Skip to main content

Being Faithful to the Idiot



My wife and I watched Bortko's The Idiot. Bortko takes the novel scene by scene, with only a few liberties mostly for the sake of clarity.  The casting is excellent, but I have to say that Inna Churikova steals the show with her excellent portrayal of Lizaveta Prokofyevna, the matriarch of the Epanchin family.  She is shown in the picture counseling the Prince.

I thought Bortko was spot on in the first have of the series, but somehow lost control of the Prince in the second half.  Of course, such a character is very hard to pin down.  My wife said it just about proved the ruin of Yuriy Yakovlev, who had a nervous breakdown after filming a much shorter earlier production (1958).  His performance vaulted him to fame in Soviet cinema.  You can see Yevgeni Mironov struggle with his role in the second half, playing the Prince much too pensively.  You don't so much get a sense of the Prince's anguish as you do his confusion and woeful indecision with the events swirling around him. 

Vladimir Mashkov was excellent as the Prince's dark "double" Rogozhin.  I've enjoyed Mashkov in other movies, particular The Thief (1997).  Lidiya Velezheva was also very good as Nastya, capturing her haugthiness and sudden mood swings very well.  Olga Budina seemed to struggle with her role as Aglaya, afflicted by the same insecurity as Mironov at times.

Konstantin Klioutchkine has written an interesting piece on this television production for Kinokultura.


Comments

  1. I am watching it now, I have watched the first 7 parts. I have also read the book in the English translation. I think you are right about the mother of the Epanchin family, also I liked Ippolit, Rogozhin and Nastasya Fillipovna.

    Although I have not seen the end I am disappoitned they did not really touch on Myshkin's earlier life in Switzerland and France. I guess they didn't have the budget to take the production to the Swiss alps when he was reciving treatment there. It is often alluded to in the book

    ReplyDelete
  2. Nice of you to drop in, Napoleon. They allude to his time in Switzerland in the mini-series as well, and there are a few mountain scenes to recall the Alps. I just don't think the director and actor fully understood the Prince's character.

    Look forward to more of you comments.

    ReplyDelete
  3. Yes, you have a good blogsite. I will subscribe as I am interested in Russian language, literature and culture,

    ReplyDelete

Post a Comment

Popular posts from this blog

Ward No. 6

Ward No. 6 is a short story written by Chekhov in 1892.  It has appeared in various collections of Chekhov short stories, including The Horse-Stealers and Other Stories translated by Constance Garnett in 1921.  In this story, Chekhov explores the inner working of a run-down lunatic asylum in a provincial town.  He  introduces the readers to a coarse porter who speaks mostly with his fists, various patients, a doctor who presides over this ward, and expresses his thoughts with a local postmaster.  It was recently made into a movie , featuring Vladimir Ilyin.  Here's a clip . There's also this very recent short film (30 min.) by Suzana Purkovic, with English subtitles.

Light and Dark

I'm still trying to sort out the ending.  The story had to end tragically but was surprised that Rogozhin actually sought forgiveness in Myshkin after what he had done to Nastya, although I think that Dostoevsky intended the two to be read as one, along similar lines as The Double .  He kept Rogozhin a shadowy figure throughout the novel, ever lurking in the dark of the Prince's soul.  Try as he might, Prince Myshkin could not alter events and thus the fantasy world he had lived in upon returning to Russia crumbled before his eyes, leaving him at a total loss as how to reconcile himself with it. Once again, Dostoevsky plumbs great depths of the human soul.  This is a psychological drama told in theatrical terms, perfectly suited for the stage.  Characters appear and disappear as if moving from the shadows of the stage.  I can see the "green bench" as the central stage piece.  In the final part, one gets the sense that Lebedev is orchestrating events, and may even

The Morning of Our Motherland

I was watching a History channel special on Socialist Realism art of the Soviet Union and this was one of the grand canvases that is now stuffed away in the Tretyakov State Gallery .  The painter was Fyodor Shurpin and he had a wonderful eye for detail, right down to the secret service black car on the road to Stalin's right.  To the left, one sees a row of combines turning over the field of golden wheat, which became symbolic of Stalin's Soviet Union.  Утро нашей Родины is from 1949, with Stalin radiating a post-war confidence.  It is also known as  Dawn of our Fatherland and other titles. Shurpin was one of the better artists to carry over from the pre-war years.  The narrator pointed out how socialist realist art changed dramatically as a result of the war, becoming much more static and propagandist in appearance.  He pointed to two stops along the Moscow subway as an example of this divide.  Here, Shurpin essentially transposes Stalin for an earlier "Mother"