L'Idiot

In the period 1955-60 some absolutely incredible movies were made in the Soviet Union. This is no exception. Based on the classic novel, the script of course holds masterpiece quality. Visually, it's also a masterpiece. The music is one of the most dramatic soundtracks I've heard. And not least, Yuliya Borisova in the role of Nastasia Philippovna gives the most charismatic acting performance I've ever seen. Throughout the movie I simply couldn't wait for her to get into the frame again whenever absent. I've never ever been this hypnotised by an actor or an actress before (and I've actually given that careful thought). The other actors also give stellar performances. As the events unfolded, I felt this movie pushed the script to its ultimate limits. At the end, you will find yourself filled up with uncontrolled emotions that you don't even know the name of. The movie is so dramatic that some people may find it unrealistic, but I assure you: these characters are out there in the real world, and this play may have relevance to anyone's life. At some point, most people with brains will seek out this story. My tip is, don't read the book. Don't see any theatre play or movie based on it but this one. Though the movie may take a lifetime to find - *it's worth it*!

This is how Dostoevsky adaptations need to be, and hardly ever are. 1) Everyone needs to act like they're on crack all the time, 2) It needs to be either snowing or 100 degrees all the time, and 3) Everyone's eyes have to be crazy.

This film meets all those requirements, and it's the only one that does. Although the second part was never made, the first part is worth watching and re-watching. The crazy Soviet montages, the crazy eyes, the red velvet everywhere, the lighting from beneath that makes everyone look like they're in hell...it's brilliant.

The soundtrack is gorgeous. I wish I could find it on mp3. And when one character says to another: "What's wrong with your face?" the face in question is worth the entire film. And it's pure Dostoevsky. HUZZAH for this film.

This impressive dramatization and realisation of one of Dostoievsky's greatest novels only covers the first part of the book - evidently the sequel was never made. But just this highly dramatic introducing part of the novel is quite enough for a film, which director and screenwriter Ivan Pyrev probably realised and let it be at that. It is very theatrical, but the great dramatisation crowded with exaggerations, almost like in a silent film, only serve to enhance the humanity, the passions, the emotion and the extreme sensitivity of Dostoievsky's novel, which he himself regarded as his best favourite. The acting couldn't have been better, particularly the main characters Anastasia Filippovna, Rogozhin, Myshkin and Ganya are like pulled directly out of the novel, and Dostoievsky himself would no doubt have been pleased. Even the music, in its basic nervous strings like in a passionate string quartet, serve to make this film unforgettably authentic in its fidelity to Dostoievsky in his constantly high strung and psychologically sharp and poignant mood.

I stan nastasia filipovna, thee ultimate drama diva and a girlboss i felt as if it was happening right on a stage before me all male characters were deyassifiyed, their stress sweat was getting all over nastasia, they need to take some bubble bath and have a latte, sip some chai-tee.

When you can not write about a film more than it is a masterpiece. First, for admirable Nastasia Filipovna proposed by Iulia Borisova. Second, for realistic Rogozhin of. Leonid Parkhomenko. Not the last, off course, for the portrait of kniaz Myshkin, ofered by Iuri Iakovlev. Second, because few scenes are so intense than the film becomes an experience. It is a great adaptation , one of the most beautiful crafted from Fyodor Dostoyevsky work.

No doubts, temptation to compare this version with the miniseries made by Vladimir Bordko in 2003 works. But not in brilliant manner . First, for wise crafted version , who has the fair desire to propose only a part from novel.

Second, for atmosphere and great use of close up.

For rooms and for eyes and for the large slices of madness.

And for the honest way to offer, in noble manner, the spirit of Dostoievsky novel.

In short, just a masterpiece. In special sense.