Russian Movies

Russian director Sergei Bondarchuk's epic version of Leo Tolstoy's War and Peace (Voyna i Mir) was the most expensive European film ever made for many years. It certainly had one of the longest gestation periods, with Bondarchuk spending seven years filming the project (the actors noticeably age from scene to scene). In relating Tolstoy's complex tale of Napoleon's invasion of Russia, Bondarchuk helmed some of the most graphic battle scenes ever seen, one of which runs nearly 45 minutes. So many horses were killed in these sequences that the film was loudly boycotted in some American cities by the ASPCA. While Bondarchuk is slavish to the source material, he does make a few Hollywood-like concessions to popular appeal; his leading lady Lyudmila Savelyeva looks exactly like Audrey Hepburn, the star of King Vidor's 1956 filmization of the Tolstoy novel. Originally clocking in at 507 minutes, War and Peace was pared down to 373 minutes for American consumption. It became a surprise theatrical hit, and a ratings bonanza when it was telecast on the ABC network in four parts from August 12 through 15, 1972. A big film, to be sure -- but few modern critics consider Bondarchuk's War and Peace a great film, citing its many deadly dull passages and its sappy, operatic finale. The dubbed American version is narrated by Norman Rose. The full Russian-language version with English subtitles is now available on video. ~ Hal Erickson, Rovi

Stanislav Sokolov and Derek Hayes direct this claymation version of the The King of Kings using the voice talents of such well-regarded British actors as David Thewlis, Miranda Richardson, Alfred Molina, Ian Holm -- and Ralph Fiennes as Jesus. ~ Jonathan Crow, Rovi

Alexander Sokurov's Confession documents life on a Russian battleship. While the ship sails the Barents Sea, the ship's leader discusses how the loneliness of life at sea affects him and his crew. ~ Perry Seibert, Rovi

Based on a novel by Stanislaw Lem, Solaris centers on widowed psychologist Kris Kelvin (Donata Banionis), who is sent to a space station orbiting a water-dominated planet called Solaris to investigate the mysterious death of a doctor, as well as the mental problems plaguing the dwindling number of cosmonauts on the station. Finding the remaining crew to be behaving oddly and aloof, Kelvin is more than surprised when he meets his seven-years-dead wife Khari (Natalya Bondarchuk) on the station. It quickly becomes apparent that Solaris possesses something that brings out repressed memories and obsessions within the cosmonauts on the space station, leaving Kelvin to question his perception of reality. Winner of the Grand Jury Prize at the 1972 Cannes Film Festival, Solaris was remade by Steven Soderbergh in 2002. ~ Matthew Tobey, Rovi

This modestly budgeted, made-for-TV romantic comedy became one of the most popular films in the former Soviet Union and a staple of TV broadcasts on New Year's Eve. It's based on the premise that modern apartment complexes look so much alike that one cannot distinguish one city from another. On New Year's Eve, Muscovite Yevgeny Lukashin (Andrei Myagkov) finally dares to make a marriage proposal to Galya (Olga Naumenko). They plan to celebrate the New Year together quietly, but Lukashin's friends convince him that first he should attend their annual meeting at a bathhouse. The meeting quickly turns into an improvisational bachelor party for Yevgeny. Having consumed large amounts of alcohol, they cannot remember which one of them was supposed to fly to Leningrad to meet his wife. So they put the sleepy Lukashin on a plane. Upon his arrival in the Leningrad airport, Yevgeny gives the taxi driver his Moscow street address and the cab takes him to an apartment complex located on a street with the same name. The building looks very much like his own, so Lukashin, still not quite sober, does not realize that he is in another city. He enters someone else's apartment because his key fits the door lock and he quickly falls asleep on a couch. When the apartment's rightful resident, Nadya (Polish actress Barbara Brylska), comes home, she wakes up the intruder and tells him to get out. The bewildered Yevgeny insists that he is at home and she is the one who should get out. Eventually he sobers and finds out about his predicament. He is about to leave when the situation is further complicated by the arrival of Nadya's straight-laced fiancé Ippolit (Yuri Yakovlev) who does not believe in Lukashin's story and accuses Nadya of being unfaithful. The interaction between the three characters results in Nadya and Yevgeny's gradual falling in love with each other. ~ Yuri German, Rovi

The Commissar of the title, played by Nonna Mordyukova, is a Soviet functionary wielding power over a remote Jewish village. Neither she nor the villagers care for the status quo, but over a period of several weeks both come to accept the situation and to establish a detente. The film's pro-Semitism was not entirely in keeping with Soviet policy of the 1960s, thus the film was shelved and hidden from the general public. Only with the thawing of East-West relationships, and the political upheaval in Russia itself, was The Commissar deemed "safe" for general consumption. The film was finally distributed in 1988, twenty years after its completion. ~ Hal Erickson, Rovi

It is a little-known fact that during World War II a small number of Soviet women actively served in combat. This film takes us into the lives of a small detachment of such women, and combines war action footage with gentler moments, such as when they kick their (male) sergeant out of the barracks for complaining that they don't wear enough clothes there. The story of their combat is interspersed with their memories of their husbands and civilian lives. The main combat sequence places them in conflict with a German patrol which was trying for a surprise attack on Russian positions. This film was nominated for an Oscar as "Best Foreign Film" in 1972. ~ Clarke Fountain, Rovi

Inspired by the outbreak of the Second World War, Soviet composer Sergei Prokofiev crafted his 1942 opera War and Peace - an opus based on Tolstoy's timeless novel - with his second wife, Mira Mendelson-Prokoviev), penning the libretto. Divided into two halves (comprising an epigraph and thirteen scenes) the work follows the basic narrative thrust of Tolstoy's roman, with its tale of aristocratic evolution over the course of the Napoleonic Wars. This release, War and Peace, features a film of a live onstage performance of Prokoviev's titular opera, mounted in Paris in 2000 by The Chorus and Orchestra of the Kirov Opera. Nicolai Othotnikov portrays Field Marshal Prince Mikhail Kutuzov, Alexander Gergalov plays (%Prince Andrei Bolkonsky, Yelena Prochina performs as Natalya Rostova (AKA Natasha), and Vasilli Gerrelo appears as Napoleon Bonaparte. Graham Vick handles the stage direction. ~ Nathan Southern, Rovi

Russian filmmaker Alexander Sokurov broke boundaries with his dreamlike vision of the Hermitage in St. Petersburg, Russian Ark. It's the first feature-length narrative film shot in a single take (on digital video, using a specially designed disc instead of tape). Russian Ark is shot from the point-of-view of an unseen narrator, as he explores the museum and travels through Russian history. The audience sees through his eyes as he witnesses Peter the Great (Maksim Sergeyev) abusing one of his generals; Catherine the Great (Maria Kuznetsova) desperately searching for a bathroom; and, in the grand finale, the sumptuous Great Royal Ball of 1913. The narrator is eventually joined by a sarcastic and eccentric 19th century French Marquis (Sergey Dreiden), who travels with him throughout the huge grounds, encountering various historical figures and viewing the legendary artworks on display. While the narrator only interacts with the Marquis (he seems to be invisible to all the other inhabitants), the Marquis occasionally interacts with visitors and former residents of the museum. The film was obviously shot in one day, but the cast and crew rehearsed for months to time their movements precisely with the flow of the camera while capturing the complex narrative, with elaborate costumes from different periods, and several trips out to the exterior of the museum. Tilman Büttner, the director of photography, was responsible for capturing it all in one single Steadicam shot. ~ Josh Ralske, Rovi

The Russian writing/directing team of Boris Khlebnikov and Alexei Popogrebsky makes their feature debut with the road movie Koktebel. Starting in Moscow, a widowed alcoholic father (Igor Chernevich) and his 11-year-old son (Gleb Puskepalis) set out on foot headed for the Crimean town of Koktebel. Along the way, they meet up with grumpy recluse Mikhael (Vladimir Kucherenko), who ends up shooting the father during a drunken brawl. Luckily, local doctor Xenia (Agrippina Steklova) fixes him up, leading to a romance. The father stays with her, while the son finishes the journey by himself. Koktebel was shown at the 2003 Karlovy Vary Film Festival. ~ Andrea LeVasseur, All Movie Guide

Aleksandr Shabatayev's 1997 Hebrew-language comic thriller Nekama Yehudit (AKA Jewish Vendetta) concerns a jealous husband (Leonid Kanevsky) who - certain of his wife's infidelity - feigns a heart attack and uses it to extract a forced deathbed admission of guilt from the woman. She confesses that she indeed once slept with his best friend over three decades ago. Hell bent on revenge, he leaves his home in Israel undertakes a transcontinental journey across the Soviet continent to settle the score. The only problem is that his son and the Russian mafia stand in his way. Levana Finkelstein, Vsevolod Gavrilov and Oshik Levi co-star. ~ Nathan Southern, Rovi

Two bands of warriors, one good and one evil, battle to keep the peace in Moscow in this cat's cradle thriller from Russia. In 1342, the Warriors of Light (led by Gesser, Lord of Light) and the Warriors of Darkness (led by Zavulon, General of Darkness) declare a truce under which each side will form a law enforcement team to monitor the other side's activities. The Warriors of Light, who enforce the powers of good, patrol the Night Watch, while the Warriors of Darkness, who openly embrace evil, staff the Day Watch. Each watch group also contains "Others," mortals with supernatural powers from both sides that include vampires, shapeshifters, witches, and the like. Prophecy suggests that one day, a Great One will surface and permanently extinguish the threat of an apocalyptic war between the two sides by upsetting the balance, lending greater power to either good or evil (depending on his or her choice) and thus determining the future of mankind forever.

In 1992, Night Watch member and Warrior of Light Anton Gordesky (Konstantin Khabensky) discovers he's an "other" amid a sting on a witch. Cut to twelve years later. In 2004, Anton still works the Night Watch, but now he's a vampiric warrior who drinks blood. One night, while on patrol, he rescues a young boy named Egor (Dima Martinov) from a handful of Dark Warriors, but in the process, he encounters Svetlana (Maria Poroshina), a woman who acts as a "funnel" -- a conduit for the powers of evil. Anton reflects on the prophecy regarding "The Great One," and begins to suspect that Svetlana and Egor may be harbingers of this fateful event. As the first installment in a Russian trilogy, Night Watch (aka Nochnoj Dozor) was a massive box-office success in its native Russia, and is followed by the second installment, Day Watch; it was released in the U.S. with a heavy prologue and epilogue, and animated subtitles that alternately scuttle across the screen, dissolve, shudder, and explode.

20th Century Fox not only purchased United States distribution rights for the film, but also announced plans for a Westernized remake. ~ Mark Deming, Rovi