Oncle Vania

I'm not particularly thrilled with Uncle Vanya the play itself from Chekhov, I think The Cherry Orchard is a far better, clearer, and more concise work, still this production must have been a real labor of love for its star Franchot Tone. Tone takes the supporting role here of Dr. Astrov who takes care of the title character played by George Voskovec. Voskovec is probably best remembered for being one of the 12 Angry Men.

During his time with MGM and subsequent studios Tone tried desperately to vary his casting. Louis B. Mayer refused to see him as anything else but a dashing man about town in full formal wear or just a dinner jacket.

Tone in New York City was a member of the Group players and ached to do serious dramatic work like Uncle Vanya on the scree . He left Hollywood in 1951 after Frank Capra's Here Comes The Groom to pursue the roles he wanted on stage and the small screen. He would not be on the big screen until Advise And Consent.

As for the play itself it's the story about a bunch of rather jaded aristocrats who are unhappy because they made bad choices romantically. The estate they live and/or hang out at is about to be sold. Their problems seem pretty trivial as compared to be burgeoning peasant revolution.

This version of Uncle Vanya is a great example of TV drama and Franchot Tone was finally doing things he wanted to do. But it's not the best of Chekhov's work.

A decent adaptation, admirable for the effort of Franchot Tone to craft a precise Astroff, for Mary Perry as original , in some measure , Marina , and for. Dolores Dern as Elena.

Maybe, under influence of the film of Andrei Konchalovski , the performance of George Voskovec as uncle Vanya is not the most inspired , the humor, not very convincing, But, sure, reflecting the ambition , with not bad result of Tone, is one of reasonable adaptations of a not easy to explore its nuances play of Chekov.

The basic virtue , maybe the perspective of John Goetz and franchot Tone as a sort of rehabilitation of Astroff.

There were two main reasons for seeing this version of 'Uncle Vanya'. One is the source material, which is one of Chekhov's best in mood and characterisation. Though not one of his most accessible for those not too fond of lots of talk and the lack of likeable characters, which is true for Chekhov in general but particularly apparent in 'Uncle Vanya'. The other is Franchot Tone, not just starring as Astrov (one of his most ambitious roles and a departure one) but also co directing and producing.

Personally found this version of 'Uncle Vanya' a worthy one. It is not a perfect production and there is a strong preference for the Laurence Olivier version, which to me was even more powerful and had an even stronger cast with none of the problems that this had. 'Uncle Vanya' is not an easy play to adapt or perform, but to me there is a lot to admire here and it didn't come over as a vanity project or like Tone was biting off more than he could chew despite taking on three jobs.

Beginning with the not so good things, the film is very stagy and too much of a filmed play at times in drama and in some static camera work. The sets are not the most appealing to look at, with them having a cardboard look.

The tone of the play is not always nailed, the dramatic, tragic aspect is spot on but the more satirical, less tragic side is missed.

However, this 'Uncle Vanya' is very well acted all round from nobody coming over as melodramatic, Vanya is easy to overplay and luckily wasn't. Especially from Tone who gives a rich, nuanced performance. Dramatically, the film is powerful with the despair in particular being brought out very movingly. It is also very intelligent and never resorts to bad taste.

Costumes are sumptuous and the medium close ups are similarly beautifully done, the camera work wasn't perfect by any stretch but a couple of the techniques did come off well and this one did. Chekhov's text, while talky, is as complex, thought provoking, intense and poignant as ever.

Overall, not the most ideal version of 'Uncle Vanya' but lots to admire here. 7/10.

The well-to-do are fascinated by themselves. That, of course, is true of whatever individual or group you may choose to consider. Given that the well-to-do have traditionally have had the money and leisure to study literature and art, therefore, it is hardly surprising that a disproportionate share of drama concerns itself with them. However, given the greater resources in time and money they have, it always seems odd to me that the great works of art concern themselves with their unhappiness. Leisure, boredom and dissatisfaction with the world are not curses, but opportunities, so it seems to me that a movie like UNCLE VANYA has an element of disapproving satire in its consideration of unhappy, well-off gentry.

Because of the great esteem that Chekhov's works are held in, it's hardly surprising that Franchot Tone produced, co-directed and starred in this version of the play. It's superbly acted, if unsurprisingly stagy. It's very accessible in its techniques, even though it seems more like a play staged for television broadcast than movie theaters. The camera-work uses long takes, with camera movement to preserve composition. The most beautiful shots are the medium close-ups, the portrait shots. Stark Young's adaptation Chekhov's Russian language is fine. It's simply that, beyond the undoubted excellence of the work on its own terms, watching people being miserable for a hundred minutes with no let-up is not my idea of a good time.