Nicolas et Alexandra

While this is indeed a long film, it's worth the time spent if you enjoy historical epics. The writing, direction and acting all come together very nicely in creating the peculiar dichotomoy of Nicholas II as doting father, dominated husband, and apparently well-meaning but ultimately naive and incompetent absolute ruler. I'd be curious to know just how true a portrayal of Nicholas as monarch this was. Was he really a paternalistic czar who simply didn't understand that the world was changing around him in ways he couldn't come to terms with? Or was he really as brutal a tyrant as most of his forebears were? Whatever the truth was, in this film you can't help but feel sorry for him as he makes one bad decision after another that inevitably send him down the road to insurrection and abdication, and he and his family into imprisonment and doom. Michael Jayston certainly looks the part, and he's no slouch in the acting department here.

Janet Suzman does a wonderful job as the czarina Alexandra. If it was possible for anyone to be even more detached from reality than Nicholas, she certainly makes Alexandra come across that way. In fact, it's hard to feel as sympathetic for her as one does for Nicholas; the way Suzman plays her, it's no wonder the Russian people disliked her so much.

Tom Baker is utterly believable as Rasputin, especially with those great staring eyes of his, and Laurence Olivier gives an excellent turn as the prescient prime minister Count Witte. The scene where he is vainly trying to persuade Nicholas not to call for the general mobilization and to avoid going to war against Germany and Austria is truly sad to behold. The actors playing Lenin, Trotsky, Stalin and Markov all present the Bolsheviks as the most implacable of enemies.

One last character that I thought was particularly well-played was that of the tsarevich, Alexis. I don't recall ever seeing the young man who played him in anything else, but he does a very fine job here. He alternately comes across as tragic, sickly, and wan, completely out of step with the rest of his vivacious siblings, or as possessing a bitter, vengeful, and imperious spirit out of proportion with his age. I thought one of the most chilling scenes was the one where Nicholas is talking with him after Alexis has attempted suicide, in which Alexis is angry with his father for abdicating on his behalf. I certainly came away from it imagining what the consequences to Russia would have been if Alexis had ever successfully come to the throne.

By all means, try to see this film in its uncut, full 189 minute run. There are a couple of important scenes that were cut from the movie for general video release, and some of them help to further develop key characters. All in all, "N&A" spectacularly showcases the tragic final years of a glittering dynasty that makes the Windsors look frumpy by comparison.

"Nicholas and Alexandra" is one of the last of the grand, sweeping epics that dominated the box office in the 50's and 60's. With the new wave of young, reckless directors who took to the scene in the 70's this kind of filmmaking seemed strangely dated. Ironically enough it kind of mimics the fate of the Romanov family, holding on to ideals that can no longer protect them. The genre, which had started with aplomb with movies like "Gone With The Wind" didn't draw the numbers it used to, and after seeing this movie I can't help but think of what a shame that is.

The movie is off to a slow start, and doesn't really grab the viewer until after the introduction of Rasputin. From there on in it's pure cinematic joy to witness the fate of the Tzar and his family unravel.

The actors do a tremendous job. It's obvious that the producers wanted their actors to look as much like their characters as possible, and while this doesn't necessarily strengthen the movie by itself it clearly gives it a stronger feel of authenticity. Furthermore they perfectly embody their flawed characters. The czar, beautifully played by Michael Jayston is a warm, caring man who unfortunately is totally unfit to be a czar. He is out of touch with his people, and feebly clings to his autocratic power. Jayston manages to portray an almost absurd certainty in his divine right, and ability to rule while at the same time exposing his uncertainty and fright. Janet Suzman is equally impressive as the loving, but domineering Alexandra.

The look and feel of the movie is also fantastic. The jaw-dropping visuals of Russia perfectly accommodates the story, and the music is wonderful all the way through. The pace is slow, and it's easy to see why critics who had just witnessed the exhilarating pace of movies like "A Clockwork Orange" or "The French Connection". But this was how these kinds of movies were made, and "Nicholas and Alexandra" does not shame the genre. It's actually a beautiful end to a spectacular genre which is well worth a look for anyone with a soft spot for David Lean-like movies.

I have always been fascinated by Russia's last tsar and his family. I have literally read dozens of books as well as articles about them. This movie puts into perspective what I have known all along. I came across this movie (VHS form) over 10 years ago. I've read Robert K Massie's book and although the movie can never be as concise as a book, it skillfully captures the mood and developed the plot really well as the movie progresses. The casting also deserved a big applause. Jayston and Suzman did a wonderful job portraying the real tsar and tsarista. The only thing I guess (and it is not fault of theirs) is perhaps better sounds and graphics. I had to turn up my volume really high to hear what they are saying especially if the actors speak softly as demanded by the mood of that scene. Oh well..it's the early 70's..what can we expect. Great movie...i would recommend it to everyone.

At the time of it's release in December of 1971, "Nicholas and Alexandra" must have seemed like an anachronistic piece of film-making, especially when compared with fellow Best Picture Nominees, "A Clockwork Orange", "The French Connection" and "The Last Picture Show". Based on a best-selling work of popular history, it was film making on a grand scale, boasting for it's cast a veritable who's who of the English speaking stage, a sweeping love story spanning many years, thrown over thousands of miles, using the conflict of World War I and the Russian Revolution as it's background. It must have seemed to many like the best film David Lean never made. And superficially it does resemble Lean's epic of a few years earlier, "Doctor Zhivago". Indeed three of Lean's close associates, Producer Sam Spiegel, Production Designer John Box, and Cinematographer, Freddie Young all shine in this production. Unfortunately having arrived late in the historical epic film cycle, it was largely dismissed at the time of it's release by critics, but time has revealed it's many virtues.

Produced with lavish care and attention to detail by Sam Spiegel for Horizon Pictures, "Nicholas and Alexandra" is among the last of the great "thinking man's epics" and one of the best. This is due in no small measure to the wonderful screenplay by James Goldman. Goldman, who also scripted "The Lion in Winter" and "Robin and Marian" had a fine ear for dialogue, and "Nicholas and Alexandra" is a pleasure to listen to as well as to behold. Like Robert Bolt's "Lawrence of Arabia", Charles Wood's "Charge of the Light Brigade" and Robert Ardrey's "Khartoum", all fine historical epics, Goldman's "Nicholas and Alexandra" is elevated by an intelligent script laced with fine dialogue. Transposing history onto the screen is never an easy task, but the story of the last years of the Romanov Dynasty is well served by Goldman. He skillfully telescopes events, while still remaining basically true to historic fact. One way or another, all films dealing with history compromise fact for drama. The best of them achieve a balance between the two. Those pedants who quibble over this fact of life, please refer to the historical plays of Shakespeare for it's validation.

Among the film's many pleasures is the high level of acting by an impressive cast. Michael Jayston and Janet Suzman are simply magnificent in the lead roles. It was an uncanny and bold choice using two unknowns to star in a film of this scope, and they have no problems carrying the three hour film. Both create complex, three-dimensional characters, deeply flawed, yet appealing, sympathetic and infuriating. it is the film's unwillingness to portray them as simply victims that gives it tragic grandeur. A special note must be made of Tom Baker's performance as Rasputin. Too often in previous movies film-makers have exploited the sensational events of the man's life and nothing more. This film actually had the courage to downplay those lurid elements, striving instead for complexity of character. Here we have a tortured individual, a charlatan and a monk, lascivious yet craving spiritual redemption. The Imperial Children are also sensitively depicted, with a standout performance by Roderic Noble as the hemophiliac only son, Alexis. The internal angst he brings to the part in his later scenes is impressive. Franklin J. Schaffner's able direction keeps the film moving along, and at no time is there any danger of the film losing focus on the two leads. This was no mean feat considering the powerhouse supporting cast that included, Laurence Olivier, Michael Redgrave, Harry Andrews, Irene Worth, Jack Hawkins, Ian Holm, Michael Bryant, Brian Cox, Eric Porter, Timothy West, Peter McEnery, Julian Glover, Roy Dotrice, Maurice Denham, Alan Webb, Guy Rolfe, Steven Berkof and John Wood, all of whom do memorable turns.

In the first half of the movie, the filmmakers vividly bring to life the isolated fairy-tale world the Imperial Family inhabited. The beautiful palaces, and villas provide a striking contrast to the shabby, squalid prison quarters of the film's second half, which deals largely with the Romanov's exile and imprisonment in Siberia. The murder of the Royal Family in the basement of the Ipatiev house, the so called "House of Special Purpose" is one of the most strikingly directed scenes in the film. The brutal suddenness with which it is depicted packs quite a wallop. Filmed in Panavision, the film is gorgeous to look at. John Box's recreation of Imperial Russia at the turn of the century truly deserved it's Academy Award for Best Production Design, as did Yvonne Blake for Best Costume Design. Freddie Young's stunning cinematography and Richard Rodney Bennett's haunting music score were also nominated, though they both lost to other films. Finally it is a beautifully edited film, a marvelous example of invisible editing used to create a subtle, but powerful sense of irony. A superb film that deals intelligently with the problems inherent in transposing history onto film.

Historical film correctly based on real events about Russian CZar Nicholas II (Michael Jayston , though press reports at time of pre-production said that Rex Harrison) , wife (first cinema film of Janet Suzman , and Audrey Hepburn and Vanessa Redgrave considered to play Alexandra) and sons Aleksey Nikolaeyvitch Romanov (Roderic Noble was chosen due to his resemblance) , Anastasia (Fiona Fullerton who had an interesting career as teen) , Tatiana (Lynne Frederick who subsequently married and inherited to Peter Sellers but she died early) . Czar Nicholas II, the inept monarch of Russia , insensitive to the needs of his country , is overthrown and exiled to Siberia with his family . In the film appears several historic personages as Kerenski (John McEnery) , The Queen Mother Marie Fedorovna (Irene Worth) , Trostki (film debut of Brian Cox) , Lenin (Michael Bryant) , Stalin (Hizeldine) , Rasputin (it was Laurence Olivier who first suggested Tom Baker to be cast and Peter O'Toole was asked to play Rasputin) , he was killed by Prince Yussoupov (Martin Potter)

This overlong film contains drama , emotion and notorious deeds dealing with the over-detailed depiction of happenings preceding Russian Revolution until the deaths of Czar and family . Gorgeous sets and spectacular production design by John Box and Gil Parrondo ; being mostly filmed in Spain , as the Royal Palace of Madrid . It's marvellously photographed by Freddie Young in magnificence color . Evocative and sensitive musical score by Richard Rodney Bennnett . The picture is well directed by Franklin J. Schaffner . He directed excellent motion pictures as "The Planet of the Apes", "Patton," "Papillon", ¨"Nicholas and Alexandra", after the flop of his film titled " Islands in the Stream ", in which went on to coincide with the actor of "Patton," George C. Scott, decided to embark on a project more commercial and successful as "The Boys From Brazil" , however ¨Sphinx¨ ,¨Lionheart¨, ¨Si Giorgio¨were others flops . Rating : Better than average , worthwhile watching

The picture based on facts , it begins when Japan's own territorial ambitions on the Chinese and Asian mainland. Russia is involved in a costly war with Japan over the Korean peninsula and the Czar rejects all recommendations that he bring the war to an end. War began in 1904 with a surprise Japanese attack on the Russian fleet in Port Arthur, without formal declaration of war and Russia is defeated by Japan . The Romanovs (Michael Jayston, Janet Suzman) are absolute rulers, among the last of their kind in Europe, living in luxury while the vast majority of Russians live in absolute poverty and take place revolts . As on January 1905 , Gapon (Julian Glover) began his march . Locking arms, the workers marched peacefully through the streets. Some carried religious icons and banners, as well as national flags and portraits of the Tsar. As they walked they sang religious hymns and the Imperial anthem, 'God Save The CZar'. All of the converging processions were scheduled to arrive at the Winter Palace . Throughout the city, the marchers found their way blocked by lines of infantry, backed by Cossacks and Hussars; and the soldiers opened fire on the crowd . The official number of victims was 92 dead and several hundred wounded. By the time of Stolypin (Eric Porter)'s assassination by Dmitry Bogrov, a student in a theatre in Kiev on 18 September 1911, Stolypin had grown weary of the burdens of office . Because of the fragility of the autocracy at this time, Nicholas and Alexandra chose not to divulge Alexei's condition to anyone outside the royal household. In fact, there were many in the Imperial household who were unaware of the exact nature of the Tsarevich's illness. At first Alexandra turned to Russian doctors and medics to treat Alexei; however, their treatments generally failed, and Alexandra increasingly turned to mystics and holy men . One of these was an illiterate Siberian , Grigori Rasputin (Tom Baker) , appeared to have some success. Rasputin's influence over Empress Alexandra, and consequently the Tsar, had grown stronger ever since 1912, when the Tsarevich nearly died from an injury while the family was on vacation at the hunting lodges at Bialowieza and Spala ,now part of Poland . The Czar's decision, against advice, to authorize a general mobilization in 1914 leads to disaster on the front . As the government failed to produce supplies, there was mounting hardship creating massive riots and rebellions. With Nicholas away at the front in 1915, authority appeared to collapse , while Empress Alexandra ran the government from Petrograd from 1915 , and the capital was left in the hands of strikers and mutineering conscript soldiers . At the end of the "February Revolution" of 1917 , Nicholas II chose to abdicate . He firstly abdicated in favour of Tsarevich Alexei, but swiftly changed his mind after advice from doctors that the heir-apparent would not live long apart from his parents who would be forced into exile .The abdication of Nicholas II and the subsequent Bolshevik revolution brought three centuries of the Romanov dynasty's rule to an end. The fall of autocratic Tsardom brought joy to Liberals and Socialists in Britain and France and made it possible for the United States of America, the first foreign government to recognise the Provisional government, to enter the war early in April fighting in an alliance of democracies against an alliance of empires. In Russia, the announcement of the Tsar's abdication was greeted with many emotions . However , revolutionaries abound and the rise of the Bolsheviks, led by Lenin (Michael Bryant) and Trotsky (Brian Cox) , slowly begin to gain an advantage . Before the year is out the Bolsheviks will be in power and the Romanovs in custody. In Siberia takes places the eventual execution of the entire family - the Czar, Czarina, four daughters and one son - in July 1918.