosure of the enviable property.

  • Direção
    • Michael Cacoyannis
  • Roteiristas
    • Anton Chekhov
    • Michael Cacoyannis
  • Artistas
    • Charlotte Rampling
    • Alan Bates
    • Tushka Bergen
  • Veja as informações de produção no IMDbPro
  • AVALIAÇÃO DA IMDb
    6,3/10
    732
    SUA AVALIAÇÃO
    • Direção
      • Michael Cacoyannis
    • Roteiristas
      • Anton Chekhov
      • Michael Cacoyannis
    • Artistas
      • Charlotte Rampling
      • Alan Bates
      • Tushka Bergen
    • 18Avaliações de usuários
    • 13Avaliações da crítica
    • 56Metascore
  • Veja as informações de produção no IMDbPro
  • Veja as informações de produção no IMDbPro
    • Prêmios
      • 4 vitórias no total

    Fotos17

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    Elenco principal20

    Editar
    Charlotte Rampling
    Charlotte Rampling
    • Lubov Andreyevna (Ranevskaya)
    Alan Bates
    Alan Bates
    • Gaev (Leonid Andreyevich)
    Tushka Bergen
    Tushka Bergen
    • Anya
    Frances de la Tour
    Frances de la Tour
    • Charlotta Ivanovna
    Gerard Butler
    Gerard Butler
    • Yasha
    • (as Gerald Butler)
    Andrew Howard
    Andrew Howard
    • Petya Trofimov (Pyotr Sergeyevich)
    Melanie Lynskey
    Melanie Lynskey
    • Dunyasha
    Katrin Cartlidge
    Katrin Cartlidge
    • Varya (Varvara Mihailovna)
    Xander Berkeley
    Xander Berkeley
    • Epihodov
    Michael Gough
    Michael Gough
    • Feers
    Owen Teale
    Owen Teale
    • Lopahin (Yermolai Alexeyevich)
    Ian McNeice
    Ian McNeice
    • Pishchik (Semyon Semyonovich)
    Simeon Viktorov
    Simeon Viktorov
    • Doridanov
    • (as Simeon Victorov)
    Itschak Fintzi
    Itschak Fintzi
    • Stranger
    • (as Itzhak Finzi)
    Ivan Pangelov
    • French Priest
    Ivan Grigoriev
    • Yevstigney
    Margarita Kemalova
    • Yasha's Mother
    Yuli Toshev
    • Auctioneer
    • Direção
      • Michael Cacoyannis
    • Roteiristas
      • Anton Chekhov
      • Michael Cacoyannis
    • Elenco e equipe completos
    • Produção, bilheteria e muito mais no IMDbPro

    Avaliações de usuários18

    6,3732
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    10

    Avaliações em destaque

    baker-9

    Chekhov on film with mixed results

    Chekhov's plays have generally resisted film and TV adaptations: Sidney Lumet's "Sea Gull" was lumpy and not well cast, and even the Russian film adaptations have been turgid affairs.

    Michael Cacoyannis' version of "The Cherry Orchard" (originally titled "Varya" after one of the main characters), is better than Lumet's film largely because it's better acted in general. But the direction is sometimes fussy, sometimes leaden - the pacing becomes more and more turgid as the film progresses. The final 40 minutes or so become very tedious. Plus there's an unnecessary prologue in Paris - an obvious attempt to open up the play, but it goes on much too long.

    Charlotte Rampling does very well as Madame Ranyevskaya, a near-penniless aristocrat who returns to her family estate as it is about to be auctioned after a default on the mortgage. Rampling clearly shows us a aging woman who is spoiled, charming, childish, delusional, sometimes haughty and condescending, and feckless - a person who never learned how to manage money because she never felt she had to. Her performance makes this woman less conventionally sympathetic than others in the role - which is fine. There are times when her performance is undercut by some jarring editing where her mood swings from one extreme to another.

    The rest of the cast is quite fine: Alan Bates as Ranyevskaya's equally feckless and lazy brother Gayev shows us the man who knows full well his coming fate, yet goes through fits of denial to coddle his sister and the others; Michael Gough as the increasingly senile family servant Fiers; Tushka Bergen as Ranyevskaya's daughter Anya.

    The best acting comes from Katrin Cartlidge as the hapless, lovesick, foster daughter Varya, a soul sister to Sonia of Uncle Vanya; and Owen Teale (who was superb with Janet McTeer onstage in "A Doll's House") as Lopahin, a former peasant whose family worked on Ranyevskaya's farm but who has now become a successful businessman. His efforts to convince the fading aristocrats to save themselves by selling the estate fall on deaf ears, so he decides on a different plan of action.

    I would recommend seeing this only to people who are familiar with the play. First-timers would be better off seeking out a good stage production (lots of luck there) as Chekhov has always worked better there.
    7fisherforrest

    It's a frustrating way to have to see Chekhov's excellent play.

    Michael Cacoyannis seems strangely reluctant to tell this story in a straightforward, understandable fashion. This ridiculously edited film rates a 7 out of 10 only because it does, in its idiosyncratic way, convey something of the story of a Russian woman, of the landed gentry, fallen on hard times, who is desperately seeking to preserve the ownership of her estate, on which is an ancient and beloved cherry orchard. If she is forced to sell, the orchard will be cut down and the estate "developed" into "affordable housing". So what else is new, eh?

    By all, this is the choppiest editing and directing style I have ever encountered. Chekhov's play is certainly not constructed this way. There is no effort to introduce characters in an orderly fashion so that one may get to know who they are, and what their relationships and motivations are. Some of this eventually emerges if you are patient and alert enough, but don't blink! Some of the cast work is excellent. They must have been frustrated, though, if they knew what kind of editing would appear in the final cut.
    jgcorrea

    Negationist aristocracy lives the past while their beautiful trees are axed down

    How should one live? This is the fundamental question in most of Chekhov's works. Here it's openly exposed and discussed. Should the declining aristocratic family attach themselves to the possession of their cherry orchard (a symbolic representative of the grand ornaments of the Russian aristocracy) or should they give in to modern commercialization in order to survive? What is the value of tradition and how many trees should each one os us have? Chekhov does not answer. But he formulates the questions in the most fascinating way. In addition to scholarly speeches about such fundamental dilemmas, the author also takes pleasure in a witty verve, offering us a 'veduta' of high culture and life in style in 19th century Russia. But, as the critic Pierce Inverarity summed up, this is not just a typical nineteenth-century play; its potential topics, questions and answers are relevant to any individual dealing with society and history, anywhere and anytime. However, as universal and moving as it can be on stage, Chekhov's play isn't the stuff of a great movie -- there's simply nothing filmic about it.
    5PWNYCNY

    Tedious cinematic experience.

    In this era of gratuitous special effects and uneven, even shoddy, production, one cannot depend on Hollywood to successfully transfer a stage play to the screen. This movie is partially the exception, as the movie amazingly pulls itself together in midstream to become a commendable work of art. The first part of this movie is a cinematic disaster. It's boring, slow, and muddled, with a terrible first ten minutes which is supposed to provide some background information about some of the main characters but which is totally disconnected from the main body of the story itself which takes place in a completely different venue. Then as this movie is heading toward a complete cinematic breakdown it amazingly recovers its strength and vitality and becomes crisp, sharp, focused and coherent, conveying a poignant story about torment and suffering in time of change. From that point on all the performances are great, especially that of Michael Gough, Alan Bates and the beautiful Charlotte Rampling who succeeds in capturing the essence of the woman whose whole world is being turned upside down. But despite the strong finish, that one first has to endure a truly bad start before getting to the good part makes this movie a tedious cinematic experience.
    6dlloyd505

    Staged Film

    In his adaption of Anton Chekhov's play, The Cherry Orchard, Mihalis Kakogiannis shows a great deal of respect for the 19th century Russian play. In fact, Mihalis shows so much respect for it that he tried to have the film flow and seem very much like a play. Although the technique is an interesting way of trying to adapt a play to film, it ultimately leaves the audience wishing for less of a boisterous staged feel and more of a subtle real life feeling that film can so wonderfully produce. To Mihalis' misfortune the over animated and often over dramatized characters do more to take the audience out of the film than it does to push them into the story. Although the staged feel to The Cherry Orchard does make the film seem to drag on without the interest one would find in a lifelike representation of the events, there is several very significant themes that are important to Russian history that come across very nicely in the film.

    One of the most interesting aspects of The Cherry Orchard is the way that we see the very different reactions to the emancipation of the serfs. If we look at the two "main" characters of the film, Madame Ranevskaya and Gayev, we see two people that are having a very hard time adjusting to the realities of the serfs being freed. They're not only in constant denial of the economic state of their estate but they are also oblivious to the possibility that former serfs are gaining both power and respect. If we look at how the film expresses the Raznichintzhe class, we see two different expressions. First we see Lopakhin that represents the emerging merchant class in Russian. Although Lopakhin was a former slave, by the end of the film we see that he wields the most respect and power through the active and hard work that he has done as a free citizen. Now on the other hand, Trofimov represents the Intelligentsia class that is emerging towards the later part of the 19th century. His nickname as the perpetual student gives away that he is not about working and doing business in a capitalist society, instead he talks of enacting greater change to help the uneducated freed serf class that now has a ton of freedom and not a whole lot to do with it. Now as Lopakhin showed one of the possibilities for freed serfs Firs showed another. Firs represents a relic of the past, a serf that was more content with being a serf and serving than being forgotten and left behind in the new society. Which is exactly what happens to firs at the end of the movie. Just like Firs, older serfs that could not enjoy the full expanse of their newfound freedom were in a way left behind by society. Although as a movie I believe that The Cherry Orchard could have been a little more intriguing had the director strayed further way from the play format, there are still many interesting aspects to the film that make it a enjoyable piece of Russian oriented cinema. Definitely, worth the watch if you have any interest in Russian life towards the end of the 19th century.

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    Enredo

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    Você sabia?

    Editar
    • Curiosidades
      Glenn Close was the second choice for Ranyevskaya. After Dame Helen Mirren withdrew, she was called to replace her. She was busy with A Fortuna de Cookie (1999) at the time, so she refused the part at the last minute.
    • Conexões
      Version of Sakura no sono (1936)
    • Trilhas sonoras
      String Quartet No 3
      Composed by Pyotr Ilyich Tchaikovsky

      Performed by Chamber Orchestra Kremlin

      Conducted by Misha Rachlevsky

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    Perguntas frequentes

    • How long is The Cherry Orchard?
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    Detalhes

    Editar
    • Data de lançamento
      • 12 de janeiro de 2000 (França)
    • Países de origem
      • Grécia
      • França
      • Chipre
    • Idiomas
      • Inglês
      • Francês
    • Também conhecido como
      • The Cherry Orchard
    • Locações de filme
      • Bulgária
    • Empresas de produção
      • Melanda Film Productions
      • Greek Film Centre (GFC)
      • Amanda Productions
    • Consulte mais créditos da empresa na IMDbPro

    Bilheteria

    Editar
    • Orçamento
      • US$ 5.000.000 (estimativa)
    • Faturamento bruto nos EUA e Canadá
      • US$ 135.280
    • Faturamento bruto mundial
      • US$ 135.280
    Veja informações detalhadas da bilheteria no IMDbPro

    Especificações técnicas

    Editar
    • Tempo de duração
      2 horas 21 minutos
    • Cor
      • Color
    • Proporção
      • 1.66 : 1

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    Alan Bates, Katrin Cartlidge, Michael Gough, Charlotte Rampling, Tushka Bergen, Andrew Howard, and Owen Teale in O Jardim das Cerejeiras (1999)
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