Chekhov's Gun

It's back to Alyosha after two very compelling long chapters on Mitya, which formed the core of previous movies made of the novel.  Dostoevsky returns to the rock throwing incident which Alyosha interceded upon.  Little Ilyusha  is on his death bed.  His father had finally accepted the money Alyosha had given from Katarina to assuage the sense of guilt she felt for Mitya beating him in the streets, greatly embarrassing his son, who was never the same after that.  But, the focus of the chapter is more on a boy named Kolya, who had been a friend of Ilyusha. We are introduced to Kolya tending to small charges as he anxiously awaits for their mother to return.  Kolya seems the responsible sort but also has a strong rebellious nature.  He's small for his age and is quite bitter about it, because he expects to be treated as an adult.  He has schooled himself on books left by his father and now considers himself a socialist and free thinker, with a strong dislike for doctors.  T

I have no idea why Timur Bekmambetov wanted to associate himself with Yolki , or Six Degrees of Celebration as it was called in wide release.  It seems Russian producers were hoping to recreate the magic of The Irony of Fate , by inviting Timur and other Russian directors to paste together a set of vignettes loosely held together by a little girl's lie that the President is her long lost father, which can be made true if Medvedev (the President at the time) utters the code words, Na Deda Moroza nadeisia, a sam ne ploshai! , at the fateful hour.  In order to achieve this "miracle," a boy sets in motion a chain of events which he hopes will break the six degrees of separation between these lowly orphans and the President. As Beach Gray writes in this review , Bekmambetov has a weakness for Hollywood-style movies.  At his best, he can deliver in grand style, but here he serves up a sticky sweet pastry loaded with familiar faces (to Russian viewers anyway) that pretty m

Mitya didn't have very long to enjoy his moment with Grushenko before the police, magistrate and other town officials arrived to interrogate him on the death of his father.  Dostoevsky backtracks a little to fill in some of the details before picking up with the action at the Mokroye inn. Perkhotin starts to have second thoughts and goes to Madame Khokhlahov to see if she really gave Mitya 3000 rubles.  After getting the straight story he goes to investigate Mitya's father's house to find that all hell had broken lose and reports his findings to the police.  The policeman, the magistrate and the town clerk already know of the crime and Perkhotin's story of how a blood-soaked Mitya came to him with a wad of rainbow-colored notes in his pocket seems to pretty much seal the deal.  But, in true Dostoevskian fashion we hear from Mitya first, and what an admission it is. He admits to almost everything except killing his father.  Honor and pride lead him to omit key det

It is a bit like Chichikov's wild ride and there is even a reference to Gogol's Dead Souls in Dostoevsky's marvelous chapter on Mitya.  At 80 pages it reads like a novella, beautifully crafted from beginning to end.  Of course, it helps having the preceding chapters to capture the full impact of Mitya's wild night where he finally connects with his beloved Grushenka. At first you get the sense of Don Quixote chasing after his Dulcinea.  You figure there isn't much chance for the impetuous Mitya who stakes everything on a carriage full of champagne and foodstuffs to recreate a previous wild night at the inn in Mokroye.  When he arrives at the inn and sizes up the situation, his hopes at first seem dashed, but over a game of cards his luck turns and the two Poles are revealed to be little more than hucksters, and the officer that Grushenka had harbored her love for a total dud.  Mitya dismisses with them both, but not in the way you would imagine.  The pair of g

The opera world lost a great diva in Galina Vishnevskaja .  She reigned supreme in the Soviet Union until the mid 70s when she and her husband, Dmitri Rostropovich were deemed "unpersons" for having harbored the Soviet dissident, Aleksandr Solzhinitsyn.  She was removed from the official history of the Bolshoi, if you can imagine that.  However, Galina got the last laugh when in 1990 she returned to a country on the cusp of independence and was reinstated in the Bolshoi in 1992.  She set up an Opera Center , which has nurtured a new generation of voices.  She starred in Sokurov's 2007 film, Alexandra , a very different role for her.

Around page 420, depending on which edition you are reading, we finally get to the heart of the story, as Mitya finds he has been duped in more ways than one and begins lashing out at everyone.  Dostoevsky gives us an interesting chapter on jealousy, comparing Mitya to Othello, but Mitya knew in his dark heart that everything wasn't as he imagined.  So, the events which follow aren't so much tragic as they are farcical. By page 450, I'm still not sure whether Mitya killed anyone.  Poor Grigori apparently stumbled and fell on a rock, not as a result of the brass pestle Mitya tossed away.  When Mitya turned to help out the poor servant, he covered himself in blood.  I'm sure it will be atleast a hundred more pages before we find out what actually happened.  In the meantime, Mitya is a fugitive with a wad of 100 ruble notes in his coat pocket.  You figure it won't last him long, just as he had squandered Katya's 3000 rubles before. He apparently wants to ch

It seems Dostoevsky got paid by the word for The Brothers Karamazov as he stretches just about every situation to its breaking point, such as the unruly smell of Father Zossima which leads fellow monks and laypersons who gather for the viewing to question his legacy.  There wasn't much in the way of embalming back then but still a saintly corpse wasn't expected to smell the next day.  Zossima apparently stuck up the place, leading Father Ferapont and others to speculate on his faith, which greatly upset the young Alyosha, who had literally taken Zossima as his father figure given how unfortunate he was to have a miser like Fyodor Pavlovich as his biological father. Alyosha, like his brothers, was raised by surrogate parents, as Fedya didn't appear to have much time for his offspring.  Instead, he preferred bars and brothels, chasing after young trollops like Grushenka.  Alyosha appeared perfectly content to devote himself to the monastic order, but Father Zossima had g