It's only now after having seen Innokentiy Smoktunovskiy in a couple of roles already that I'm coming to understand why he earned such an extraordinary reputation as an actor. He really seems like an entirely differently person when he appears in another role. And his performance as the titular Uncle Vanya here is exemplary -- very human while despairing and desperate. He somehow makes it feel like a quiet performance, despite Ivan's rage.
This is decidedly not just a production of Shakespeare's play, but an adaptation. But much of its success lies in the fact that it harnesses the better elements both of the cinematic and theatrical media. The set and costumes are incredibly evocative, and communicate much through their often weather-beaten and long-lived-in appearance. And fortunately the filmmakers avoid the temptation to broaden the adaptation outside the house -- so we experience the claustrophobic tension and dramatic unity that a stage production would carry with it.
Above all, there is no fear of silence here -- and the appropriate silences between Chekhov's words are far from wasted time, but fill themselves with the tension or anguish of the characters and often with innumerable little visual touches on the part of the director or actors.
There's a palpable stillness here that mirrors the static and futile nature that Ivan feels characterizes his life, and that makes it very effective.
This is decidedly a version of Uncle Vanya -- which means it knows that a definitive film isn't possible. But it's one that does a lot of honor to Chekhov's work, and it well worth it for a set of excellent performances.
This is decidedly not just a production of Shakespeare's play, but an adaptation. But much of its success lies in the fact that it harnesses the better elements both of the cinematic and theatrical media. The set and costumes are incredibly evocative, and communicate much through their often weather-beaten and long-lived-in appearance. And fortunately the filmmakers avoid the temptation to broaden the adaptation outside the house -- so we experience the claustrophobic tension and dramatic unity that a stage production would carry with it.
Above all, there is no fear of silence here -- and the appropriate silences between Chekhov's words are far from wasted time, but fill themselves with the tension or anguish of the characters and often with innumerable little visual touches on the part of the director or actors.
There's a palpable stillness here that mirrors the static and futile nature that Ivan feels characterizes his life, and that makes it very effective.
This is decidedly a version of Uncle Vanya -- which means it knows that a definitive film isn't possible. But it's one that does a lot of honor to Chekhov's work, and it well worth it for a set of excellent performances.