Skip to main content

From Russia with Love


When it comes to "Cold War" movies, I prefer mine stirred, not shaken.  Always had a soft spot for Bond's second escapade, From Russia with Love, which featured the lovely Daniela Bianchi as agent 007's muse, Tatiana Romanova.  Robert Shaw provides the nasty villian, and Lotte Lenya makes a surprise appearance as KGB agent, Rosa Klebb.

The Soviet Union was a dark, mysterious place seen mostly through the lens of the Cold War.  Apparently, Putin and his KGB comrades used to enjoy Michael Caine's Harry Palmer movies, such as Funeral in Berlin, or so the story goes.   Even in films like North by Northwest you could see it in the subtext.  But, perhaps the most memorable film from that era is The Spy Who Came in from the Cold with Richard Burton as British agent Alec Leamas near the end of his rope.  The film focuses mostly on the East-West divide in Germany, and was adapted from a John Le Carre novel.

The theme has its earlier precedents, such as the whimsical Ninotchka, starring Melvyn Douglass and Greta Garbo.  The 1939 film is set in Paris at the time of the Russian Revolution, with Garbo as a stern Russian agent sent to see what the problem is with a jewel transaction.  She doesn't count on a charming count foiling her plans.  Bela Lugosi even pops up in the film as Commissar Razinin.


By contrast, the Soviet Union didn't seem as obsessed with the spy genre, although the Dead Season (Мертвый сезон) stands out from 1968, starring Donatas Banionis (also seen in Solaris) as Ladeynikov.

Comments

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 event...

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 fo...